After 50-plus years as a professional musician, bassist Ross Valory has released his first solo album, All of the Above. The San Francisco native is best-known as an original member of Journey, performing on a stream of beloved albums and hit singles. He also enjoyed early-’90s success with The Storm. On this mostly-instrumental album, Valory drifted back to the looser, experimental approach of early Journey.
How far back do these songs go?
The better part of 50 years. “Tomland” was written in 1971 as a stand-alone bass tune or solo, and I added bridge parts in the mid ’80s. These songs, oftentimes, were jams at a Journey or Storm sound check, or with the people in other groups. I also had a small studio in my home where I set up an artist workshop. People would come in and we’d play each other’s ideas and have fun with it.
Was it creatively frustrating to have these songs but not finish and release them?
Not frustrating, but something in the back of the mind said, “Hey, get with it. You might as well complete these.” Of course, as a professional musician and having been deeply immersed in popular music, my material is not necessarily popular music, so would it do? I reached a conclusion, though, 10 or 12 years ago, that it doesn’t matter what it is or whether it’s going to become popular, and I’m thrilled, having recorded these songs. I want people to hear it.
Was time a factor all those years when you were so busy?
Absolutely. Time and energy.
Was the music conceived in the jazz fusion, progressive, and experimental styles of the first three Journey albums? Is that your comfort zone?
You’ve hit it right on the nail. The value of the significance, the uniqueness of Journey’s beginning is completely in tune with my own musical outlook and influences. I was raised in a family that listened to practically everything – a buffet of influences. Early Journey reflected a fusion of our individual and collective influences, which came out quite easily in its experimental era. So yes, that’s the way I write, and every song is very different.
Do you think of bass as a melodic or rhythmic instrument?
I’ve spent most of my time on the bass. “Tomland” was written on the bass, therefore, it’s more-present as the core of the arrangement. In broader terms though, I approached recording this album in terms of what does the song need, and that includes bass. You’ll see that on several songs, or at least in several sections of songs. I’m simply accompanying the arrangement. The album is not about featuring myself as an instrumentalist on all of them. It’s not about, “Oh, this is my debut as a virtuoso bassist.” It’s the debut of my songs, and my part in it is represented by what the song needs.
You worked with guitarist Miles Schon on “Tomland,” who is Neal’s son.
Miles is a very talented individual. I recorded the basics of “Tomland,” including Miles, in 2016.
Which basses did you use on the album?
Mostly a mid-’80s Charvel 3B I bought 15 years ago for $485. Other than having the neck Pleked, it’s all original. On the two songs where you hear lead bass – “Nightflower” and “No One Wins a War”– that’s a fretless Steinberger.
This article originally appeared in VG’s August 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
