Music Elton John’s “Take Me to the Pilot”

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b a s s p l ay e r. c o m

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JANUARY 2016
A N E W BAY M E D I A P U B L I CAT I O N

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 C ontents
LEARN
PLAY

January 2016 | Volume 27, Number 1 | B a s s p l ay e r . c o m D B S T W

TECH

12 COMMUNITY
Lowdown, the Real World,

D E PA RT M E N T s
Dig My Rig, Court of
FACE

Opinion
24 NEW GEAR
Kiesel, Genzler, Bergantino
& more
LINK

66 BOBBY'S BASSMENT
A (serious) oldie from
Ampeg
TABLE OF CONTENTS

14 NIKKI Monninger
Life/work balance with

B a s s N o te s
Silversun Pickups
16 Kenny Aaronson
Dream come true with
the Yardbirds
19 George Gekas
Leading from behind with
the Revivalists
20 BP Recommends

38 Elrick Expat e-volution

S o u ndr o o m 4- and 5-string

26 Jaco: The Film

After years of delays, the definitive documentary biography of Jaco Pastorius is
here. The epic collaboration among family, friends, and artists tells the life story of
the troubled genius, warts and all. By E.E. Bradman

32 Michael Thurber
He has one foot in TV on The Late Show With Stephen Colbert, and the other 40 Barefaced Big Baby II &
online with the innovative project Collective Cadenza. By Rick Suchow Big Twin II cabinets
46 TWA Little Dipper 2.0

Elton John’s
54
filtering pedal

“Take Me to the Pilot” 48 Jazz Concepts

The masterful Dee Murray draws from R&B and jazz roots to bring motion and
W o o d s h ed
PHOTO COURTESY BOB BOBBING

melody to the 1970 live recording. Ray Brown at his best

50 New! R&B GOLD
Blues, meet rhythm
Bass Player (ISSN 1050-785X) is published 13 times a year, monthly plus a Holiday issue to follow the December issue, by
NewBay Media LLC, 1111 Bayhill Drive, Suite 440, San Bruno, CA 94066. Periodicals Postage Paid at San Bruno, CA and at
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8 bassplayer.com / j a n u a r y 2 0 1 6

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WW_LWA500_9x10,875_USA.indd
bas464861_0116.indd 1 1 04.11.153:13
11/10/15 18:21
PM
 www.bassplayer.com
Vol. 27, No. 1, January 2016

Editorial Director Michael Molenda, mmolenda@nbmedia.com

Editor Chris Jisi, bpeditor@nbmedia.com
Consulting Editor Karl Coryat
Senior Contributing Editors E. E. Bradman, Jonathan Herrera
Contributing Editors Ed Friedland, John Goldsby
Web and Contributing Editor Jon D'Auria
Staff Writer Jimmy Leslie

Art Director Paul Haggard

Assistant Art Director Laura Nardozza
Production Manager Amy Santana

Advertising Director, Eastern Region, Midwest & Europe

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Will Lee, Michael Manring, Christian McBride, Marcus Miller, Pino Palladino, John Patitucci,
Josh Paul, Dave Pomeroy, Chuck Rainey, Rufus Reid, Steve Rodby, Billy Sheehan, Lee Sklar,
Steve Swallow, Gerald Veasley, Rob Wasserman, Verdine White, Gary Willis, Doug Wimbish,
Victor Wooten

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published in Bass Player is copyrighted © 2016 by NewBay Media LLC.
All rights reserved. Reproduction of material appearing in Bass Player
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sibility for return of unsolicited manuscripts, photos, or artwork. All
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10 bassplayer.com / j a n u a r y 2 0 1 6

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 FLAT FEEL, ROUND SOUND ORIGINAL CLASSIC TONE HIGH OUTPUT AND CLARITY

