Andy Hess

Andy Hess (born December 4, 1966) is an American bassist renowned for his versatile contributions to rock, jazz, and R&B genres, particularly as a former member of the jam band Gov't Mule from 2003 to 2008 and a brief stint with The Black Crowes in 2001.^[1][2][3] Hess, who grew up in Germany and began playing bass at age 14 or 15 after being inspired by his stepfather's diverse record collection, relocated to New York City in the 1990s to pursue a professional music career.^[2][4] Early in his tenure there, he gained prominence through session work and collaborations, including playing on Joan Osborne's hit single "One of Us" in 1995, as well as recordings with artists like Freedy Johnston, Leo Nocentelli of The Meters, David Byrne, and Tina Turner.^[2] In 2001, Hess joined The Black Crowes for a short period, touring with acts like Oasis and Neil Young, and appearing on their live album The Black Crowes Live released in 2002.^[2][3] His most extended and defining role came in September 2003 when he became Gov't Mule's permanent bassist following the death of founding member Allen Woody, recommended by guitarist Audley Freed and after building rapport through initial gigs while fulfilling commitments with jazz fusion artist John Scofield.^[5] During his five-and-a-half years with Gov't Mule, Hess contributed to key releases such as the studio effort Déjà Voodoo (2004)—his first full recording with the band—and Mighty High (2007), emphasizing a fingerstyle approach that prioritized groove and rhythmic interplay while adapting to the band's improvisational style and keyboard integrations.^[3][5] He departed the group in 2008 to pursue broader opportunities, later reflecting on the challenge of succeeding Woody but crediting the band's supportive evolution.^[5] Beyond these ensembles, Hess has maintained an active freelance career, collaborating with luminaries including jazz guitarist John Scofield on multiple projects, Steve Kimock, Rosanne Cash (as a frequent fill-in bassist), Joan Osborne, Robben Ford, Michael Landau, and keyboardist Bernie Worrell of Parliament-Funkadelic.^[3][2] His influences span rock icons like Jimi Hendrix, Cream, and AC/DC; punk and new wave acts such as The Clash and The Police; jazz figures including Miles Davis and John Coltrane; and bassists from Willie Weeks to Jack Bruce.^[2] In recent years, Hess has resided in Brooklyn, New York, continuing studio and live work while exploring side projects like the 2018 touring project As the Crow Flies, led by Chris Robinson and featuring Hess on bass with Audley Freed, Marcus King, Adam MacDougall, and Tony Leone, performing songs from the Black Crowes catalog, which began touring that year in Port Chester, New York. In 2024, Hess contributed bass to several tracks on Warren Haynes' solo album Million Voices Whisper.^[4][3][6] He also pursues photography of musicians, sharing it on platforms like Flickr, and remains in demand for his adaptable style across genres.^[4]

Early life

Birth and family background

Andy Hess was born on December 4, 1966, in Washington, D.C., USA.^[1] He is of German origin through his family heritage, which connected him to European cultural roots from an early age.^[1] Hess's family relocated to Germany sometime after his birth, where he spent much of his childhood during the late 1960s and 1970s.^[2] This transatlantic upbringing blended his American birthplace with a European environment that influenced his early development. His stepfather played a significant role in exposing him to diverse music through an extensive record collection.

Musical influences and beginnings

Andy Hess's early musical interests were shaped by a diverse array of artists and genres, reflecting a blend of rock, jazz, R&B, blues, soul, and punk. Growing up, he was particularly influenced by Jimi Hendrix, Cream, AC/DC, Miles Davis, John Coltrane, Johnny Guitar Watson, Rufus featuring Chaka Khan, The Clash, and The Police. These artists introduced him to the raw energy of rock and the improvisational depth of jazz, fostering a broad appreciation for music that transcended single styles.^[2] His specific inspirations on bass guitar included notable players such as Willie Weeks, John Paul Jones, Bootsy Collins, Jack Bruce, Cliff Williams, Ray Brown, and Andy Fraser, whose techniques in groove, melody, and tonal variety left a lasting impact. Hess has noted that these bassists exemplified the instrument's role in both supporting and driving the ensemble, influencing his own approach from the outset. Additionally, exposure to Stevie Wonder and James Brown highlighted the rhythmic foundations of funk and soul that informed his playing. His stepfather's record collection provided a stable environment for such musical exploration during his youth.^[2] Hess began experimenting with the bass guitar in his mid-teens, around age 14 or 15, during a period spent in Germany. The opportunity arose somewhat accidentally when he and friends formed a band and needed a bassist; as he recalled, "we were hanging out listening to music a lot and it just seemed natural 'well you gotta play the bass, we need a bass player'... I went out and got a bass and started learning stuff." Their initial repertoire drew heavily from rock staples like Hendrix, Cream, and AC/DC, marking the start of his hands-on engagement with the instrument and laying the groundwork for his versatile style.^[2]

