Producer and arranger Bob Sadin, who is a fan of Coleman’s playing, recommended Coleman to Sting for the If on a Winter’s Night recording sessions, on which the two were collaborating. The Sting tour has been a departure from the work Coleman had done for years with jazz greats as Betty Carter, Dee Dee Bridgewater, Herbie Hancock, and classical singers Jessye Norman and Kathleen Battle. If you have them, you can groove somebody to death.” “Intonation, time, and tone,” Coleman says. Sting looks for flexibility in the musicians he hires, a team-player attitude, and rock-solid fundamentals. You have to constantly adjust your touch to make it sound even.” Being a pro, Coleman pulled it off for the show and came to up to speed on the P Bass in short order. “It was difficult, because the pickup is flat and the strings follow a curve, so they don’t all have the same dynamics. “I’d never really gigged on electric before,” Coleman says.
Sting asked Coleman to play the Fender on some tunes at the next concert. One day between shows on Sting’s “Symphonicity” tour, the megastar handed his well-worn Fender Precision Bass to Ira Coleman ’85, who mans the acoustic bass chair on the tour.
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