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 C ommunity
LEARN
PLAY
TECH

LOWDOWN

Four On The Floor

FACE

As we launch into 2016, here’s a quartet of thoughts I’d like to share. First
off, thanks to all of you who made Bass Player LIVE! 2015 a rousing success. For those unable to attend, we have
LINK

plenty of photo and video coverage online at bassplayer.com/live. For me, the high points are always the unex-
pected moments, such as a beautiful, calming, hand-clasping group prayer led by Abraham Laboriel that I suddenly
found myself in with Alex Al’s band, right before they went onstage to start the BPL concert. More highlights in
COMMUNITY

our wrap-up next issue. A word also about our good friend Victor Bailey, who is dealing with health issues head on,
summoning the same bravura he has as a bassist. We will visit with Victor in an upcoming issue; in the meantime,
you can help him via this link: youcaring.com/victor-bailey-462309.
Now to this issue. I’m happy to introduce Ed Friedland’s new column, R&B Gold (page 50). Ed recently accepted
an invitation to join the Mavericks (I was fortunate to hear his big-toned upright firmly lock down a Long Island
show by the Tex-Mex stalwarts). This led Ed to take some time off from his gear reviews and blues column, but we’re
excited to have him back. Last, a nod to the long-awaited Jaco documentary, and E.E. Bradman’s behind-the-screen
chris jisi
cover story. The vision of producer Robert Trujillo and director Paul Marchand is the key to this powerful and emo-
tional film that moved me to tears twice, with countless smiles in-between. I encourage you to seek a viewing or buy
the DVD. Have thoughts on any of these topics? Let me know at bpeditor@nbmedia.com.

DIG MY RIG!

I have a simple, budget-friendly rig that I have

pieced together over the years. I’ve played guitar since I was 13, but
I didn’t get my first bass until I was 30. I started off with rock and
metal, but have grown to appreciate funk, jazz, and blues. I currently
jam with a local ’80s/’90s hard rock cover band.
Left to right: ’98 Fender MIM Jazz Bass (bought new, my first
one!), ’04 Warwick Rockbass Corvette 5 (insane used deal), mid/late-
’80s Peavey Dyna-Bass Unity (pawnshop prize), and a 2012 Squier
VM Jazz 5 (strung with flats, bought used). For gigs, I use a Gallien-
Krueger 400RB 2x10 combo with a 210BLX 2x10 cab for extra volume.
For practice, I have a Fender Rumble 150 1x15. If I go amp-less, I have
a Hartke Bass Attack (which is super handy), and for recording I usu-
ally just use the Trace Elliot model on my old Johnson J Station. My
pedals are a TC Electronic PolyTune, Boss Bass Limiter/Enhancer,
DigiTech Synth Wah, EHX Octave Multiplexer, and Boss Bass Chorus.
I’m a hobbyist musician with a family, so my gear desires have
taken lesser priority over the years. I might appreciate boutique gear,
but I find that if you’re handy with setups and a soldering iron and
you use your ears, you can create great sounds on a budget. Keep the
low end alive! — R obert B anyaga

Got a rig you think we’d dig? Send a photo and description to digmyrig@
gmail.com.

12 bassplayer.com / j a n u a r y 2 0 1 6

bas0116_community_kc3.indd 12 11/23/15 10:39 AM

 The Real World

How did you come to play bass?

Michael Amico I listened to my sisters play clarinet

Home base Orlando, Florida during high school. I heard Billy Sheehan
Occupation General manager, Bass on the second Talas record, and the
Central
sound of his bass resonated with me.
Gigs Pat Travers (1993–1996), Hard Drive, When neighborhood friends started a
Bass Experimental
band, they needed a bass player.
Basses D Lakin Bob Glaub signature
model (with mods)
Rig Suncoast bass preamps, Ampeg SVT- What’s a lesson you’ve learned along the way?
4PRO head and 1x15, 1x18, and 8x10
Play what is needed, but more
cabs
important, play what you feel.
Effects Eventide Factor pedals, Eventide
DSP 4000, Two Notes Engineering
Torpedo loadbox What are your musical goals?
Strings Dunlop Super Brights (.045–.105)
Heroes & inspiration Billy Sheehan, To continue pursuing the concepts of
John Entwistle, Jack Bruce, Chris music. Music is a language, for sure, and
Squire, Beaver Felton it’s loaded with hidden meanings and
Contact Michael.amico44@yahoo.com, inflections waiting to be discovered.
michaelamico.com

Introducing Players’ Circle - Buy Strings, Get Points,

Claim Rewards
Enter to win 2,500 Players Points by visiting
bassplayer.com/realworld
And go to Playerscircle.daddario.com to join today!

Court Of Opinion

How often do you change your strings?

