Like a tightrope walker, bassist Kinga Glyk finds a delicate balance between funk-fusion virtuosity and wicked, booty-moving grooves. Deploying her trademark Fender Jazz and occasionally a Gibson EB-3, Glyk has repeatedly proven herself a gifted player, yet never lets that stop the beat. The 27-year-old’s latest is Real Life, featuring the wildly infectious single “Fast Life.” To learn more, VG checked in with Kinga from her home in Poland.
You’re an acclaimed bassist, but there aren’t many solos on the album.
Our intention wasn’t necessarily to make a “bass collection”; instead, we envisioned it as a compilation of great songs that are capable of telling a story. We love bass and enjoy its prominent role, but with Real Life, we collectively agreed with [producer] Michael League that bass doesn’t have to be the primary or up-front instrument.
As a composer and fellow bassist, what did Michael League bring to this project?
He took care not only of the music, but also was an amazing host, bringing people together effortlessly. Michael has a keen ability to read the room and understand what is needed in certain moments. The fact that he is a bass player allowed us to enjoy the process of finding the best solutions for bass lines. I have learned a lot from him, and hope this isn’t the last time we create music together.
“The Friend You Call” brings Weather Report to mind. Are they a big influence?
Absolutely. My influences come from various sources, including Weather Report, Yellowjackets, Toto, Earth, Wind & Fire, Queen, and Stevie Wonder, even though they fall into different music genres. I love beautiful songs from the ’70s and ’80s, and I appreciate the power that music can convey. I remember watching a video of Jaco Pastorius playing with Weather Report, and it fueled my passion for playing bass even more. But also, thinking about what inspires me, I’ve come to realize that as much as music can profoundly impact how I hear and create it, life experiences and everything around us play an equally significant role.
As a composer, what makes a good fusion instrumental?
It wasn’t my first goal to make memorable songs, but more to stay fully authentic and be open to explore, follow my heart, and find deeper meaning of what music can be. I’m happy that these pieces have melodies that people can remember.
Melody aside, “Unfollower” and “That Right There” both have sick, distorted bass lines.
We used some pedals, sometimes attempting to make the amp sound distorted. [Engineer] Nic Hard and Michael were exploring different sonic possibilities while I played the line. I enjoyed the process of discovering the variety of sounds, trying to find the most-interesting ones. For clean tones, the cascading harmonics in “Island” is about more the power of a good delay and stereo spread.
What is the solo instrument we hear on “Fast Life” and “Swimming in the Sky”?
The first solo in “Fast Life” was played by Casey Benjamin on the aerophone, a unique instrument. It’s like a wind instrument you blow into, but what’s interesting is it has different sounds. In “Swimming in the Sky,” Caleb McCambell played the first solo on a synth, and Casey played the second one on the aerophone. Because it’s a wind instrument, it makes the notes sound even cooler and stronger, very powerful.
“Opinions” is a beautiful closing song, with layers of keyboards and that aerophone over your bass.
Originally, “Opinions” had a longer section at the beginning. However, we decided to use only the outro for the final record because the other part didn’t quite match the overall vibe. The song revolves around the theme of believing in your own ideas. It encourages never doubting yourself, even when faced with criticism. What I’m trying to convey is the importance of occasionally sticking with an idea – musical or otherwise – and seeing it through, even if someone doesn’t initially approve. The value of the idea may still be there.
In addition to being the bassist, you’re also a bandleader. How do you keep your musicians happy in the studio and touring while contributing their best?
Juggling those roles is not easy; I’ve been learning for a few years and still have lots to improve. Feeling responsible for everything can be a bit much; I’m working on staying calm and enjoying it, because too many tasks can take away the joy. The happiness of the musicians who play with me is very important. I want them to be happy and excited about performing the music, so I try to listen to what they say and play. I want to find the right balance between having a vision and giving people space for their ideas. In this band, we are a team, and we need each other.
This article originally appeared in VG’s May 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
