Bergantino Artist Eugene Bisdikian

Originally from Westchester County, NY, Eugene Bisdikian started playing upright when he was nine years old. His story has an interesting beginning and he’s going places at a very quick pace.  Watch out for Eugene!  Please enjoy his story…

I had originally opted not to participate in my school’s music program, to my mom’s disapproval. She told me I had to do music or some other after school program, and having participated in Mad Science for three years, I figured upright bass would be a good choice. I was drawn to the bass because the orchestra parts looked easy and you couldn’t really hear them from the audience. Guess that backfired on me because I picked up electric bass a year later…oops! I continued to learn and grow as a bassist at Lagond Music, in Elmsford, NY. They helped me become a full-fledged performer, and set a strong foundation for my ability to perform in musically diverse styles.

I take great inspiration from both my peers and great bassists’ playing. It is always a privilege to play with some awesome musicians and those around me really allowed me to grow as a player. I’ve had the most fun getting to experiment with different embellishments and rhythm patterns, often shown to me by my friends. Two bassists that I love are  Adam “Nolly” Getgood and Paul Chambers. Despite the obvious differences between these two, they both have elements in their playing that I am completely drawn to. Nolly’s ideas of using the bass to link the drummer and support the rhythm guitar speak directly to the way I think about my playing. I look to Paul Chambers for articulation and phrasing, especially for soloing.

Tell us about the music you enjoy and your playing style.

I’m fortunate to have a wide variety of groups that I get to play with! Currently, I’m playing  in rock, jazz, pop, soul, musical theater, funk bands, and pretty much everything in between. I have training in Latin and classical music, which also helps increase my versatility. To me, making the song feel good is my priority. If I’m not locking up with the drummer, if I’m not serving the groove, then I’m not doing my job. I take pride in providing a strong foundation for the other players, and in responding musically with complimentary lines. I love when I can set up others to sound good!

I love the challenges that come with each genre of music, and finding the similarities that exist between them. For example, while funk and rock bass lines seem to differ dramatically, I find that I can approach both with a similar attitude and intensity. With jazz, I love to find ways to interweave my walking line with the melodic line on top. I usually will leave my mark through improvisation on the bass lines, and I don’t ever play a tune the same way twice.

Eugene, what are you working on these days?

I’m fortunate to have active projects in every group I’m with. My main gigs are with Melia, an alt rock singer/guitarist; Transient Mammals, an indie rock band; and Bellwether Breaks, a new soul group.  I frequently play with a couple of different wedding bands – PopStyle and The Uptown Groove – as well as Rochester jazz locals Dave Rivello and Laura Dubin. You can find the complete list of fantastic artists I play with on my website –

Coming super soon, Transient Mammals is releasing a new EP called “The Moonlit Chaparral” on April 10th, mixed by me!

Do you have any musical accomplishments or achievements you’d like to share?

I completed a Bachelor’s degree in Jazz Studies at the Eastman School of Music in 2017, and will complete a Master’s degree in Music Education this summer.  Recently, I was also endorsed by Payson Fanned Bass Strings!

What do you like to do besides playing bass?

In addition to performing, I work as a bass instructor and a recording engineer.

Last fall, I was hired as the Faculty of Jazz Bass at the Eastman Community Music School, where I teach students of all ages.  I love how the position challenges me to constantly evaluate and think about the instrument in new ways!

Since I was a kid I loved electronics and pushing buttons, and I always had a fascination for music recording. I come from a family of engineers, and did a minor in Audio & Music Engineering as part of my undergraduate degree. Similar to my playing, I record a huge diversity of genres, including classical, jazz, rock, etc.

Do you play any other instruments?

Though I don’t currently take gigs on it, I love the drums too! I started playing drums when I was 16, but haven’t really put in the time to solidify my playing.

Tell us about your “mobile studio” concept.

I’m fresh out of grad school, so the dream of having my own studio is still a little far away. Instead, I bring my equipment to whatever venue my clients want to record in, and set up there. I have a laptop running Reaper, a 6U rack with microphone preamps and an audio interface, and a selection of microphones to tackle the various recording situations.

This style of work allows my clients to select a space that fits their wants, needs, and budget. In this way, a classical soloist can perform in a church or concert hall with a beautiful natural reverb; a pianist can play on their favorite Steinway Model D; a jazz quartet can capture their live show at a local venue; local artists can have me record at their homes. This setup has proven quite advantageous for both myself and my clients. Because I am completely mobile, I have a lot of flexibility. I can afford to keep costs down because I don’t have to maintain my own studio space. Though each environment poses its own unique challenge, that’s part of the fun and magic!