I have played for 38 years now! I can hear when I need new strings. With the new Elixir NanoWebs, six months to a year depending on
Listen for a loss of sharpness and sustain—that is when you change. how much I’m playing a particular bass. I have two basses with
There is no set time. Let your bass tell you when you need to change tapewound strings, a Jazz and a P-Bass. The strings on these are
your strings. You older players know what I’m talking about. —Billy Wayne Crum about 15 years old. —Ralph Benitez

I thought you guys just bought another bass. I change or boil strings before I do studio recording. Other than
—Terry Newton that, I never change strings unless I break one on a gig.
—Grëg Göss

Bass strings are like power lines—I play them until they get I have not changed my roundwounds since 2000. The flatwounds
knocked out! on my fretless were purchased in 1994. The grimier, the thumpier it
—Leslie Anne Pinilla is—you know what I mean, do ya? —Bernard D. Villanueva

I rarely change my flatwounds. The deader the strings, the better For my basses with roundwounds, every six months or when I can’t
the bass sounds. stand them anymore—whichever comes first. For my bass with
—Todd Ash flats, never! —Jay Cadmus

When they make my bass feel tired. I have so many basses in my collection that I don’t change strings,
—Elliot McCann I just change basses.
—Blair Barbero

Every other gig. I love that “piano” sound. On my upright, I change them about every 18 months. On my
—Chris Hornick electric, which is my secondary instrument, I let them go until they
unravel. —Bailey Nandory

bassplayer.com / j a n u a r y 2 0 1 6 13

bas0116_community_kc3.indd 13 11/23/15 10:39 AM

 B
LEARN

Silversun Pickups
PLAY

BASSNOTES
TECH
FACE
LINK
BASS NOTES

Nikki Monninger Nature & Nurture

By Jon D’Auria |

For the past several years, the reoccur-
ring theme in Nikki Monninger’s life has been stepping out of her
comfort zone. It all began when she took a nine-month maternity
leave from Silversun Pickups’ 2012 Neck of the Woods tour to take
care of her twin daughters. Although she was elated to bring her
babies home while Sarah Negahdari filled in for her on bass, Mon-
ninger found it difficult to step away from the band she co-founded.
Luckily, she was able to jump back in on the last several dates of the
tour, but that, too, proved challenging after almost a year of being
a stay-at-home mother.
Fast-forward to 2014, when Monninger and Silversun Pick-
ups entered the studio with ace producer Jacknife Lee (U2, R.E.M.,
Weezer) to record their fourth album, Better Nature. Not only did
Lee insist that she play instruments she had never played before,
but he also had her use basses other than her trusty Gibson Thun-
derbird. By all accounts, the results were a triumphant success: Mon-
ninger’s gritty, rhythmic playing serves as the heart of Better Nature,
especially on “Cradle,” “Nightlight,” and “Tapedeck.” And now that
she’s waking up at 5 am every day to practice bass before being a
mom, Monninger has finally found her happy zone.

14 bassplayer.com / j a n u a r y 2 0 1 6

bas0116_bassnotes_as1.indd 14 12/28/15 12:07 PM

 i INFO

LISTEN
Silversun Pickups,
David Patrick Valera

Better Nature [2015,

New Machine]

Bass Gibson Thunder-

bird, Epiphone El Capi-
tan IV acoustic bass
How was it working with Jacknife Lee? The artist Paul Klee once said, “Drawing is taking a Rig Ampeg SVT-CL
Jacknife likes us to play what we’re feeling in the line for a walk.” I’ve always felt like a song is like taking head, Ampeg SVT 8x10
moment instead of what we prepared, which was hard a bass line for a walk, and I try to adhere to that men- Pedals Malekko
for me because I’m always immaculately prepared. We tality. I like a lot of movement within my playing, like B:Assmaster, Zvex
work differently, but I like the fact that he pushed me on “Growing Old Is Getting Old” [from Swoon, 2009], Woolly Mammoth Bass
to do things outside of my comfort zone. Ultimately, it but with enough foundation to support everything else. Fuzz, Boss ODB-3
EQUIP

