It has been said of Michael Dimin that "Above it all he is a supreme musician, with a singular, unique voice on his instrument." (Max Valentino - talkbass.com). Mike is a bassist, author and educator. He has dedicated the past twenty years to expanding the role of the bass and educating a legion of bassists to the possibilities that lie within themselves and their instrument. Through his groundbreaking book, "The Chordal Approach" and his work as a lesson columnist for both Bassics Magazine and Bass Frontiers Magazine, Mike has brought the concept of solo bass as well as arranging for solo and multiple basses to the fore. As a product specialist for MTD Basses and Euphonic Audio as well as Thomastik-Infeld strings, Mike has been given the opportunity to combine the two things he loves most, playing and teaching bass. Mike is a lesson columnist at Bassics Magazine and a "pro" at www.bassnutz.com. He recently retired as an "Ask The Pro" at www.talkbass.com and a lesson columnist and Advisory Board Member at The International Institute of Bassists. Mike was featured in a recent Bassics Magazine. The issue, #30, features a lesson, audio and a transcription of my solo arrangement of "The Shadow of Your Smile" from my CD, Big Droppins as well as a feature on me written by fellow solo bassist, Max Valentino. Mike's book, "The Chordal Approach" was featured in Bass Player Magazine (Off The Shelf, March 2001). Feature interviews of Mike can be found at bassnutz.com, www.talkbass.com, www.globalbass.com, and International Institute of Bassists.

With the critical and commercial success of "The Chordal Approach", the release of his first CD, as a leader, Big Droppins' and his most recent effort There Are No Accidents, 30 years of studying the electric bass has brought Mike to a point that he only dreamt about. It was 1976; Mike was 17 and just starting to develop as a bassist. He needed to find his own voice. It was then that Mike heard the two recordings that changed his focus and provided him with the inspiration that continues to drive his chordal style of playing: Heavy Weather by Weather Report and Jaco Pastorius' self titled debut album. These recordings made Mike realize that to be a complete player, he needed a better understanding of the unique and beautiful relationship between melody, harmony and rhythm. Yet, it was not until 1979 when, as a student at The Berklee College of Music in Boston that Mike figured in what direction he needed to go. Mike tells of a Buffalo, NY based player who was performing a solo bass arrangement of the Jazz Standard "Misty". He took the challenge to try it as well. Mike soon realized that this was the way to go in order to develop a better understanding of the relationship between harmony, melody and rhythm. He started to incorporate all of the aspects of jazz standards in a chord-melody style. Mike termed these techniques, "The Chordal Approach."

Mike had since moved to the mountains of Vermont and had little or no desire to gig. He was working out solo bass arrangements, trying to put his knowledge of music theory to test on his bass. That was until Mike's mom called, "you know that bass player you like so much ... he was killed." He just could not believe it, Mike went to the library and sitting on the dirt floor of the basement, went through the past 3 months of obituaries in the New York Times. Mike realized that not only had Jaco died, but many other wonderful artists, who had shared their gifts with the world had died too.

Mike felt a renewed energy to share his work. He started gigging again and was soon traveling with the World Music Ensemble, "Critical Theory." When that gig ended, he started to codify his arrangements of jazz standards into written form and explain the technique for the initial version of the book, entitled, Standards for Solo Bass. Although Standards for Solo Bass had some major publishing interest (Mike still has the letter that states, "we will contact you in about three weeks to finalize a deal"). Standards for Solo Bass never got picked up by a major publishing company. Mike did not have the resources to attain license for all the arrangements.

He decided to rewrite the book, taking out the works of others and marketing it himself. It was also about this time that he contacted Dale Titus, then editor of Bass Frontiers Magazine to see if he would be interested in publishing some of his techniques. Dale was very interested but ended up leaving the position shortly after. Publisher and Editor Jim Hyatt picked up the ball and ran with it. Since May of 1998 Mike has been writing a regular lesson column for Bass Frontiers Magazine. Addtionally, he has taken on the role of interviewer and Associate Editor.

Mike's first CD, as a leader, entitled "Big Droppins'" was released in January of 2002. The CD is an overview of his work for the past 20 years. The CD includes ethereal compositions, featuring the wonderful sax work of Paul McCandless, chord melody solos of Autumn Leaves and The Shadow of Your Smile, duos, trios and quartets from funk to jazz and finally "looped" bass solos.

Mike's work as an educator has given him greater rewards than he ever thought possible. To this end, Mike has joined Michael Tobias Designs, Euphonic Audio and Thomastik-Infeld as a product specialist/clinician.

As far as performances go, Mike gigs fairly regularly, in the local area, with whoever calls and try to concentrate on performing solo shows and clinics/masterclasses for those willing to take the risk. From laying down a groove to soloing, "The Chordal Approach" has given Mike the confidence, tools, and musicianship to succeed. It has led to gigs all over the world, numerous endorsements, and an extremely cool writing gig with Bassics Magazine. Mike's true hope is to share some of this vision with you.