Neil Stubenhaus

Neil Stubenhaus (born July 18, 1953) is an American session bassist renowned for his prolific career spanning over five decades, contributing to hundreds of recordings across pop, rock, jazz, R&B, and film soundtracks.^[1]^[2] Born in Bridgeport, Connecticut, Stubenhaus began playing drums at age seven before switching to bass guitar during his teenage years and studying at the Berklee College of Music, from which he graduated in 1975.^[2] He launched his professional career at 17 by touring with Little Anthony and the Imperials, followed by stints with Blood, Sweat & Tears in 1977 and a move to Los Angeles in 1978 to work with Larry Carlton.^[3]^[2] Since the late 1970s, Stubenhaus has become one of the most sought-after studio musicians in the industry, performing on numerous platinum albums, Grammy-nominated projects, and over 500 film and television soundtracks, including contributions to Payback (1999), Midnight Run (1988), and Hairspray (2007).^[3]^[4] His collaborations include tours and recordings with artists such as Barbra Streisand, Quincy Jones, Ray Charles, Whitney Houston, Elton John, Billy Joel, George Benson, Donna Summer, Kenny Rogers, Joe Cocker, and Ricky Martin, as well as projects like South Park’s Mr. Hankey’s Christmas Classics.^[3]^[2]

Early life and education

Childhood and musical beginnings

Neil Stubenhaus was born on July 18, 1953, in Bridgeport, Connecticut. Growing up in the 1950s, he was exposed to music early through his mother, a pianist whose playing filled the home. This familial influence sparked his interest in music from a young age. Stubenhaus began his musical training on drums at age seven, taking lessons until around age 11 and joining a rock band by age 10. At 12, while still drumming, he developed an interest in guitar, quickly progressing to play better than some peers within months. He continued with guitar under the tutelage of friend Vincent Cusano (later known as Vinnie Vincent of Kiss), but in his mid-teens, Cusano encouraged him to switch to bass guitar to fill the role in their band, marking Stubenhaus's transition to his primary instrument. In 1969, at age 16, Stubenhaus gained his first significant band experience playing bass in a local group alongside Vinnie Vincent. Largely self-taught on bass, he honed his skills by ear, learning lines from rock records and drawing on prior guitar band roles where he memorized and taught bass parts to others. This formative period laid the groundwork for his later formal training at Berklee College of Music.

Berklee College of Music

Stubenhaus enrolled at Berklee College of Music in the early 1970s, graduating in 1975 with a focus on bass guitar studies.^[5] His curriculum emphasized electric and upright bass techniques, alongside immersion in jazz and fusion genres that were central to Berklee's offerings at the time.^[6] This structured environment allowed him to develop a strong technical foundation, blending rhythmic precision with improvisational elements drawn from jazz traditions.^[6] During his studies, Stubenhaus trained on upright bass under instructor Bill Curtis and on electric bass with Steve Swallow, whose innovative approach to the instrument profoundly influenced his playing.^[6] Swallow, a prominent figure in jazz and fusion, encouraged a mindset prioritizing musicality and groove over mere technical display, which became hallmarks of Stubenhaus's versatile style.^[6] He also benefited from interactions with notable visiting artists, such as Pat Metheny, who introduced him to the groundbreaking work of bassist Jaco Pastorius, further expanding his fusion influences.^[6] Surrounded by talented classmates including Mike Stern, Jeff Lorber, John "JR" Robinson, Vinnie Colaiuta, and Steve Smith, Stubenhaus honed his skills in collaborative settings that mirrored professional ensemble dynamics.^[6] Upon graduation, Stubenhaus's Berklee experience shifted his perspective toward a professional outlook, emphasizing adaptability and reliability in ensemble playing—qualities essential for session work.^[6] Swallow's mentorship extended beyond the classroom, recommending him for early teaching opportunities that reinforced his commitment to the bass as a supportive yet expressive role in diverse musical contexts.^[6] This transition marked the culmination of his academic growth, equipping him with the tools to bridge jazz improvisation and fusion experimentation in his emerging career.^[6]