made things better. How has your playing evolved over the course Overdrive, Electro-
What new things did you try in the studio? of four albums? Harmonix Bass Micro
I used my acoustic bass for the song “Tapedeck,” which When we first started the band, I had only played Synth, Fulltone Bass-
was exciting because I hadn’t recorded with an acoustic bass for around six months. Since then, I’ve evolved as Drive Mosfet, EBS
before. I also played vibraphone on that song, which is a musician, and we’ve all gotten better as a band. I feel Octabass, Aguilar TLC
something completely new to me. I play keys on several like my bass lines are getting more complicated, but now Compressor
parts of the album, and on “Nightlight,” I played higher they really hold the songs together. I’ve found ways to Strings Ernie Ball
on the neck than I usually do. strengthen the song’s structure while making things Roundwound (.045–
How do you approach writing your lines? interesting. BP .105)

bassplayer.com / j a n u a r y 2 0 1 6 15

bas0116_bassnotes_as1.indd 15 12/28/15 12:07 PM

 B
LEARN
PLAY

The Yardbirds
TECH

Kenny Aaronson
FACE

Shapes Of Things
By freddy villano | Photo By J ohn P osada
LINK

Considering the career he’s already

had, you wouldn’t think Kenny Aaronson would get all giddy
BASS NOTES

about a gig these days. After all, his resumé boasts Bob Dylan,
Rick Derringer, Joan Jett, Billy Squier, Billy Idol, Hall & Oats,
Foghat, Brian Setzer, and the New York Dolls. But the 63-year-
old’s enthusiasm over his current gig with the latest incar-
nation of the Yardbirds is endearingly palpable. “I’m a huge
Yardbirds fan,” he admits. “Arguably, they are the reason I play
i INFO
bass. I had all the original records in mono, and I wore them
out. This is a 50-year dream come true. I love the Yardbirds.” Bass G&L JB-2
It should have been evident from one of Aaronson’s ear- 4-string
liest bands that he would go on to become a go-to bassist Rig Amps vary, as they
for rock royalty. As a member of Dust, he demonstrated an are being supplied by
uncanny ability to channel the essence of his childhood influ- venues for the Yard-
ences through the lens of his own spirited style. His playing birds tour
on early Dust records sounds like it evolved alongside Jack Strings La Bella 760N
Bruce, John Entwistle, James Jamerson, and Paul Samwell- of that era to go into improvisational territory. What Jimmy Black Nylon Tape

EQUIP
Smith, rather than a generation later. Aaronson’s talent was Page did with Zeppelin came out of the Yardbirds. Wound (.060 .070
so evident that he earned a Bassist of the Year award from So, how will you tackle “For Your Love” live? .094 .115)
Rolling Stone (1988) and was a featured contributor to the I’ve been watching YouTube videos on different variations Picks In Tune GrippX
Dr. Licks bass bible Standing in the Shadows of Motown: The of the band. They don’t worry about what the past was— (.73mm)
Life and Music of Legendary Bassist James Jamerson [1989, they play it with the instrumentation as it is now. I’m going Effects Ibanez TS9B
Hal Leonard]. to go in and do what I think I need to do with it until some- Bass Tube Screamer
“The Yardbirds are a real legacy,” says Aaronson about the one tells me to do something else. Overdrive
British Invasion band that became famous for tunes like “For Is that going to be your general approach to Accessories Hipshot
Your Love,” “Shapes of Things,” “The Train Kept a-Rollin’,” and these tunes? Bass Xtenders
“Heart Full of Soul,” as well as launching the careers of Eric Certain things should be played note-for-note. There’s
Clapton, Jeff Beck, and Jimmy Page. “Rock music as we now no other way to play the opening lick to “Over Under Side- Check out Kenny’s
know it simply wouldn’t be the same without them. It’s like ways Down”; that’s the tune, man. It just happens to be the website.
watching It’s a Wonderful Life—look what the world would bass doing it. But if I want to be purist, it should be played Find out if the
have been like if George Bailey hadn’t been born.” with a pick. And if I want to be even more purist, it should Yardbirds are playing
be played on an Epiphone Rivoli. But to be a realist about it, I near you.
What was it about the Yardbirds that drew you to have to do what works for me in terms of what gear I’m used bassplayer.com/
CONNECT

the bass? to using and how I’m used to playing. january2016

I love the rollicking bass on their tunes. But it isn’t all Paul
Samwell-Smith. He also acted as the producer, so there are
times when he isn’t on certain tracks—he was behind the
board. “For Your Love” is a session player on bowed upright.
“Happening Ten Years Time Ago” is John Paul Jones. And
“Over Under Sideways Down” is Jeff Beck on bass. On their
live records, you can hear that they were one of the first bands
Do you feel you have an obligation, musically, to
the incredibly rich Yardbirds legacy?
Yes, and I am going to be true to it in all the ways it needs
to be. Then, if and when and where it takes off, I will stay true
to the spirit of it, but I’ll throw some of myself in there. I’m
totally about being cool with it. The way it should be. There’s
a lot that should be respected about it. BP

