Mike began playing solo bass, as a student at the Berklee College of Music, in 1979. The arrangement was “Misty”. Mike then spent the next 10 years hidden away in a cave in Vermont (actually a rather nice house) working on the techniques and arrangements that would, became “The Chordal Approach” and lead to his recurring solo bass lesson columns in Bass Frontiers, Bassics, Bass Guitar and more. Mike was also one of the original “Ask The Pros” on Talkbass.com as well as a contributor to Bass Player Magazine, Global Bass Magazine, Bass Player Magazine as well on internet sites such as For Bass Players Only, No Treble and The International Institute of Bass.
His book, “The Art of Solo Bass” (Mel Bay) is the definitive collection on arranging for, learning and playing solo bass. Brian Ostro of London, England states, “I find your music incredibly inspiring. Your rendition of “Autumn Leaves” is an amazingly beautiful piece, which gives me many joys. Your looping work has changed the way I see the instrument! Thank you for doing what you do!”
Joe Pass inspired chord melodies seamlessly integrated with spontaneous loops create lush arrangements of everything from Jazz Standards to R&B and pop classics to Mike’s original, funky, ethereal, melodic jazz. His sense of melody and soloing has been compared to everyone from Kenny Burrell to Pat Metheny and his innovation on the bass has been mentioned in the same breath as the legends, Jaco Pastorius, Stanley Clarke and Victor Wooten. His CD “Big Droppins” fills the void left by the loss of Jaco Pastorius” says the John Lennon Songwriting Contest Grand Prize winner, Pat Humphries. David Winstead says, “Your playing continues to amaze everyone.”
“All I can say is “Thank God I found you”. I have been searching for such a long time for someone to teach me “Chord Melodies” for bass. Been searching the net and coming up short. Finally I found your book on Bassbooks.com and I am so psyched! This is what I want to dedicate myself to and become proficient in. LOVE THE BOOK. The arrangements of the jazz and blues are AWESOME. I also love “Somewhere Over the Rainbow” and have been searching for an arrangement for bass with no luck…WOW I it the jackpot with you!!” –Mike Madden
“I finally had a chance to sit down and go through “The Chordal Approach.” Great stuff! I especially like how you explain the theories of reharmonization and voice leading. It makes the bok a great educational resource for all bassists and I admire the work you’ve put in.” – Michael Manring
“The state of my desk being as it is, I just now got around to reading through your book The Chordal Approach. You’re doing bassists a pretty great service by spelling all of this out, I gotta say. For someone like me, who was never a technical genius and initially learned “some” chords by trial and error and never know exactly why or how to use them properly until years later (and still don’t in lots of jazz cases), this is a key to the kingdom. Now if only you could show us all how to do the fingerpicking-style thumb-walks/fingers-comp thing in three easy steps, you’d really be in trouble. :-)”- Bryan Beller
“Moving step by step through the theory, technique, and application of bass chords, Dimin espouses chordal study as a performance tool and as a way to improve your overall musicianship.” -Bass Player Magazine, March 2001, From The Bookshelf (p.86)
“The Chordal Approach” is an excellent study and source of information for developing chordal playing on four string bass. Michael has put together a concise guide and method that will start you on your way to exploring the useful chordal possibilities that are available on your instrument. I recommend this book to bassists who want to get a better understanding of harmony as well as developing their comping technique.” –Mark Egan