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Gary Willis

Gary Willis (born March 28, 1957) is an and renowned for his innovative technique and contributions to . Best known as the co-founder of the influential band Tribal Tech alongside guitarist , Willis has shaped modern playing through his fluid, economical style and extensive spanning over five decades. Born in , Willis began playing bass at age 13 in church settings before transitioning to electric bass two years later; he also studied guitar and harmony around that time. He later pursued formal education in arranging and at the University of North Texas's acclaimed jazz program, where he honed his skills in a rigorous musical environment. This foundation propelled him into professional circles, leading to collaborations with luminaries such as , , and early in his career. Willis co-founded Tribal Tech in the early , releasing ten albums with the group, including the 2012 effort X, which showcased their evolving fusion sound blending , rock, and progressive elements. As a solo artist, he has issued five albums, starting with No Sweat in 1996 and culminating in his most recent, Larger Than Life (2015), often featuring collaborators like drummer and keyboardist Scott Kinsey, and continues to release new music, including the 2025 single "Be The Light". Beyond recording, Willis has influenced generations as an educator at Berklee College of Music's campus, author of four instructional books published by , and clinician conducting workshops in over 22 countries; his signature models with , such as the GWB25th released in 2024, further cement his legacy in the instrument's design.

Early life and education

Childhood in Texas

Gary Willis was born on March 28, 1957, in . Raised in , Willis developed an early interest in music. He began playing in church at age 13, starting with a short-scale Vox Panther model, and learned primarily by ear from recordings and local band experiences. At age 15, Willis began playing guitar, learning by ear, and pursued self-study in harmony and basic . He played in early local bands during his high school years.

Studies at University of North Texas

In 1978, Gary Willis enrolled at North Texas State University (now the ) College of Music, immersing himself in its renowned program where he pursued studies in composition and . This academic environment provided a rigorous foundation for his musical development. Initially focused on guitar, which he had played since age 15 alongside basic harmony studies, Willis shifted his primary instrument to bass during his third year at UNT. This transition resolved an internal conflict between the two instruments and aligned with his growing interest in foundational roles within ensemble settings, building on his prior experience playing bass in church groups. As a member of the prestigious One O'Clock Lab Band, he gained exposure to high-level performance, collaborating with talented peers. During this period, Willis developed key improvisational and compositional skills. He completed his undergraduate studies in 1982, having been shaped by UNT's jazz program.

Professional career

Move to Los Angeles and early gigs

Following his graduation from the University of North Texas in 1982, where he honed his skills in jazz studies, Gary Willis relocated to to pursue professional opportunities in the vibrant music scene. This move marked a pivotal transition from academic training to the competitive world of session musicianship, leveraging his university foundation in and ensemble playing to adapt to LA's demanding environment. Upon arriving, Willis quickly immersed himself in the city's session scene, securing early professional gigs with emerging fusion acts and established jazz figures. He performed as a sideman with saxophonist Wayne Shorter in the mid-1980s, contributing to live performances and recordings that showcased his technical prowess on fretless bass. Additional short-term roles included collaborations with flutist Hubert Laws and guitarist Allan Holdsworth, where he provided versatile support in studio and live settings, helping to establish his reputation as a reliable and innovative bassist capable of blending jazz, fusion, and rock elements. Willis's auditions during this period often led to transient positions with various ensembles, allowing him to demonstrate his adaptability across genres and build a network in LA's 1980s and rock communities. Through these interactions at studios and clubs, he forged connections with influential musicians such as Simon Phillips and , which opened doors to further opportunities in the fusion circuit. These early experiences highlighted his ability to navigate the improvisational demands of live gigs while maintaining precision in session recordings. The challenges of Willis's early career in were significant, particularly in balancing irregular session work with dedicated personal practice amid financial instability and intense competition. He often relied on from recordings to refine his technique during limited downtime, as professional commitments left little room for structured rehearsal, yet this honed his intuitive approach to the instrument.