16 bassplayer.com / j a n u a r y 2 0 1 6

bas0116_bassnotes_ln4.indd 16 11/23/15 10:20 AM

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 Mini Size.
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The Revivalists
George Gekas
Steering From The Rear
By JImmy leslie | Pho to B y M arc Millma n
“Bass Player’s cover
story about how Michael League leads
Snarky Puppy on bass was awesome,
but I’d like to add that you can lead a
band dynamically, harmonically, and
rhythmically without having to be in
the forefront,” says George Gekas. He
anchors modern roots rockers the
Revivalists, which includes a pedal-
steel guitar player, horn player, and
keyboardist in addition to the core
rock-band-with-frontman format.
They cover copious stylistic ground
from soul to Americana, leaving the
listener unsure which side of the sonic
spectrum they’ll explore next. Gekas
delights in the possibilities, and feels
his way around.
How do you drive the Revival-
ists in various directions without
overtly taking the reins?
That often happens onstage at
the beginning or end of a particular
section of music. For example, when
we’ve been improvising on an open-
ended jam for a while, I often wind
up driving the band toward the next
part, but it’s not something the audi-
ence would easily notice. It happens
musically. I’ll put a particular energy
into a fill at the end of a phrase that’s
more dynamic or harmonically dif-
ferent, and that sends a sonic signal.
How about during a jam?
bas0116_bassnotes_ln3.indd 19
i INFO
LISTEN
The Revivalists, Men
Among Mountains
[2015, Wind Up]
Basses Warwick
Corvette Standard
5-String, PRS SE
Kingfisher, Fender Jazz
Bass (American-made,
passive), Fender De-
I make most of my moves in the luxe P-Bass Special
first and last bars of, say, a four-bar Rig Eden World Tour
pattern. Those are the most oppor- WT800 head, Ampeg
tune places for the bass to shine. That’s SVT-810E 8x10 cabinet,
where you add variation to your core J.H. Audio JH11 in-ear
idea, such as sliding between notes, monitors
EQUIP
or run an arpeggio based on what Rig MXR M288 Bass
you hear from another player. The Octave Deluxe, Boss
middle bars should be the most sturdy. GEB-7 Bass Equalizer,
How does that concept apply Radial Engineering
in a recording situation? Bassbone OD preamp
When the arrangement is more MF-101 Lowpass Filter
rigid, I listen carefully for creative Effects MXR M288
ways to serve the band while satisfy- Bass Octave Deluxe,
ing myself artistically. “Wish I Knew Boss GEB-7 Bass
You” is a good example: The verses Equalizer, Radial Engi-
are all feel. I’m sliding into and out of neering Bassbone OD
notes, and then leaving lots of space preamp
for what all is going on around me. Strings DR Long Necks
During the chorus, I’m playing eighth- Taper Core
notes with lots of propulsion—liter-
ally driving the point home. Watch the Revivalists
You seem to purposely eschew lay down “Wish I Knew
technical facility in the name of You” live in the studio.
the greater good. bassplayer.com/
I’m a total bass geek. I pay atten- january2016
CONNECT
tion to what’s going on in the commu-
nity. There’s a part of me that would
relish showcasing my abilities as a
player, but the bottom line is that’s
not best for the Revivalists. There is
just as much satisfaction being the
driving force as the rudder for our
seven-piece ensemble as there would
be at the helm of a trio. BP
bassplayer.com / j a n u a r y 2 0 1 6 19
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11/20/15 8:40 PM
 B
LEARN
PLAY
TECH
FACE
BP RECOMMENDS
Weather Report
LINK
The Legendary Live Tapes:
1978–1981
[Sony Legacy]
BASS NOTES
Sony’s well-timed four-disc box (given the
release of Robert Trujillo’s Jaco doc) is assem-
bled by Peter Erskine and Joe Zawinul’s son Tony, and culled largely
from the board tapes of longtime band engineer Brian Risner. The
result is a very present-in-the-mix Jaco at the peak of his powers,