Why did you choose Bergantino gear?

The B|Amp perfectly suits my needs as a multi-stylistic electric and upright bassist. The parametric EQ section allows me to have precise control over my tone, which as an audio engineer I really appreciate. Plus, the ability to save different presets for my different basses make switching on a gig a breeze. The NXT/ENXT112 cabinet reproduce the sound of the B|Amp perfectly: clean, articulate, and full. They offer immense clarity and a ton of power, and I couldn’t ask for a better pairing with the B|Amp.

For more information on Eugene:



Bergantino’s Bobby Fernandez

High-end carpenter by day and extreme energy, face-melting bassist by night, Bobby Fernandez started his bass journey 41 years ago and has been going strong ever since!  As a 14-year-old kid, like many, Bobby looked no further for inspiration than KISS.  With their larger-than-life persona, Bobby and his friends were emulating KISS and as luck would have it, they were asked to play and party and the rest is history as his bass journey had begun. When he was 14 years old, his parents rented his first bass guitar.  It was a P-bass except the pick-up was not long enough so you couldn’t hear the G string but he managed to fall in love with the instrument regardless of its shortcomings.

Bobby states, “My parents have always been very supportive of my music. When it came time to purchase a bass, we were near a city called OceanSide and they had a store called Ocean Side Music Supply. That is when I got my first professional bass, a Gibson Ripper. I was sixteen years old. I got it because I saw a picture of Gene Simmons playing it.  Also, Louis Johnson had played a Ripper and they didn’t call him the “Human Rhythm Machine” for nothing! I took three years of lessons and learned the basics. In terms of playing, I emulated the people I liked. I was also influenced by Cheap Trick, Paul McCartney, even Neil Sedaka and Elvis!”

During his high school years, Bobby played a lot of shows but gave up bass for a small time period and found himself unhappy or not fulfilled.  He started playing again, and in doing so, found happiness again. From there things started to grow.  His life changed from doing “crazy and stupid things” to getting serious about his music and career.

Bobby now anchors the low end in a San Diego-based band called “Symbolic”.  Best described as a heavy-hitting dynamic force hailing from power/prog metal midst of the San Diego, California metal music scene. Symbolic combines their melodic energy with the excitement of old school metal mixed with the power and skill of modern metal. Since the inception of the band Symbolic has built a strong fan base both locally and Internationally.

Last year they signed with EMP Label Group. Bobby says, “David Ellefson is a smart guy and fun to talk too. Being associated with the name is a very good thing for Symbolic.”

Bobby Fernandez on Bergantino gear:

“I had a chance to play a couple of Bergantino cabinets.  I tried them out at Bass San Diego. My friend, Rob Jones and Rick Gauthier stressed that I should really give them a try. Then, I connected with the Bergantino team at NAMM 2019.  The first time I used the cabinets with my band, they said it was the clearest sounding bass tone they ever heard me play and it sounded amazing!  Being lightweight was also huge bonus! In my band context, I need to find my own frequencies between the two guitar players and the drums. It’s a huge win for me because Bergantino gear makes it so effortless.  They are pure aural perfection that touches ALL your senses!”

Also, of note, Bobby is an endorsed Dingwall artist and can be seen at the Dingwall NAMM booth every year.  Thank you, Bobby, for being an ambassador for Bergantino Audio Systems.  We look forward to many more years of your music!

Bergantino Artist Frederick Reisen


Born in New Jersey and now living in Boulder, Colorado, Fred Reisen holds down the low end for the up and coming live house/techno band, Dynohunter. Their music is a one of a kind take on the live electronic genre. They blend their live instrumentation with house and techno-studio productions creating a vibe of tribal, deep yet spontaneous dance music.

Reisen said playing the bass in Dynohunter requires a style and tone that is “driving, deep and groovy” all the while keeping the dance floor moving for the entirety of their sets.

His other musical endeavors include playing bass for The Jaden Carlson Band, backing up the 18-year-old phenom Jaden in her project, which fuses  jam, funk and jazz stylings.

For all his bass rig needs, Fred has found a home with Bergantino Audio Systems. His current set up includes the forté HP and HG412.

Fred grew up in a very musical family and took to the family tradition at a young age.