Formation and tenure with Tribal Tech

Tribal Tech was co-founded in 1984 by bassist Gary Willis and guitarist in , emerging as a pioneering progressive fusion ensemble that blended jazz complexity with rock energy. The duo initially recruited rotating personnel for their early recordings, including keyboardists like Pat Coil and drummers such as Steve Houghton and Joey Heredia, reflecting the band's experimental phase as they honed a sound influenced by and . This fluid lineup allowed Willis and Henderson to explore intricate rhythms and improvisational structures, setting the foundation for their signature style. By the early 1990s, the band stabilized with the addition of keyboardist Scott Kinsey and drummer Kirk Covington, forming a core quartet that endured through much of their tenure. Willis played a key role in the group's compositional landscape, co-writing the track "Tribal" on their debut album Spears (1985) alongside Henderson, and penning four originals—"The Big Wave," "Stoopid," "Paha-Sapa," and "Babylon"—on Illicit (1992), which showcased his affinity for groove-oriented fusion themes. Over the next decade, Tribal Tech released additional albums like Face First (1993), Reality Check (1995), Thick (1999), and Rocket Science (2000), totaling ten studio efforts that pushed boundaries with technical precision and harmonic innovation. The band's active period from 1984 to 2000 included extensive live performances and international tours, particularly in and the U.S., where their high-energy sets solidified their reputation in the progressive fusion scene. After a hiatus following their 2002 European tour, Tribal Tech reunited for one final project, the album X (2012), which recaptured the quartet's chemistry through jam sessions and marked the end of their run. This culmination highlighted Willis's enduring bass lines as the rhythmic anchor, contributing to the group's lasting impact on instrumental jazz-rock.

Solo recordings and compositions

Gary Willis launched his solo career with the album No Sweat in 1996, a collection of original compositions that showcased his ability to craft intricate pieces centered around grooves and . Recorded over two-and-a-half days following minimal rehearsal, the album featured collaborations with drummer , saxophonist Steve Tavaglione, and keyboardist Scott Kinsey, emphasizing a loose, organic development of sketches into full tracks. Willis adopted a deliberate production approach by composing the majority of the material beforehand using digital tools like a Macintosh with performance software, with only one piece, "," written directly on , allowing for a structured yet spirited exploration of '70s-inspired vibes reminiscent of and . His follow-up, Bent, released in 1998, continued this trajectory with 11 tracks that highlighted Willis's as the driving force in bass-led arrangements blending , and rock elements. The album's vigorous energy, marked by fat funky rhythms and hard-bopping lines, demonstrated Willis's compositional technique of layering polyrhythms and melodic quirks over deep harmonies, often shifting from fast grooves to smoother, echoing passages. Critics praised its innovation, noting how Willis transcended typical electric bass shredding to meld technology with sophisticated improvisation, earning high marks for revitalizing . In 2007, Willis issued Actual Fiction, his third solo outing, which incorporated influences into funk-driven originals, featuring unaccompanied solos and treated for a manic, overproduced edge. Tracks like "Cartoon Fetish" exemplified his blending of , , and through polyrhythmic structures and atmospheric builds, with drummers Kirk Covington and David Gomez contributing to the dynamic interplay. The album's reception highlighted its ambitious avant-groove approach, though some noted the second half's stronger balance of energy and restraint as particularly effective. Retro, released in 2013, marked a return to an electric piano trio format with keyboardist Albert Bover and drummer Gergo Borlai, featuring originals and covers that fused , , , and ballads. Willis's compositions emphasized his fretless bass's vocalized, sax-like lines and interactive dynamics, shifting from frenetic highs to minimal introspection while maintaining a laid-back groove. Reviewers acclaimed it as one of his finest efforts, appreciating the intelligent swagger of the power trio's fusion-rock synthesis. Willis's most recent solo project, the 2015 album Larger Than Life, expanded on his fusion roots through 12 original tracks co-led with Kinsey and Borlai, delivering unpredictable with wild bass-centric arrangements. Drawing briefly from his Tribal Tech experience, the work integrated rock-infused grooves and progressive elements, earning praise for its innovative, high-energy compositions that pushed electric bass boundaries. In 2025, Willis released the single "Be The Light," further showcasing his ongoing compositional work in . Across these releases, Willis's solo oeuvre consistently innovates through pre-composed structures that evolve into improvisational bass-led narratives, blending with rock and electronic textures for a distinctive, groove-oriented style.

