Meet

Zenzele

Mthembu-Salter

Which instrument from the collection did you choose, and why?

“At first, I was shown photos of the available double basses. I saw an instrument from 1969, which really piqued my curiosity. I tried out a few double basses, and when I got to this one, it immediately caught my attention because of its resonance. When I plucked the open A string, it sounded incredibly beautiful, and the tone really spoke to me—even when played with the bow. I tried other instruments, but this was the one that felt the most natural. The instrument suits my playing style and my posture. I don’t feel that way with all instruments. With this bass, I just didn’t want to stop playing. That’s when I decided: Yes, this is the one!

Another thing I really like about this double bass is its flat back. That’s quite unique for a double bass. I talked about it with Jaap Bolink, the builder of this instrument. Last week, I met him for the first time at his workshop in Hilversum. He told me that someone had asked him back in the 1960s to make this instrument with a flat back. It’s the only double bass he’s ever made with a back like that. It also features a beautiful design—a sort of medieval ornamentation—which makes the instrument even more unique. That’s also why the instrument caught my eye so much. It’s so well-made. Bolink is an established instrument maker.’

Do you also place the double bass with its back facing forward in your room?

“Yeah, hahaha. Because it looks nice. It’s almost a work of art.”

What was it like to meet the maker of this instrument?

“It was really nice to talk to Jaap. I was able to ask him to make some minor adjustments to the double bass. For example, he was able to fix some buzzing. It’s a very old instrument, but it’s been very well maintained. And I want to keep it in good condition, too. I’m looking forward to performing with it in the coming years.”

Why did you decide to study in Amsterdam?

“Partly because, from a young age, I was taught by a wonderful Dutch double bassist who moved to South Africa, Hein van de Geyn. He’s a fantastic double bassist who performed extensively in the 1980s with artists such as Chet Baker, John Abercrombie, and Toots Thielemans. A true legend in the jazz world. When he retired, he moved to South Africa and opened a bakery there—coincidentally, in the neighborhood where I grew up. When I was a teenager, I was looking for music lessons, and Hein became my musical mentor. He really shaped me as a bassist. He encouraged me to perform with him and advised me to attend the conservatory in Amsterdam, where he knew many musicians. Besides, I wanted to broaden my horizons and challenge myself to meet new people. The Netherlands has been good to me. It’s been really great so far.”

What made you start playing the double bass when you were young?

“I didn’t start out on the double bass; I started with the acoustic guitar. All my brothers played guitar too, but I wanted to do something they didn’t, so I switched to the electric bass guitar. It was through Hein that I got into jazz. He introduced me to a lot of jazz musicians, like Miles Davis. Hein taught me double bass technique on an electric bass. That ultimately made it easier to make the switch. “‘When you’re big enough, you have to start playing the double bass,’ Hein said. I think I was nineteen when I started.”