“I got my first bass when I was in sixth grade,I was either 11 or 12 years old. I’m 30 now so just under 20 years. However, I would say at around 17 is when I began to view myself as a bass player.

“My dad plays guitar, my brother plays guitar, my mom plays piano, all my cousins play a variety of instruments and my grandfather, Clarence, was a jazz piano player who regularly sat in with touring bands coming through our town.

“I guess even going as far back as my great- great uncle, Irving, he was a piano player, too. Truth be known, I got relegated to the bass. First, my older brother, Will, played the guitar, so there was that.

“The real kicker, however, was when my dad showed my best friend, Trevor, and I how to play the intro to “Stairway to Heaven” on the guitar on the same day when we were both about 8 years old. Long story short, a week later Trevor came back able to play that and the entire rest of the song and I realized I would probably be a bass player.

“We went on to play together all throughout our younger years and he was a monster of a young musician.”

Fred continues, “My dad (Henry) is an excellent acoustic guitar player and has been for about 50 years. He is a true fingerpicker in the vein of Robert Johnson or Taj Mahal. Whenever I am home, I try and get a little jam in with my dad and brother. We get to break out my dad’s vintage Martin and Gibson guitars and that is a treat.

“My mother (Jan), who is probably my biggest fan, also plays the piano but her big influence on me was that she was always listening to great music, especially for a young bass player. Music. Such as the likes of Steely Dan, Earth Wind and Fire, and Paul Simon. All in all, though my older brother, Will, is probably the most my important musical influence of the family members. He is somewhat of a music historian and has, over the years, introduced me to more great bands, songs and historical musical anecdotes than anyone ever will!”

Fred had other influences when he was a youngster, as well.

“I also want to mention my childhood babysitter, Tara Goodman, and her husband, Chris Gannon. They lived with my family while I was growing up. Tara is an amazing singer and was the frontwoman for a soul/funk/rock band that she and Chris (who played bass) started a band called The Believers. They always practiced with their bands at my house growing up and I just loved it. Some serious osmosis was going on there.

“Chris also gave me drum lessons when I was a little kid … and because he wanted someone to jam with when the band wasn’t around. It was an amazing start. They had so much fun with it! Seeing them do this was an inspiration for me.”

Some of Fred’s initial, wide-ranging influences were players like Flea, “P Nut” from 311, and Matt Freeman of Rancid. As he grew out of his punk rock roots, bass players from the jam band world, such as Mike Gordon of Phish and Otiel Burbridge of Aquarian Rescue Unit/ The Allman Brother, which gave him his first taste of the world of improvising and jamming.

Besides the obvious innovators like Jaco, James Jameson and Victor Wooten, he now he lists greats such as Anthony Jackson, Chuck Rainey, WIllie Weeks, Stuart Zender, Paul Turner, Garrett Sayers, Kelsey Gonzales, Hubert Eaves and many more as players he is currently emulates and transcribes.

Fred’s take on music

“I look at music and bass as a lifelong journey. I didn’t grow up taking lessons nor was I in a formal atmosphere. I had some great musical influencers along the way that gave me a real healthy outlook on what it means to be a musician and a bass player, and what to keep in the forefront of your mind, so you don’t get bogged down.

“I learned most of this from two amazing drummer friends, Jeff Korba and Justin Ehmer. They have since passed on but I will never forget invaluable lessons. Their encouragement and influence make me feel like I have a purpose in music to carry out their ethos and spirit.

“On a lighter note, I did take a handful of lessons with crazy British guy named Steve Karmen. He did a bunch of touring in the 1970s and was a total wild man! I learned more about the rock star attitude of music than how to play my instrument from him. He looked like he was straight out of “Spinal Tap” with that pseudo-mullet and everything.

“At my first lesson I showed up with this old knock-off Rickenbacker and he would not let me come into the lesson studio with it, it weighed half as much as I did! He convinced my dad to get me my first piece of nice equipment that changed everything. It was a fender jazz bass for basically half-price at this music store because someone had paid for part of it and never came back for it. The few lessons I took from him ended when my dad came in and found Steve handing me a beer at the young age of 14!”

Shortly after graduating from Colorado University, Fred joined his primary project, Dynohunter.  Fred reminisces about his first connections with the band:

“Clark, the saxophone player, started Dynohunter by producing music in his dorm room and he is still the engine that makes it go. At this point, seven years in, we have all have had to sacrifice and we have taken this group very seriously to grow beyond just being a local band. We have continually pushed ourselves to make this band as unique and impactful as we possibly can.