Career

Early session work and New York arrival

In the early 1990s, Andy Hess relocated to New York City to pursue professional opportunities in music, arriving around 1990 and immersing himself in the city's vibrant scene as a freelance bassist.^[4][7] This move marked the beginning of his efforts to establish a career through session and touring work, drawing on the foundational skills he developed during his youth in Germany, where early exposure to diverse musical styles prepared him for the demands of professional gigs.^[4][2] Hess quickly built a reputation for versatility by contributing to a range of projects across jazz, pop, and rock genres. In 1999, he played bass on Freedy Johnston's album Blue Days Black Nights, contributing to the singer-songwriter's folk-rock sound.^[1][8] The following year, he toured with Joan Osborne, supporting her performances including material from her breakthrough hit "One of Us," which helped showcase his ability to support soulful, introspective pop arrangements.^[2] His work extended to experimental pop with David Byrne, appearing on the 1997 album Feelings and the 1996 compilation Red Hot + Rio.^[9][1] Further diversifying his resume, Hess recorded on Tina Turner's 1996 album Wildest Dreams, delivering rhythmic support to the icon's rock-infused pop tracks, and collaborated live with funk legend Leo Nocentelli of The Meters in performances during the early 2000s, blending jazz and R&B elements.^{[9][1][10][11]} These early contributions in the 1990s highlighted Hess's adaptability, allowing him to navigate varied musical landscapes while establishing key industry connections in New York.^[4]

Time with The Black Crowes

Andy Hess joined The Black Crowes as bassist in early 2001, following a direct call from frontman Chris Robinson, who invited him to audition after Hess had established himself through session work, including tours with Joan Osborne.^[3] This move came amid lineup instability, as Hess replaced Sven Pipien, who had been dismissed after serving as bassist since 1998.^[12] His arrival marked a transitional phase for the band, which was supporting their sixth studio album, Lions, released in May 2001, though Hess did not participate in its recording. During his approximately one-year tenure, Hess toured extensively with The Black Crowes, contributing to their high-profile live performances that showcased the band's raw energy. Key outings included the summer 2001 Tour of Brotherly Love alongside Oasis, a month-long North American trek that highlighted the group's blues-infused southern rock sound, and a subsequent European run opening for Neil Young and Crazy Horse.^[3] These shows emphasized extended jams and audience engagement, aligning with the band's reputation for dynamic, improvisational sets. Hess's performances from two October 2001 concerts at Boston's Orpheum Theatre were featured on the double live album Live, released in August 2002 by V2 Records, capturing the lineup including Hess on bass alongside guitarists Rich and Chris Robinson, Audley Freed, and keyboardist Eddie Harsch.^[8] Hess described his time with The Black Crowes as an exciting return to rock band dynamics after years of varied session gigs, adapting to the southern rock genre's demands for spontaneous interplay and high-octane delivery during rigorous touring schedules.^[3] The stint ended abruptly with the band's hiatus announcement in early 2002, following their final show in late 2001, though Hess noted forming lasting friendships, particularly with guitarist Audley Freed.^[2] This brief period solidified Hess's versatility in high-profile rock ensembles before his subsequent projects.

