When it comes time to order business cards, Norm Stockton must face
some tough choices. Fact is, the Southern
California groove guru has such a varied
skill set—as solo artist, sideman, clinician,
producer, and all-around swell guy—he’d
have to choose between microscopic typeface
and super-sized card stock. Having
recently released Tea in the Typhoon, an
inspired solo release that features guest
spots by John Patitucci, Michael Manring,
and Etienne Mbappe, Norm basks in the
beauty of having the kind of career that
has him rocking eighth-notes with contemporary
worship artist Lincon Brewster in
one moment, and shredding beside buddies
Patitucci and Manring in the next.
You’ve become best known for your work
in the worship realm, yet you also play in
secular settings. How do they differ?
People know me on both sides of the
aisle, so to speak, and I don’t make much
of a distinction between the two. From a
practical perspective, there are different
musical considerations in worship settings,
where the focus is on something other than
instrumental prowess. It requires more of
a session player’s mindset. A few years ago,
John Patitucci told me that whether he’s
playing in a church environment or on stage
with Wayne Shorter, he’s always bringing
everything that he to the table, and he’s
always being himself. I’ve really tried to
keep that perspective.
Your solo record involves a lot of intricate
melodic playing, while your work with
Lincoln Brewster has more of a straightahead
rock vibe. Do you find one style more
rewarding than the other?
For me, making an eighth-note groove
feel legit can be just as challenging as playing
the more involved stuff. I love being
able to do them both.
What is the bass you play for your
album’s upper-register bass melodies?
It’s an MTD 735 7-string tuned BEADGCF.
It’s really nice to be able to get up
into that higher range, especially when writing.
Live, I’m more of a 5-string guy, but the
7 works well for recording and arranging.
When playing with Lincoln, why do you
prefer your MTD J5 to your 535?
The 535’s sonic footprint is a little too
big. With minimal equalization, the J4 sits
right where it needs to, beside layers of guitars
and big vocals.
How have you developed your clinics and
Grooving For Heaven instructional DVDs?
While doing workshops for contemporary
worship musicians, I’ve came across
a lot of self-taught intermediate players
with big holes in their tool bags. So I teach
all the skills I wished I had known when
I started playing.
Can you give an example?
When I started out, I was more about
playing licks and counter-melodies than
grooves. Down the road, I’ve come to understand
that it’s all about groove. If you’re in
a rhythm section and groove isn’t your focus,
you’re going to be bumming people out!
Why do you value the ability to read
music?
I played for years without knowing how
to read, and then I saw the Stu Hamm Band
and the Chick Corea Elektric Band, with
Patitucci and [drummer] Dave Weckl. Both
experiences opened my eyes to the fact that
every resource for learning that style of
music requires you know how to read. Plus,
it’s tougher to make a living as a musician
without that skill.
HEAR HIM ON
Norm Stockton, Tea in the
Typhoon [Stocktones,
2009], Grooving For Heaven
instructional DVDs; Lincoln Brewster, Today
Is The Day [Integrity/Columbia, 2008]
GEAR
Basses MTD 535 5-string, MTD 735 7-
string (tuned BEADGCF), MTD J4 and J5
prototypes, all with “slap ramps” by John
DiMaggio of Bass Alone; MTD Stainless
Steel roundwounds (45–135)
Rig Gallien-Krueger 1001RB
head, Gallien-Krueger Neo
212, 112, and 115 cabinets, Tech
21 Sans Amp Bass Driver DI
Studio Mac Pro with Pro Tools HD-1 and
API A2D mic pre, MacBook with Pro Tools
LE and MBox 2 Mini