with bandmates Erskine, Zawinul, Wayne Shorter, and Robert
Thomas Jr. Disc 1’s second cut, “Sightseeing,” establishes the
Pastorian pace, with Jaco walking through the track in his inim-
itable way, punctuated with peek-outs in the form of harmonics,
chordal bursts, 16th runs, fuzz licks, and spontaneous reharms,
all in the name of his supportive yet highly conversational role
with the soloists. This continues in the 3/4 realm of “Badia/Boogie
Waltz.” Other disc touchpoints include a spartan version of “Three
Views of a Secret,” with Jaco’s wordless vocals on top, and “Jaco
Solo (Osaka 1980),” which moves from his chordal cover of “Black-
bird” to “dueting” with a looped figure on his MXR Digital Delay.
Disc 2 boasts vigorous versions of “Birdland” and “A Remark
You Made,” while “Continuum/River People” transitions from those
two Pastorius pearls to a serious F7 jam, and “Gibraltar” builds
from Jaco’s subtly altered baion to a full-on boogie. On Disc 3,
Jaco returns to walking on the edge for “Fast City,” “Madagascar,”
and Ellington’s “Rockin’ in Rhythm” (dig his opening descending
chordal climb, reminiscent of his ascent on Joni Mitchell’s “Dry
Cleaner from Des Moines”). Meanwhile, his standout bass line cre-
ativity and melody interpretation on the ballad “Dream Clock” cul-
minates in a last-note E string detuned to Eb. Finally, Disc 4 mines
mostly pre-Jaco Weather Report songs, but he’s all over the bub-
bling “Black Market,” the tribal “Scarlet Woman,” and the angular
“Elegant People,” before leading an extended “Teen Town” (similar
to the 8:30 version) and unleashing a harmonics tour de force built
around “Portrait of Tracy” on “Jaco Solo (Osaka 1978).” Musically
and sonically, a worthy addition to the Jaco canon. — C h ri s J i s i
Puscifer
Money Shot
[Puscifer]
With booming walls of programmed and syn-
thesized bass lining many of the tracks, the
music of Money Shot allows Mat Mitchell
20 bassplayer.com / j a n u a r y 2 0 1 6
bas0116_bassnotes_ln4.indd 20
and Matt McJunkins to focus on copping truly gritty bass tones
that manipulate the mood of the ten-song album. Tone junkies
obsessed with gain and fuzz will marvel at the sounds that pro-
ducer Mitchell dialed in, as tracks like “Grand Canyon,” “The Arson-
ist,” and “Money Shot” burst through with beautifully grinding
low end. — J on D’Au ri a
Van Morrison
Astral Weeks
(Expanded & Remastered)
[Warner Bros.]
Sure, it’s a classic and plenty of ink has been
spilled about it, but on this deluxe reissue,
what emerges from Astral Weeks is how clearly you can hear
Richard Davis in the mix; you literally get the sensation of his
fingers moving over the strings as he coaxes a rich, earthy, and
soulful tone from his upright bass. Highlights include the long
versions of “Ballerina” and “Slim Slow Rider,” which restores the
extended bass and soprano sax solos (by John Payne) that were
faded out of the original release. — B i ll M u r ph y
Lettuce
Crush
[Lettuce]
Busting right out of the gate with monster
funk numbers in “The Force,” “Get Greasy,”
and “Chief,” Erick Croomes and his Boston
outfit make it clear that their fourth album is aptly titled. On
Crush, Croomes blends classic funk sounds with modern twists, as
he jumps from vibing on Rocco Prestia- and Verdine White-styled
lines to almost dub/hip-hop feels on “Lude (1–3)” and “Trilogy.”
But thanks to powerful horn sections and a scorching bass line,
“Pocket Change” steals the show as the funkiest cut. —Jon D’Auria
Jennylee
Right On!
[Rough Trade]
Jenny Lee Lindberg lays down the low end for
Warpaint—L.A.’s groundbreaking and relent-
lessly badass all-female psych-punk outfit—
but her solo debut heralds her as an artist in her own right. With
her trusty Rickenbacker 4001, she conjures Dave Richmond-via-
Melody Nelson (the creepy opening cut “Blind”) and vintage Mike
11/23/15 10:20 AM
 PowerTools™...
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bas488677_0116.indd 1 11/17/15 4:44 PM