Tenure with Gov't Mule

Andy Hess joined Gov't Mule in September 2003 following a recommendation from guitarist Audley Freed, who had previously collaborated with band leader Warren Haynes.^[5] Initially, Hess participated in one-off gigs with the band, but by 2004, he had become a full-time member, filling the bass role left vacant after the death of founding bassist Allen Woody in 2000.^[13] His integration into the lineup coincided with the addition of keyboardist Danny Louis, expanding Gov't Mule's sound from a power trio to a more layered ensemble suited for their improvisational style.^[14] Hess's first studio album with Gov't Mule was Déjà Voodoo, released in September 2004 and produced by Michael Barbiero, marking a return to the band's studio output after a period of live-focused releases and tributes. On the album, Hess contributed to tracks like "Slackjaw Jezebel," where his groove-oriented bass lines provided a solid foundation for the band's southern rock and jam elements, blending funk-infused rhythms with Haynes's guitar work.^[5] The record showcased Hess's ability to anchor extended improvisations, drawing from his prior live experience with The Black Crowes to enhance Gov't Mule's dynamic performances.^[15] In 2006, Hess appeared on High & Mighty, produced by Haynes and Gordie Johnson, which further evolved the band's sound through Johnson's reggae influences and Louis's multifaceted keyboard contributions.^[16] Hess's bass playing on songs like "Child of the Earth" emphasized rhythmic drive in the group's jam contexts, supporting seamless transitions between bluesy grooves and psychedelic explorations.^[17] Live renditions during this era, such as extended versions of "Thorazine Shuffle" included as bonuses on releases, highlighted Hess's fingerstyle technique and its role in propelling the band's high-energy tours.^[5] From 2003 to 2008, Hess toured extensively with Gov't Mule, performing hundreds of shows across North America and Europe, where his steady, groove-centric bass work became integral to the band's improvisational southern jam rock identity.^[18] He departed the group in 2008 to pursue other opportunities, with his resignation announced privately earlier that year.^[18]

Post-Gov't Mule collaborations and recent projects

Following his departure from Gov't Mule in 2008, Andy Hess embraced a freelance career that highlighted his versatility across jazz, rock, and roots music genres. His reputation as a dynamic bassist, honed during his tenure with the jam band, opened doors to diverse high-profile collaborations, allowing him to blend groove-oriented playing with improvisational flair in varied ensembles.^[3] Hess maintained a longstanding association with jazz guitarist John Scofield, having first contributed bass to the 2003 album Up All Night before rejoining for the 2013 release Überjam Deux. On the latter, he provided a muscular and solid foundation alongside drummer Adam Deitch, supporting Scofield's fusion of funk, Afrobeat, and jazz elements in tracks that emphasized rhythmic dexterity. This extended involvement underscored Hess's ability to navigate complex, horn-infused arrangements while maintaining a propulsive low end.^[19] In the country and Americana realms, Hess toured with singer-songwriter Rosanne Cash, delivering steady support during her live performances that showcased her blend of folk and roots material. His work extended to jam and improvisational circles, including ongoing tours with guitarist Steve Kimock in the Steve Kimock & Friends ensemble, where he anchored sets alongside Billy Goodman on guitar and John Kimock on drums during runs in 2022 and beyond. Earlier in the decade, Hess joined the Rhythm Devils project in 2010, backing Grateful Dead drummers Mickey Hart and Bill Kreutzmann on a summer tour with guitarist Tim Bluhm and percussionist Sikiru Adepoju, exploring percussive, flux-driven rhythms across U.S. venues.^[3][20][21] Hess also participated in rock supergroups, notably as bassist for As The Crow Flies in 2018, a short-lived outfit led by Chris Robinson that revisited The Black Crowes' catalog with guitarists Marcus King and Audley Freed, keyboardist Adam MacDougall, and drummer Tony Leone. The band debuted at The Capitol Theatre in Port Chester, New York, emphasizing Hess's prior Black Crowes experience in delivering high-energy, Southern rock-infused sets. More recently, in 2024, Hess contributed bass to sessions at Cowboy Technical Services with producer Eric Ambel and artist Jon Loomis, forming the rhythm section alongside drummer Kenny Soule for Loomis's album The King of Good Intentions and additional tracks planned for fall.^[3][22] As of 2025, Hess remains active in the New York music scene, including gigs with the roots-funk group Junco Partners—featuring guitarist Jamie McLean—at Garcia's at The Capitol Theatre on April 18, and performances with tribute ensembles like "Bill, Still," which honors the music of Bill Withers alongside vocalist Irving Louis Lattin and guitarist Al Street. These endeavors reflect Hess's enduring commitment to collaborative, genre-spanning projects that prioritize live energy and musical dialogue.^[23][24]