Early career

Formative bands

Following his professional debut touring with Little Anthony and the Imperials in his late teens, Stubenhaus joined Blood, Sweat & Tears as bassist in 1977. Recommended by fellow musician Mike Clark, he contributed to the group's dynamic live performances during a transitional period for the band, including shows at New York's Bottom Line club in November 1977, where the setlist featured classics like "Lucretia MacEvil" alongside material from their Brand New Day tour. His tenure, lasting about a year, showcased his Berklee-honed skills in navigating the band's complex horn-driven arrangements and rhythmic grooves.^[6]^[7]^[8] In 1978, Stubenhaus participated in the recording of David Clayton-Thomas's debut solo album Clayton, providing bass lines that supported the singer's shift toward a blend of rock, jazz, and blues influences. His playing complemented the ensemble featuring drummer Bobby Economou and arranger Tony Klatka, emphasizing steady, fusion-oriented foundations amid Clayton-Thomas's vocal delivery on tracks such as "Laying Down Rock And Roll" and "Homeward Bound." This collaboration extended his involvement with the Blood, Sweat & Tears frontman beyond the band context, highlighting early session opportunities rooted in his recent group experience.^[9]^[10]

Initial tours and relocation

In 1978, following his time with Blood, Sweat & Tears that provided a solid East Coast foundation, Neil Stubenhaus joined Larry Carlton's touring band as bassist, performing across the United States and gaining exposure to the West Coast music ecosystem.^[6] This tour marked a pivotal shift, introducing him to influential figures and highlighting the stylistic differences between regional scenes, with Carlton's fusion-oriented performances emphasizing groove and precision over New York's more intricate arrangements.^[6] The experience prompted Stubenhaus to relocate to Los Angeles in late 1978, specifically October, to capitalize on emerging session opportunities in the burgeoning recording industry hub.^[11] Upon arrival, he leveraged Carlton's endorsements to network with key producers, including Mike Post, who frequently hired musicians for television and studio projects, securing initial calls for live and tracking work.^[12] These connections, bolstered by Berklee alumni like Vinnie Colaiuta already established in LA, helped him integrate into the local circuit through club dates and informal jams at venues like the Baked Potato.^[6] Adjusting to LA's competitive landscape proved challenging, as the city teemed with elite session players demanding versatility across genres from pop to jazz fusion, contrasting the band-centric East Coast environment.^[2] Stubenhaus noted the "shock" of encountering talents like Jeff Porcaro, requiring quick adaptation to a scene where reliability and musicality trumped flash, amid the pressure of displacing established freelancers in a tight-knit community.^[6] Despite these hurdles, his persistence in building relationships gradually expanded his professional circle, laying the groundwork for sustained work.^[8]

Studio and session work

Album recordings

Neil Stubenhaus has established himself as one of the most prolific session bassists in the music industry, contributing to a vast array of album recordings since relocating to Los Angeles in 1978. His work spans multiple genres, including pop, jazz, rock, and R&B, where his versatile electric bass playing provides foundational grooves and melodic support on hundreds of projects. This extensive studio output underscores his reputation as a first-call musician for major productions.^[6] Since 1979, Stubenhaus has appeared on over 600 albums, demonstrating remarkable endurance and adaptability in the competitive session world. Among these, more than 70 recordings have earned Grammy Award nominations, and over 20 have secured Grammy wins in various categories, all as a sideman. Additionally, his contributions feature on more than 60 gold and platinum-certified albums, reflecting the commercial success of the projects he has supported. These achievements highlight not only his technical proficiency but also his ability to elevate diverse artistic visions through precise, genre-spanning bass lines.^[6]^[13] Key highlights from Stubenhaus's discography include his early involvement in Barbra Streisand's 1979 album Wet, where he provided bass on tracks blending pop and disco elements, such as the duet "No More Tears (Enough Is Enough)" with Donna Summer. In 1980, he contributed to Glen Campbell's Somethin' 'Bout You Baby I Like, delivering solid rhythmic support on the title track and other country-pop songs. His long-standing collaboration with producer Quincy Jones is evident in multiple productions, including Q's Jook Joint (1995), where Stubenhaus's bass anchors ensemble tracks featuring artists like Ray Charles and Gloria Estefan, and Back on the Block (1989), a multi-generational jazz-pop fusion album that won multiple Grammys. These examples illustrate Stubenhaus's role in crafting influential recordings that achieved both critical acclaim and widespread commercial impact.^[14]^[15]^[16]