“We are making dance music, but want our music to have a deep resonance with the people. That connection and impact is what we strive for as we carve out our own niche in the world of house and techno.

“When we write, we always have the live show in mind. We often envision how each song will fit into a set and setting  … and which of emotions it will we bring out. Although Clark has written a lot of the music over the years, we all try and collaborate on a lot of the songs as well and I truly think our best music is yet to come”

In the live realm, the music of Dynohunter makes people move and feel something.

“When we hear stuff like, ‘You guys took us on a journey,’ or “I feel like I just experienced sound bath therapy.’ ” that’s when I know Nic, Clark and I are doing it right up there.

“We always perform the best we can and give one hundred percent on stage all the time. When opportunity calls, we seize them and always do our best. Our philosophy is that we can’t afford to have an ‘off’ show and that you must have your best foot forward all the time!”

Fred Reisen, on why he chose Bergantino gear

“I have had the pleasure of playing out of some great, world class sounding gear but for me it was never perfect. In my most recent rig, the cabs were heavy (over 150 lbs. combined), and the head was either too big and fragile or not quite highly powered enough.

“One night I bumped into a buddy of mine, Bergantino Artist Dan Africano, and we were discussing how his low end needs while playing bass for reggae giants John Brown’s Body, and mine, were very similar.

“We both needed something with super clean and deep lows while retaining great punch and clarity. As most bass players know that is not always an easy task.

“Dan shared his experiences with me about his Bergantino Audio Systems gear. I went to his house and had the chance to play through some of his gear. As soon as I started to play through the Bergantino gear, I realized how much thought had gone into making the gear. It was what I considered the best gear I have ever played out of and by a long shot.

“What Jim has engineered and built into his gear is exactly what a real gigging bass player is looking for. My Bergantino set up (forté HP and HG412) is simultaneously a plug and play beauty and a tone-tinkerer’s dream. You can either set it and forget it or tweak knobs until you find heaven in a bass tone.

The forté HP and its 1200 watts provide a dreamy amount of head room and the HG412 has handled everything I have thrown at it, and it sounds great on large and small stages alike.

Ultimately, Bergantino Audio Systems achieves what I thought was impossible: extremely high-quality bass tones in a lightweight, compact and durable package with the versatility to match any style while being both easy to use and intuitive yet highly customizable and able to dial in your perfect tone.”

Fred, we are happy to have you on board and look forward to many more years of listening to your creativity through music.  We’re honored you chose us to help you along your journey.


More about Dynohunter:






Bergantino Artist Rob Norton shares his story with Lee Presgrave

With quick wit, high energy and a ‘Nawlins’ drawl, Rob Norton can normally be found commanding the low end in his band, SpaceMetal. We sat down with Rob recently to get some of his thoughts on tone, personal bass heroes and gear, among other things.

LP: When did you start playing bass?

RN: I started on guitar and wasn’t that great (laughs). Then, when I was 18 and a senior in high school, I got a call from a guitar player friend who was way, way, way better than me. He said he was forming another band, and would I like to play bass? I didn’t have a bass, but he did, so he showed me all the songs. I thought he just meant for me to play bass for a rehearsal, but he said, “No, I want you to play bass for good,” so that’s how it all started. From that point on, I never went back. I sold all my guitars and that was that.

LP: What drew you to bass? Did anything in your past make you bond with the instrument?

RN: When I was a teenager, my favorite band was Rush. Another favorite of mine was Iron Maiden. They were probably two of the most up-front bass bands of the time, so I think, kind of subliminally, I was drawn to the bass because I loved those two bands so much, but I hadn’t really thought about playing because I bought a guitar first, like so many other people. With the opportunity to be in a band, I was like, “Well, yeah, I’ll play bass.” I was just happy to be in the band and to be playing with musicians of a higher level.

LP: Who is on your Mount Rushmore of bass players?

RN: OK, so this is my personal Mount Rushmore and not who I think is the best?

LP: That’s correct, your personal, most influential bass players.

RN: I’m going to go with the four that had the biggest impact on the way I play. First off, Bob Daisley. Then I’m going to say Eddie Jackson followed by Eric Avery and Doug Pinnick.

I remember the first time I heard Janes Addiction, and I was like, “Oh, I don’t even think I understand this but it’s amazing!”