Musical style and equipment

Playing approach and influences

Andy Hess predominantly employs fingerstyle technique on bass, using his index and middle fingers almost exclusively, as he finds it provides greater control and feel compared to a pick, which he uses only rarely.^[25] This approach underscores his commitment to the rhythm section's groove, where he prioritizes supporting the song's structure and emotional core over extended solos, listening to the "overall picture" of the arrangement as his career has progressed.^[2] In improvisational contexts, such as with jam-oriented bands like Gov't Mule, Hess adapts by embracing risks in the moment, allowing the music to evolve organically while maintaining a solid foundation that enhances collective dynamics.^[5] His playing integrates elements from rock, jazz, R&B, and punk, drawing from influences like Willie Weeks and John Paul Jones for rock-solid lines, Bootsy Collins for funky R&B flair, Jack Bruce for dynamic expressiveness, and Cliff Williams for precise eighth-note grooves.^[2] This blend manifests in a warm, round tone that emphasizes bubbly sustain over aggressive attack, enabling seamless transitions across genres in live settings.^[25] For instance, in collaborations like John Scofield's Überjam band, Hess's jazz-inflected yet funky rhythm approach locks in with the ensemble, providing a propulsive undercurrent that supports extended improvisations without overpowering them.^[26] Hess's style has evolved from his formative exposure to diverse sounds—including jazz and soul from artists like Miles Davis and Johnny Guitar Watson, alongside rock from Jimi Hendrix and Cream, and punk from The Clash—into a professional ethos centered on collaboration.^[2] He stresses the value of initial instincts in arrangements, often building bass parts that complement drummers like Matt Abts or guitarists like Warren Haynes by focusing on how the groove "feels" within the band's texture.^[5] This maturation is evident in his tenure with Gov't Mule, where touring refined his ability to contribute to both structured songs and spontaneous jams, always prioritizing the ensemble's cohesion.^[5]

Signature gear and techniques

Andy Hess's primary instrument is a 1963 Fender Precision Bass, which he uses as his main axe for both touring and studio work, valued for its classic tone and reliability in live settings.^[27] He also employs a short-scale Gibson EB-0 to achieve warmer, more rounded tones, particularly in recordings where a softer low-end is desired.^[25] For specific tracks requiring a distinctive, Beatle-inspired sound, Hess turns to his Hofner Violin Bass, as heard on selections from Gov't Mule's High & Mighty album.^[2] Additionally, he incorporates a Fender Telecaster Bass into his arsenal for its bright, articulate response in both studio and live contexts.^[25] In live performances, Hess relies on an Ampeg SVT head paired with an 8x10 cabinet to deliver powerful, punchy bass lines that cut through the mix.^[25] For studio sessions, he prefers the Ampeg B15 for its vintage warmth, often blending it with Fender guitar amps to tailor subtle tonal variations and direct recordings enhanced by effects.^[25] This setup allows him to maintain a straightforward signal chain, emphasizing the natural character of his instruments. Hess's techniques center on mixing basses for sonic variety, such as using the long-scale Gibson EB-0L and Hofner Violin Bass on tracks from High & Mighty to create diverse textures within southern rock arrangements.^[2] He favors fingerstyle playing with two fingers to produce a warm, round, bubbly vintage tone, suitable for both southern rock grooves and jazz-inflected contexts, while occasionally employing thumb and palm muting near the bridge for dub-like effects.^[25] These choices support his groove-focused style by ensuring the bass provides a solid, engaging foundation without overpowering the ensemble.^[25]

Discography

Studio albums with major bands

Andy Hess joined Gov't Mule in 2003 as the band's bassist following the death of founding member Allen Woody, bringing a groove-oriented approach that provided a solid rhythmic foundation while allowing the ensemble to evolve with the addition of keyboardist Danny Louis. His tenure marked a new era for the group, emphasizing tight interplay over virtuosic displays, which complemented Warren Haynes' guitar work and Matt Abts' drumming.^[5] Hess's first studio album with Gov't Mule was Déjà Voodoo, released on September 14, 2004, by ATO Records, where he played bass on all tracks, contributing to the album's blend of southern rock and jam elements. Produced by Michael Barbiero at Watermill Studios, the record showcased Hess's fingerstyle technique and emphasis on pocket grooves, particularly evident in the track "Slackjaw Jezebel," where his lines drive the song's funky, mid-tempo swing.^[28][5] The band's follow-up, High & Mighty, released on August 22, 2006, by ATO Records and produced by Gordie Johnson at Sage & Sound Recording in Los Angeles, further highlighted Hess's versatility as he mixed bass styles across the sessions, primarily using his Fender Precision through an Ampeg SVT but incorporating non-Fender instruments on select songs—including a Gibson EB-0 on "Like Flies" and "Unring the Bell," and a Höfner Beatle Bass on "Endless Parade." This production shift from Barbiero's approach yielded a more dynamic and polished sound, with Hess's contributions anchoring the album's hard rock edges and exploratory jams.^[29][2] The subsequent album, Mighty High, released on October 16, 2007, by ATO Records, featured reggae and dub versions of Gov't Mule tracks with Hess providing bass throughout, maintaining the band's improvisational spirit in a new stylistic direction.^[30] Although Hess served as bassist for The Black Crowes from February 2001 to early 2002 during a transitional period leading up to the band's hiatus, he did not contribute to any studio albums with the group, focusing instead on live performances that helped stabilize their rhythm section.^[8] In addition to his major band work, Hess provided bass on studio sessions for jazz guitarist John Scofield's albums Up All Night (2003) and That's What I Say (2005).^[8]