Film and television contributions

Neil Stubenhaus has provided bass performances for over 150 film soundtracks, contributing to a wide array of cinematic projects from the 1980s through the 2010s.^[6] His work often supports orchestral and contemporary scores, emphasizing groove and precision in ensemble settings. Notable examples include the 2006 soundtrack for The Devil Wears Prada, directed by David Frankel, where his electric bass lines underpin key musical cues.^[6] He also featured on the score for Midnight Run (1988), composed by Danny Elfman, adding rhythmic foundation to the film's action sequences.^[4] Other significant film contributions span genres and decades, such as James Horner's score for Field of Dreams (1989), where Stubenhaus played electric bass on the original motion picture soundtrack.^[17] His bass work appears in Code of Silence (1985), a thriller featuring a soundtrack with prominent session performances, and Payback (1999), directed by Brian Helgeland.^[2] Additional credits include Hairspray (2007), Bird on a Wire (1990), Newsies (1992), Major League (1989), Eraser (1996), and Nightcrawler (2014).^[4] These projects highlight his versatility in collaborating with composers like Quincy Jones on film-related productions.^[11] In television, Stubenhaus has recorded bass for hundreds of themes and episodes, including tracks on Mike Post's Television Theme Songs album (1982), which compiles iconic series motifs.^[18] His contributions extend to various episodic scores and pilots, applying session expertise honed in album recordings. Beyond broadcast media, he has laid down bass tracks for numerous national commercials and jingles, enhancing advertising campaigns with subtle yet driving lines.^[3]

Notable collaborations

Long-term partnerships

Stubenhaus established a long-term role as the primary bassist for Barbra Streisand beginning in 1979 with her album Wet, where he contributed electric bass across multiple tracks. This partnership extended to over a dozen of her studio and live albums, including Emotion (1984), The Broadway Album (1985), Till I Loved You (1988), The Concert (1994), and The Movie Album (2003), showcasing his versatile support in pop, Broadway, and orchestral arrangements.^[19]^[20]^[21]^[22]^[23]^[24] His collaboration with Streisand also encompassed extensive live performances, particularly as part of her touring band on every major world tour since her 1994 return to the road, including the multi-continent Timeless tour (1999–2000) and subsequent productions through the 2000s that drew millions of attendees. These engagements highlighted his reliability in high-stakes live settings, blending studio precision with onstage energy.^[3]^[6] Parallel to his work with Streisand, Stubenhaus developed an enduring professional relationship with Quincy Jones starting in the 1980s, contributing bass to numerous projects that spanned jazz, pop, and fusion genres. Key examples include Back on the Block (1989), on which he played bass for tracks like "Birdland" and the album's title song, earning the Grammy Award for Album of the Year among six total wins for the project. Other notable recordings feature Q's Jook Joint (1995) and Basie & Beyond (2000), where his rhythmic foundation supported Jones's collaborative ensembles with artists like Ray Charles and Patti Austin.^[25]^[16]^[26] These sustained partnerships with Streisand and Jones have been pivotal to Stubenhaus's career longevity, providing steady access to elite recording sessions and performances that have amassed contributions to over 600 albums, while cementing his reputation as a go-to bassist for iconic productions.^[6]

Diverse artist features

Stubenhaus has contributed bass lines to recordings by a diverse range of artists, showcasing his versatility across genres in one-off or limited engagements. In the late 1970s, he played on the duet "No More Tears (Enough Is Enough)" by Donna Summer and Barbra Streisand, a pop-disco track that topped the Billboard Hot 100.^[27] His work on Gino Vannelli's 1981 album Nightwalker, including the title track's intricate pop-jazz fusion grooves, highlighted his ability to blend rhythmic drive with melodic support in sophisticated arrangements. During the 1980s, Stubenhaus expanded into country and jazz territories with sporadic sessions. He provided bass for Tanya Tucker's 1980 album Dreamlovers, notably on the duet "Dream Lover" with Glen Campbell, infusing the track with a steady, understated pulse that complemented its pop-country crossover appeal.^[28] In jazz, his collaborations with Tom Scott included bass on albums like Street Beat (1979), featuring smooth fusion elements, and Flashpoint (1988), where he supported Scott's saxophone-driven pop-jazz compositions such as "Seat of Your Pants."^[29] The 1990s brought Stubenhaus into high-profile pop and R&B projects. He laid down the bass foundation for Whitney Houston's iconic ballad "I Will Always Love You" from the 1992 The Bodyguard soundtrack, contributing to its emotional depth and commercial success as a multi-platinum single.^[30] On Elton John's 1993 album Duets, Stubenhaus played bass on "Shakey Ground," a rock-infused collaboration with Don Henley that exemplified his adaptability in ensemble settings.^[31] These engagements, often facilitated by his foundational network from long-term partnerships, underscored his role in bridging rock, pop, jazz, and R&B from the 1980s through the 2010s. In more recent years, Stubenhaus has continued sporadic live features.