Collaborations and side projects

Work with jazz fusion artists

Gary Willis contributed bass to Wayne Shorter's 1987 album Phantom Navigator, providing electric bass on the opening track "Mahogany Bird," which showcased his agile fusion lines in support of Shorter's soprano saxophone explorations. He also performed as part of the Wayne Shorter Quartet during live engagements in the late 1980s, including a notable 1986 concert at the Berliner Jazztage where his rhythmic foundation complemented Shorter's improvisational phrasing alongside pianist Tom Canning and drummer Tom Brechtlein. In the mid-1990s, Willis collaborated with guitarist on the 1996 album None Too Soon, delivering throughout the record, including on tracks like "Nu Blue" and "Twenty 6," where his intricate, melodic enhanced Holdsworth's synthetic guitar textures in a quartet setting with pianist Gordon Beck and drummer Kirk Covington. This project highlighted Willis's ability to navigate Holdsworth's complex harmonic landscapes, contributing to the album's reputation as a late-career milestone for the guitarist. Willis recorded with flutist on the 1993 album My Time Will Come, playing bass on several compositions such as "Shades of Light" and "Valse," where his warm tone and subtle grooves supported Laws's blend of classical influences and , backed by John Beasley and drummer Ralph Penland. These sessions in the early 1990s exemplified Willis's versatility in acoustic-leaning contexts during a decade of diverse work. Beyond these pairings, Willis joined keyboardist Scott Kinsey on Kinsey's 2006 album Kinesthetics, contributing bass to tracks like "This Is That," where his dynamic fretless playing intertwined with Kinsey's electronic textures and guest appearances by and others, emphasizing polyrhythmic interplay in contemporary . He also participated in tours supporting such projects, including European dates in the mid-2000s that featured extended bass solos drawing attention to his technical prowess. These high-profile collaborations with fusion luminaries in the 1980s through 2000s significantly boosted Willis's recognition within circles, establishing him as a go-to for innovative ensembles and broadening his influence beyond core group affiliations.

Contributions to other ensembles

Beyond his foundational role in Tribal Tech, Gary Willis contributed to several innovative ensembles that highlighted his versatility in and , particularly after relocating to in 2000. These projects often featured improvisational structures and electronic elements, allowing Willis to explore rhythmic complexities and textural depth on . One notable collaboration was the trio Triphasic, which released the album Shaman in 2009. Formed with saxophonist Llibert Fortuny on , , and vocal effects, and David Gomez on drums and electronic percussion, the group blended with synchronized visual projections in live performances, where Willis also handled VJ duties and electronic sequencing. This experimental approach showcased Willis's ability to integrate bass lines with elements, creating immersive, avant-garde experiences that pushed beyond traditional boundaries. Willis also participated in the avant-garde jam trio Slaughterhouse, culminating in the 2007 release Slaughterhouse 3. Teaming with drummer Kirk Covington and saxophonist Llibert Fortuny, the ensemble delivered a mix of funky grooves, lyrical melodies, and edgy explorations of darker sonic territories, emphasizing spontaneous interplay over composed forms. The album's raw energy and Willis's propulsive bass work exemplified his adaptability in high-intensity, rhythm-driven settings. Guest appearances in modern ensembles further demonstrated Willis's range, including frequent partnerships with Gergo Borlai. Their duo performances, such as the set at the Drum & Bass Festival featuring the track "Everything's Cool," highlighted intricate polyrhythmic dialogues between bass and drums. This collaboration extended to the Retro, where Willis joined Borlai and pianist Albert Bover for a return to acoustic roots with electric influences, recording across multiple continents to capture a global aesthetic. Post-2000, following his move from to and eventually in 2004, Willis's ensemble work evolved toward more international and genre-blending projects, reflecting his European base. One-off recordings and live sets, such as improvised sessions with Borlai and Scott Kinsey, spanned , , and influences, underscoring his technical precision and genre-spanning adaptability in diverse, ad-hoc groups. These endeavors often incorporated Willis's signature fretless techniques, like rapid scalar runs and thumb-style plucking, to anchor experimental rhythms.

Teaching and mentorship

Positions at music institutions

Gary Willis began his teaching career in 1982 upon relocating to Los Angeles, where he served as a course leader at the in , focusing on bass instruction within the institution's renowned programs. He subsequently joined the faculty at the in , contributing to its music curriculum through bass pedagogy during the 1980s and 1990s. In 2004, following his personal relocation to , Willis took up a position at the Escola Superior de Música de Catalunya (ESMUC) in , where he taught courses in , arranging, , and bass performance, shaping the conservatory's offerings. Since 2014, he has held a faculty role at Berklee College of Music's campus, instructing in the in Contemporary Performance program as well as in the Study Abroad and First Year Abroad initiatives, emphasizing practical skills in performance and musical creativity.