Live recordings and session contributions

Hess provided bass throughout The Black Crowes' Live album, a double-disc release from V2 Records in 2002 that documents the band's energetic performances from their 2001 tour, including tracks like "Midnight from the Inside Out" and covers such as "Wiser Time."^[8] With Gov't Mule, Hess's live contributions began prominently with the bonus disc included in the Déjà Voodoo package (ATO Records, 2004), featuring a full live set from Deep Ellum Live in Dallas, Texas, highlighted by his rendition of "Thorazine Shuffle."^[31] He also played on the official live recording Bonnaroo Music Fest '04 (Sanctuary Records, 2005), capturing the band's set from the Tennessee festival with extended jams like "Mule" and "Slackjaw Jezebel."^[8] Fan-recorded bootlegs and tour highlights from 2003 to 2008, such as the November 2003 Ryman Auditorium show, further showcase his dynamic bass lines in the group's improvisational style.^[32] Beyond band affiliations, Hess's session work includes bass duties on John Scofield's Up All Night (Verve Records, 2003), a fusion album where his groove-oriented playing supports Scofield's guitar explorations on tracks like "Chaser."^[8] He also contributed to Scofield's Uberjam Band during a live performance at the Jazz Fest Sarajevo in 2013, delivering sets that blended jazz, funk, and electronica elements in a captured concert video.^[33] In the 2010s, Hess joined the Rhythm Devils for their reunion tours, providing bass alongside Grateful Dead drummers Mickey Hart and Bill Kreutzmann, with performances emphasizing percussive rhythms and jam-band improvisation. Representative live recordings from these gigs, including the September 2010 show at Higher Ground Ballroom in Vermont, circulate as audience bootlegs and highlight his supportive role in the ensemble's global explorations.^[34]

Selected collaborations

Andy Hess has made significant contributions to jazz through his collaboration with guitarist John Scofield on the 2013 album Überjam Deux, where he provided bass throughout the recording, supporting the ensemble's fusion of jazz, funk, and rock elements.^[35][19] His All About Jazz profile highlights additional jazz engagements, including performances with ensembles honoring figures like Larry Coryell, underscoring his versatility in improvisational settings.^[36] In rock and R&B, Hess toured extensively with singer-songwriter Rosanne Cash during the 2000s and 2010s, contributing bass to her live performances that blended country, folk, and Americana influences.^[3] He also participated in the 2018 live project As The Crow Flies, led by Chris Robinson and featuring former Black Crowes and Gov't Mule members, where Hess handled bass duties across a setlist drawing from Southern rock and jam traditions during tours and shows like the debut at The Capitol Theatre.^[3][37] Additionally, Hess has maintained an ongoing partnership with guitarist Steve Kimock into the 2020s, appearing on tours such as the 2022 Steve Kimock & Friends dates, delivering dynamic bass lines in improvisational rock and jam contexts.^[38] More recently, Hess contributed to sessions with guitarist Eric Ambel and drummer Kenny Soule in 2024, laying down rhythm tracks at Cowboy Technical Services for new material in a roots-rock vein.^[22] In 2022, he played bass on Harvey Mandel's album Who's Calling, providing a solid foundation for the guitarist's psychedelic blues explorations amid the ensemble's innovative production.^[39] Hess has also performed in Bill Withers tributes during the 2020s, including gigs under the "Bill, Still" banner, honoring the soul icon's catalog with live interpretations of classics like "Lean on Me."^[24]