Eddie Jackson of Queensryche had more impact on my tone than any bassist. I already really liked the band early on, but Operation Mindcrime was a tonal revelation to me with that classic Spector sound and growl with some dirt added to the tone. Up to that point, I always wanted the cleanest bass sound possible. I’m still not sure I’ve heard recorded bass tone I liked better than Queensryche’s “Mindcrime” and “Empire.” Plus, he was such a tasteful player who stood out in that 80s era tonally and with a slightly more up front or equal role to the guitars in many ways. Take one listen to a track like “I Don’t Believe in Love.” My current tone with SpaceMetal is so similar, even though the music is very different.

LP: Do you write any music on bass?

RN: I have. In the past, I’ve come into rehearsal with a riff or a cool line that evolved into a melody. In SpaceMetal, I haven’t written as much. We have a main songwriter in the band and the other guitar player comes in with riffs so, if anything, it’s been less writing for me and more arrangement. Our main songwriter is not blocking anyone out. He’s all for ideas, but my main strength lies in how I put things together in a collaborative environment.

LP: How would you describe your tone?

RN: Well, you know it goes back to the challenges of lower tuning. We tune to C standard. The minute we decided to tune to that, it changed every single piece of gear I had because it wasn’t up to the task. I hadn’t really used much distortion until then, and one of the key things besides going to basses with a longer scale like the Spector’s or Dingwall’s, I started using overdrive and distortion. This REALLY helped because it helped make a difference on where I could cut through and find my sonic place with two guitars tuned to C. Also, I’m a low-mid guy over a high-mid guy. I want the thunderous push without that sub-octave, lower muddiness. It’s a balance between the bass, technique, your strings, the amp and finding that balance. I feel like now, I’ve finally figured it out.

LP: Why did you choose Bergantino gear?

RN: A long time ago, I played through an HT322 and was floored…it was the most amazing thing I’d ever heard! After that, I knew it was a brand I had to check out. During that time, I was going through other gear left and right…all the new Neo cabinets, heads, and tons of distortion pedals. I must’ve easily tried 35-40 different types of distortion pedals before finally settling with one. At first, I bought the HDN212 and HDN112 and loved the fact that I could stack them with such a small stage footprint. Also, that cabinet setup allowed me to easily compete with two metal guitarists playing half stacks! The B|Amp has always intrigued me because of its power and functionality. I loved the fact that I could save each of my sounds to memory presets. The B|Amp is like the perfect hybrid amp between all the modelers out there and a down and dirty bass amp. I can leave all my pedals at home now for the gig—everything I need is inside that little box! I love the fact that Jim is always working on the next great design, so I’m excited for the future and proud to represent Bergantino wherever I go.

We are so pleased to have Rob on board with Bergantino and look forward to hearing many more tracks from his band. He and SpaceMetal can be found here:






Bergantino Artist Eric Wilson

Location: Long Beach, CA
Bergantino equipment used: B|Amp, NV610
Associated Band: Sublime with Rome
Band Website: Sublime with Rome

Bergantino’s Sam Persons shares his story!

Many may know bass player and Bergantino Artist, Sam Persons. Sam has been on tour with The Rolling Stone Rock Room as the bass player and band leader. During this time, he’s been sharing his amazing pictures on social media chronicling his travels from Amsterdam to Rome.

But his original musical journey begins stateside in Redondo Beach in Los Angeles.

How did your passion for the bass start?

I started playing bass when I was 16 years old. I had a good friend in high school who saw Eddie Van Halen and that was it – he was going to be a guitar player.

He told me, ‘I am going to be a rock star and you better get it together and join me!’

So, we went to a Kiss concert and saw Gene Simmons play. When I observed the reaction he received, I knew I was going to get a bass guitar and be a bass player … and I put a down payment on a bass the very next day.

“I’m a left-handed player … and finding a left-handed bass was not easy!  And it took me a year to actually buy the bass! It was $179.00 and I withheld a lot of school lunches for this bass … and that’s how it started.

“My friend worked at a music store and some of the band would come in and rehearse there. We eventually became roadies for some of the bands such as Great White and Wrath. In fact, one time we came in when the bands were not there and used their gear and got caught by the manager. He told us we sounded great but to never do it again.

“In music, I’ve toured internationally and backed up all types of bands — from Grammy nominees to punk rock kids. I grew up playing the Sunset Strip, in which is was known as the ‘Pay to Play’ era, about the time of Great White, Guns and Roses, Poison and many more. They all cut their teeth and played in front of us.