Clinics, workshops, and publications

Gary Willis has conducted clinics and masterclasses in over 22 countries since the , sharing his expertise in techniques, , and ensemble playing with musicians worldwide. These sessions often emphasize practical application of to real-world scenarios, drawing from his extensive professional to help participants develop a more intuitive grasp of the instrument. Key workshops include his regular appearances at Bass Bash events during NAMM week in , where he leads demonstrations and interacts with attendees on advanced concepts. Additionally, Willis has delivered online masterclasses through platforms like Scott's Bass Lessons, featuring comprehensive video series such as "The Gary Willis Masterclass," which spans 10 hours of instruction over eight weeks, including live seminars on topics like phrasing and harmonic navigation. As an author, Willis has published four instructional books with , focusing on bass techniques, , and . These include Fingerboard Harmony for Bass (1997), which demystifies the instrument's and chordal structures; Ultimate Ear Training for Guitar and Bass (1998), offering exercises to build recognition; The Gary Willis Collection (1998), featuring transcriptions of 11 original with , , and lines; and 101 Tips for Bass (2002), providing actionable advice for players of all levels to enhance groove, tone, and creativity. Willis integrates video content into his teaching, with demonstrations illustrating his philosophy of efficient practice and musical expression, such as clips on finger pressure and progressive basics that prioritize economy of motion over excessive speed. These resources complement his workshops by allowing global access to his methods, often tying back to and improvisational freedom emphasized in his books. Students frequently praise Willis's approach as innovative and practical, noting how his clinics transform abstract concepts into immediately usable skills; one participant in his online described it as "more than worth the investment," highlighting Willis's clear, engaging delivery that builds confidence in complex material. This feedback underscores his role in fostering a shift toward intuitive, groove-oriented playing rather than rote .

Musical style and equipment

Bass playing techniques

Gary Willis employs two-handed tapping and slapping techniques within jazz fusion contexts, allowing for rapid, polyphonic lines that blend rhythmic drive with melodic invention. These methods enable him to execute complex patterns that extend beyond traditional fingerstyle plucking, as demonstrated in his instructional work where he breaks down for intricate grooves. His three-finger picking approach further enhances this, providing an effortlessly light touch that supports both groove and virtuosic solos while allowing the to shape the tone. Willis places a strong emphasis on melodic bass lines infused with harmonic complexity during improvisations, treating the instrument as a lead voice capable of navigating advanced chord progressions and substitutions. This approach draws from his deep engagement with , where he prioritizes fluid, interactive phrasing over rote scalar runs, often weaving against ensemble textures. His advanced phrasing and proficiency in odd-meter playing stem directly from his studies in arranging and at the University of North Texas's program, where he absorbed keyboard-oriented harmonic concepts that informed his bass-centric adaptations. These academic influences manifest in his ability to displace accents and employ polyrhythms, creating propulsive yet unpredictable flows in irregular time signatures like 7/8 or 5/4. Willis's technique evolved from the high-energy rock-fusion of the , characterized by precise, calculated lines in early Tribal Tech recordings, to a more experimental, looser style in later works that embraces spontaneous interaction and textural exploration. By the and beyond, this shift incorporated freer while retaining fusion's intensity, as seen in his solo projects blending roots with elements. Representative examples include the driving riff in Tribal Tech's "Face First," where Willis deploys slapping and to anchor a syncopated 7/8 groove with melodic overlays, and the bass solo in "Big Wave," showcasing harmonic depth through chromatic ascents in odd-meter phrasing. In "Salt Lick," his two-handed techniques propel a head with intricate, harmonically rich fills that highlight his evolved experimental edge.

Signature instruments and gear

Gary Willis has enjoyed a long-standing partnership with Ibanez since the late 1990s, during which the company developed custom basses tailored to his needs as a jazz fusion bassist. This collaboration produced his first signature models in the early 2000s, evolving from prototypes like the GWB1005 to more refined designs emphasizing playability and tonal versatility for fretless performance. Key signature instruments include the GWB20th, a limited-edition 5-string fretless bass released in 2019 to mark 20 years of the partnership. It features an ash-topped basswood body in Tequila Sunrise sunburst finish, an Aguilar DCB humbucking pickup, OBP-2 active 2-band preamp, ebony fingerboard with oval inlays, and Willis's signature detachable finger ramp for consistent attack and quick recovery. In 2024, Ibanez launched the GWB25th anniversary edition, a 5-string fretless model based on the GWB205 platform, with a silver-stained ash body in Silver Wave Burst Flat finish, custom radiused Bartolini humbucker pickup, modified NTB2 active electronics, ebony fingerboard, and KTS titanium reinforcement rods for superior stability and sustain. These instruments incorporate active electronics to produce the bright, articulate tones essential for fusion genres. For amplification, Willis relies on Aguilar equipment, including the DB 750 head paired with three GS 112 1x12 cabinets, delivering a clean, powerful output that suited his extensive Los Angeles studio work in the 1980s and 1990s. His effects setup features TC Electronic gear, such as the G-Force processor for precise tuning and effects like auto-wah, as well as the Hall of Fame Reverb pedal with custom TonePrints—"The Cloud" for ambient swells and "Solo Space" for plate reverb during solos—to enhance his expressive sound in live and recording contexts.

Discography

Solo albums

Gary Willis launched his solo recording career with No Sweat, released in September 1996 on the label. The album features a lineup including drummer , keyboardist Scott Kinsey, and saxophonist/electronic wind instrument player Steve Tavaglione, showcasing Willis's compositional focus on intricate grooves and improvisational interplay. Key tracks include the title opener "No Sweat," the extended "Stagger," and the atmospheric "The Everlasting Night," blending bluesy elements with technical bass lines that highlight Willis's fretless playing. In 1998, Willis followed with Bent, also on , emphasizing experimental structures and production techniques that allowed for greater exploration within a core ensemble of Chambers on drums and Kinsey on keyboards. Tenor saxophonist Bob Berg guests on three tracks, adding fiery solos to pieces like "Armageddon " and the title track "Bent," which underscore themes of rhythmic displacement and harmonic tension. The album's production, handled by Willis and engineer Jim David, incorporates layered textures to push fusion boundaries beyond his Tribal Tech collaborations. Actual Fiction, released in 2007 on the Abstract Logix label, marks Willis's integration of electronic elements into his style, forming a with Kirk Covington and saxophonist Llibert Fortuny. Tracks such as the drum 'n' bass-infused "Cartoon Fetish," the funky "Smells Like a Party," and the synth-driven "Podcast" demonstrate Willis's use of programmed beats and effects to create dynamic, contemporary soundscapes. The album's 10 compositions reflect a shift toward urban , with Willis's bass anchoring electronic textures. Willis returned to acoustic jazz roots with Retro in February 2013, released on Abstract Logix, featuring pianist Albert Bover and drummer Gergo Borlai in an electric piano trio format. The 10-track set nods to influences like the Pat Metheny Group through covers such as "Norwegian Wood" and originals like "Change Agent" and "Amaryllis," infused with modern phrasing and Willis's signature two-finger technique on acoustic bass. This project highlights Willis's versatility, bridging classic jazz harmonies with subtle contemporary twists. His most recent solo album, Larger Than Life, arrived in July 2015 on Abstract Logix after a development period spanning over five years, involving extensive collaboration and refinement. The 12-track album reunites Willis with Borlai on drums, Kinsey on keyboards, and Tavaglione on saxes and EWI, alongside Fortuny on and vocalist Claudia Bardagi; standout pieces include the , "The Professionals," and "," delivering fusion-funk grooves with polished that evolved through iterative sessions. In April 2025, Willis released the single "Be The Light" as a standalone release.