Playing style and equipment

Musical approach

Neil Stubenhaus is renowned for his versatile playing style that spans jazz, rock, pop, and fusion, characterized by precision and adaptability to diverse musical contexts. His approach prioritizes serving the song through a balance of groove and musicality, allowing him to seamlessly integrate into recordings across genres without overpowering the ensemble. This versatility stems from his extensive experience in Los Angeles studios, where he has contributed to over 600 albums since the late 1970s, demonstrating an ability to shift dynamics and articulate attacks as needed for each project.^[2]^[6]^[8] Technically, Stubenhaus excels in strong timekeeping and pocket, ensuring a solid foundation that enhances the overall rhythm section, while his melodic bass lines add expressive depth without unnecessary complexity. Influenced by masters like James Jamerson and Ray Brown, he crafts lines that move fluidly across the instrument, drawing from rock influences such as Jack Bruce and Tim Bogert for freer, more adventurous phrasing. His exceptional reading skills enable quick adaptation in session environments, making him a go-to player for sight-reading charts under tight deadlines. These strengths reflect lessons from his Berklee College of Music training, where he studied under Steve Swallow during the era of Jaco Pastorius's influence, honing a mature, professional technique that emphasizes consistency over flash.^[8]^[6]^[2] Stubenhaus's reputation as a reliable "first-call" bassist in LA studios is built on this dependable approach, with over 20 years of consistent work by the early 2000s, including contributions to Grammy-winning projects for artists like Quincy Jones and Barbra Streisand that highlight his adaptability. Early experiences in bands such as Blood, Sweat & Tears further shaped his collaborative mindset, teaching him to prioritize the band's sound while maintaining personal musical integrity. This combination of technical reliability and stylistic flexibility has solidified his status as one of the most sought-after session bassists in the industry.^[11]^[6]^[2]

Instruments and gear

Throughout his career, Neil Stubenhaus has primarily relied on Fender Precision and Jazz Bass models from the 1960s and 1970s for their classic tone and versatility in studio and live settings.^[11] He began his session work using a mid-1970s Fender Precision Bass equipped with Seymour Duncan PJ pickups, alongside several early-1960s Jazz Basses, including a 1962 sunburst model, which provided the punchy, defined sound essential to his recordings.^[11] A 1964 Fender Jazz Bass became a staple for many sessions in the 1980s and 1990s, often strung with .045-.130 gauges to suit his groove-oriented approach.^[11] In addition to Fenders, Stubenhaus owns and endorses Ken Smith basses, valuing their craftsmanship and rich tone for diverse applications.^[6] He acquired his first Ken Smith four-string model at the 1980 NAMM show on the recommendation of Stanley Clarke, later expanding to a five-string version that complemented his Fender-centric collection.^[6] These instruments, listed among his regular rotations, offer a modern alternative while maintaining the warmth he seeks in professional environments.^[32] For amplification, Stubenhaus favors straightforward setups suited to both studio direct recording and live performance, minimizing complexity.^[6] He rarely employs amps in the studio, opting instead for direct injection, but when playing live, he uses Fender amplifiers paired with Ampeg SVT bass heads for their reliable power and clarity.^[6] Stubenhaus's gear preferences have evolved from a foundational reliance on vintage Fenders in his early career to incorporating custom and endorsed models like Ken Smith and James Tyler basses by the 1980s and beyond, reflecting adaptations to session demands without abandoning his core Fender affinity.^[11] After his primary Fender was stolen in the early 1980s, he collaborated with luthier James Tyler to develop a signature five-string Studio Elite model, which joined his arsenal alongside a Sadowsky four-string for varied tonal options.^[11] Despite these additions, he has consistently described himself as a "Fender style guy," prioritizing instruments that align with his precise, supportive playing style.^[8]