“I knew some of those guys and used to work for them. We were the next generation of bands … and  I did a lot of ‘Pay to Play’ until the scene died.

Around that time, Stevie Ray Vaughan was killed (in a helicopter crash in 1990), and it seemed every guitar player suddenly wanted to be a blues player. I met up with a legit Chicago blues player Osee Anderson and I switched gears and went on tour for seven years or so with Osee in the U.S., Canada and ultimately back to LA.

“Then I bounced around from band to band. It seemed I was in six bands at a time, and most of it was practicing, not always playing and it became a total burn out. At this time, the price of housing in LA got expensive, so I went to Nashville. Nashville is a great community and it’s very easy to work here … be yourself and be true to who you are … genuine.”

Sam continues about his musical journey, “I recently played with Rick Monroe, who is an American country music artist based in Nashville.  He has released four albums, three EPs and several charted singles.  I played 180 shows last year with Rick.  We spent almost three years we played together. He went from doing country tours with big artists as a tour opener to putting a band together and starting from scratch. He has some great singles that even hit the top 40 last year!  Rick had been my main priority. I try and bring a “west coast edge” to the band.  I was also with a band called Social Poison the bass player, guitar player and vocalist for over nine years.”

How did you learn?

“I had friends that taught me…a friend with a cassette player that you could slow down to half speed. I also used magazines and books – that’s how you learned back then. I’m from the school of hard knocks.”

Who were your Influences?

 “I go back to the 70s and being left-handed so Paul McCartney was definitely right there, then players like Geezer Butler, Getty Lee and Chris Squire. I‘ve always been drawn to aggressive players and I emulate that in my playing.”  

What are your favorite styles of music to play?

I still love the blues, with a serious blues band that really knows what they are doing. When I moved to Nashville, I went to a blues jam where you can fill-in for someone (and if you are good enough) people will discover you. 

I ended up in a band called the Andy T. Nixon band. He was a guitar player from California and his brother Nick Nixon was a very celebrated singer. He is credited with bringing Jimmy Hendrix to Nashville. He met Jimmy and drummer Billy Cox … and the three of them started turning up all around Nashville.

“Jimmy got fired from almost every band he was in. I was very happy and fortunate to be in the band with him for a couple of years. This led me to play upright, which was a chore, and I knew I needed to do more that.”

 How did you find Bergantino?

 I had known about Bergantino for a long time. In the last few years, Bergantino has had a big blitz in awareness for your cabs and amps. I have always known your cabs are legendary, and I’ve been looking for an amp and cab company that matched. A matched system is optimal to me and Bergantino is the most transparent I have ever played through … It literally tells me exactly what my instrument sounds like. That’s why I’m with Bergantino. I use the forté and it is perfect for me. I set it flat, decide where I want the input and compressor, and I’m good to go. If I can’t take the cab at a certain place, I always bring the head with me.”

In addition to the Bergantino forté bass amp, Sam said he uses the NV412 cabinet.

Tell me about some of your basses 

“My first bass was a precision copy called a Seville, I saved my lunch money for a year to get it.

I am currently partnering with Moonshine Custom guitars on a signature instrument based on my personal favorite pickup combination: correct MM position/correct P position.

“Keep your eyes open because we’re coming up with what I think are some interesting new pickup combinations but I don’t want to give too much away.

“Right now I’m playing two matching Fender P’s with that configuration. I also have a Music Man (same configuration), a Warwick Streamer LX 5 and a Paul Beard Resonator bass, and a Shen lefty upright rounds out the present family.” 

What do you enjoy in your spare time?

“I love teaching martial arts. I have been a student for 30 years and a teacher for the last ten years. I have competed in the U.S. and overseas and have won first-place gold medals in various tournaments.

“I have the honor of teaching and learning from some of the last generation of Chinese traditional masters. I always notice how music and martial arts are related. Music takes sacrifice, commitment and you have to give up things that people don’t always understand. Martial arts is a discipline … It takes a long time to learn and master. You never stop learning. And most of the musicians I have known are into martial arts as well.

“I live 30 minutes south from downtown Nashville. It’s a growing city.

“I teach tai-chi to seniors (close-in fighting style) and kung fu. Additionally, I instruct on breathing techniques where one learns how to withstand pain. This really slows down the aging process and keeps the body healthy and strong. It’s rewarding when I have the time. At my age, you work on the insides, not punching bags or breaking bricks.

Follow Sam: