SACRAMENTO REGION (MPG) - Anchoring the rhythm section of bands in legendary clubs and taprooms, Rob Meyer plucks the bass strings in styles from rockabilly to jazz to Americana and torch ‘n’ twang.

He has filled in for bassists in notable bands and is a first-call player when there’s a benefit show.

But playing in five bands isn’t a full-time gig for Meyer, who by day is a mild-mannered public servant in a state economic development office.

During a recent interview, Meyer described his musical upbringing, his always-learning musical philosophy and how the excitement of the audience fuels the band. 

Meyer plays standup and electric bass in the Leaping Blennies (rockabilly), Loose Engines (Americana), Dyana and The Cherry Kings (’50s rock/rockabilly), Mike Blanchard & the Californios (Americana/classic country) and the Big Chiefs (New Orleans funk).

Meyer’s early playing was on piano at home, where he learned to read music, and then saxophone in school. After taking up guitar in high school and then bass, he discovered the thrill of public performance while at University of California at Los Angeles in a punk band called 11.

“It was a college party and we each made a couple hundred,” Meyer said.

After returning to the Sacramento area, Meyer was part of Grub Dog and the Amazing Sweethearts, “with side projects around that,” hinting at his in-demand future in the rhythm section.

As a humble professional, Meyer doesn’t drop names of famous bassists as influences. Rather, he cites several locals as mentors in his ongoing musical education: “The late Erik Klevin, who taught me how to be in a band; Gerry Pineda, who taught me about playing jazz more comfortably; and Joe Lev, who would critique my playing: good habits; how to learn quickly; what to listen for.”

Meyer doesn’t tout a rigorous practice regimen, although he does try to play a bit each morning before work. Most rehearsals are geared to preparing for gigs with the bands.

His instruments include a 1937 Kay upright named “Charlie,” along with three electric Fenders: Fretless Precision, 1974 Precision and 1991 Custom Shop Precision. 

But above the gear and the learning, it’s about the playing and the feel for it, Meyer said.

“You’ve got to have the fire in the belly; it’s got to burn for you,” he said. “And you have to live for the reaction of the audience to the players and vice versa: whether they have a drink in their hand or their arms folded, it’s a give-and-take that demands commitment from the performer to make an impact.”

“There’s an art to it. Something bigger to it,” Meyer said of that interplay.

As for potential fill-in gigs or other band affiliations, Meyer is always looking for kind and purposeful players as collaborators.

He tries to take any gig “if I have time to learn it.” Are the musicians relatively prepared themselves? Do they have a good drummer who can mesh with Meyer’s timekeeping? And is it a good gig, whether it’s a benefit or a fill-in? 

“There are so many good, interesting players in Sacramento,” Meyer said. “So many venues doing the right thing. 

“Go see live shows. If you don’t they’ll die … and pay the bass player!”