Tribal Tech albums

Tribal Tech, co-founded by Gary Willis and guitarist in , produced eleven studio from 1985 to 2012, with Willis maintaining a central role as co-leader, , and occasional throughout the band's history. The group's output began with energetic rooted in the scene and progressively incorporated complex rhythms, odd meters, and rock influences, reflecting Willis's and Henderson's shared vision for innovative ensemble playing. Willis's contributions emphasized intricate grooves that intertwined with Henderson's guitar lines, often driving the band's rhythmic complexity and harmonic exploration. The debut album, Spears (1985, GRP Records), marked Tribal Tech's entry into with tracks like the title song and "Caribbean," where Willis delivered propulsive lines supporting the band's high-energy interplay; he also co-composed the interlude "Tribal" with Henderson. The initial lineup included drummer Steve Houghton and keyboardist Pat Coil, establishing a core sound before subsequent personnel shifts. This release highlighted Willis's role in blending acoustic and electric tones to anchor the fusion framework. Follow-up Dr. Hee (1987, GRP Records) expanded on the debut's momentum with compositions primarily by Henderson, such as the title track and "Mango Prom," but Willis's bass work provided essential and melodic development, including subtle percussive elements on tracks like "Solemn." The lineup remained consistent with Houghton and , though guest appearances by saxophonist added textural variety. By this point, Willis's consistent co-leadership with Henderson was evident in the band's tight, rehearsed precision. Nomad (1990, Mesa/Bluemoon Recordings) and the self-titled Tribal Tech (1991, ) represented a transitional phase, with the band experimenting with longer forms and global rhythmic influences; on the latter, Willis co-composed "Dense " and "Got Tuh B" with Henderson, showcasing his affinity for groove-oriented structures. Drummer Kirk Covington joined for Nomad, replacing Houghton, while keyboard duties shifted toward more synthesized sounds. These albums solidified Tribal Tech's reputation for technical prowess, with Willis's bass lines often serving as the compositional backbone. The early 1990s releases (1992, Enigma Records) and Face First (1993, ) featured the classic lineup of Henderson, Willis, Covington, and new keyboardist Scott Kinsey, marking a shift toward denser arrangements and progressive fusion elements. Willis composed the track "" on Face First, a highlight demonstrating his melodic writing amid the band's polyrhythmic intensity. These works emphasized ensemble cohesion over individual solos, with Willis's consistent presence ensuring rhythmic stability amid evolving lineups. Later albums further embraced progressive sounds: Reality Check (1995, Mesa/Bluemoon Recordings) incorporated electronic textures and angular compositions, with Willis's bass anchoring tracks like "Snake Dance." The band then moved to Tone Center for Thick (1999), featuring Willis's contributions to layered grooves in songs such as "The Oracle"; Rocket Science (2000), known for its spacey, experimental edge; Silent Genocide (2002), addressing social themes through intricate fusion; and the reunion album X (2012), reuniting the Kinsey-Covington lineup for a mature synthesis of the band's arc, including Willis-co-written pieces that blended fusion roots with avant-garde progressivism. Throughout these changes—primarily in drummers and keyboardists post-1993—Willis and Henderson's co-leadership remained unwavering, guiding Tribal Tech from fusion pioneers to progressive innovators.

Selected guest appearances

Gary Willis has made significant contributions as a and ensemble member on various and contemporary jazz recordings, particularly during the 1990s and 2000s, where his lines provided rhythmic drive and melodic interplay. His appearances often highlighted his ability to integrate seamlessly into diverse ensembles while maintaining a distinctive, fluid style influenced by his Tribal Tech background. On Wayne Shorter's 1987 album , Willis played electric bass on tracks such as "Condition Red," "Mahogany Bird," and "Atlantis," supporting Shorter's soprano and tenor saxophones alongside Mitchel Forman on synthesizers and Tom Brechtlein on drums; this collaboration showcased Willis's adaptability in Shorter's post-Weather Report electric explorations. In 1993, he contributed bass to specific tracks on flutist Hubert Laws's My Time Will Come, including "Shades of Light," where his playing complemented Laws's and work amid a mix of acoustic and electric elements, emphasizing Willis's versatility in blending fusion with more traditional textures. Willis's work with guitarist Allan Holdsworth on the 1996 standards album None Too Soon featured his fretless bass throughout, paired with drummer Kirk Covington and pianist Gordon Beck, delivering swinging yet intricate support on reinterpreted classics like "Countdown" and "Isotope"; this recording underscored Willis's swing-oriented phrasing in a high-caliber fusion context. Similarly, on drummer Dennis Chambers's 2002 release Outbreak, Willis provided bass on the title track and other cuts, collaborating with Chambers, Jim Beard on keyboards, and guests like John Scofield on guitar, highlighting his role in propelling Chambers's funk-infused jazz grooves. Beyond strict sideman roles, Willis co-led innovative ensembles that expanded his collaborative scope. In the power trio Slaughterhouse 3, with saxophonist Llibert Fortuny and drummer Kirk Covington, he anchored the 2007 album S3 (also known as Slaughterhouse 3), contributing bass and co-writing tracks like "Life Story" and "Toxic," which fused improvisation, electronics, and rhythmic complexity for a provocative post-fusion sound. He continued this exploratory vein in the electric trio Triphasic, alongside Fortuny on tenor sax and electronics and drummer David Gomez, on the 2009 album Shaman, where Willis's programming and bass work drove atmospheric pieces such as "Diarrea" and "A Dog's Life," blending jazz improvisation with experimental sonic textures. These projects from the 2000s exemplified Willis's impact in smaller, boundary-pushing groups, prioritizing creative interplay over conventional structures.

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