 B
LEARN
PLAY

Watt (“White Devil”) while showing off a range of slap, finger- probably why it still holds up after 20 years in relative obscurity.
TECH

pluck, and picking chops that will send any self-respecting bass- Chilton and Vaughn share bass duties throughout, with
ist out to the woodshed. — B i l l Mu rp h y Vaughn pushing the hypnotically repeating line that drives
the dark highway jam “Fat City,” while Chilton lets his jazzbo
MuteMath flag fly on the hip-swiveling lounge cut “Sister.” The CD also
FACE

Vitals comes with a download card for the group’s excellent unre-
[Wojtek] leased live set in Rennes, France, with Mike Vogelmann on
After 2011’s Odd Soul, Mutemath got right to bass. — B i l l Mu rp h y
LINK

work on their fourth LP, but when they hit a

roadblock, they opted to scrap the material ALO
and start fresh. Vitals ’80s pop direction finds Roy Mitchell- Tangle of Time
BASS NOTES

Cardenas’ bass alongside heavy synth work and retro dance club
drumbeats. Like the rest of the band, Mitchell-Cardenas avoids
overplaying, finding creative and funky phrasings for his lines while
hitting the sweet spots for bass-focused moments. —Jon D’Auria
Alan Vega/Alex Chilton/
Ben Vaughn
Cubist Blues
[Light in the Attic/Munster]
Fo r w e i rd a n d u n e x p e c te d o n e - o f f s ,
Cubist Blues sets the standard, which is
[Brushfire/Universal]
ALO’s latest, full of good-feeling Saturday-
afternoon vibes, strays from the band’s usual
funk/jam style for more of a ’70s classic
rock sound. As usual, Steve Adams is deep in the pocket, and
although he plays the supportive role for most of the album, his
bass steps out on “Coast to Coast” and on “Keep On,” much closer
to his bold playing on 2012’s Sounds Like This. —J o n D ’Au r i a

RULJLQDOFKURPHVHULHV

bas0116_bassnotes_ln4.indd 22 11/23/15 10:21 AM

 SRFF806WNF (6-String)
WALNUT FLAT FINISH

TDTRLTDNE
Ibanez, the leader in modern bass design, now introduces tlieiatesnruditions to the Bass Workshop series-the new
5 and 6-string SR Basses with fanned frets. While some may be apprehensive about making the leap to fanned frets,
the response among bassists has been unanimous-making the transition is virtually effortless. Ergonomically
designed for maximum ease, comfort, and playability, the fanned fret system is designed to optimize the tension of
each string, helping to create a more "alive," open tone. Not only does the approach expand harmonic complexity,
it also improves the playability across all strings. Test drive one at your local Ibanez dealer.

Ibanez 3-band EQ with EQ bypass Mono-Rail V bridge

switch & Mid frequency switch

SRFF805WNF (5-String)
U A

bas486387_1215.indd 1 11/11/15 1:12 PM

 N
LEARN

Genzler Amplification
Bass Array12-3
PLAY

This 34-pound cab, which can handle 350 watts at

8Ω, consists of a neodymium 1x12 in a vented en-
closure and four 3" neodymium cone drivers for ex-
NEWGEAR ceptional musical focus, definition, and dispersion.
TECH

Street $880
Contact genzleramplification.com

Warwick
FACE

Rockboard RBO Power LT XL Battery

Station
Liberate your pedalboard from the wall with War-
wick’s new rechargeable power station, which uses
LINK

rechargeable lithium-ion batteries to power pedals

for up to 50 hours. The RBO, which comes with
five connection cables, a polarity-change adapter
NEW GEAR

cable, and a daisy-chain cable, rocks two 9-volt

DC outputs, a battery-charge level indicator, and a
USB charger for phones.
Street $65
Contact warwick.de

Lambdin Guitars
35"-scale BEAD 4-string
With its one-piece Honduran mahogany body,
bolt-on bocote neck with 20 stainless steel frets,
Macassar ebony fretboard, Hipshot bridge and
tuners, and Ulyate Handmade B90 pickups, this
passive 4-string, tuned BEAD, promises darkness
and power in equal spades. Ask about options
regarding pickups, control layout, electronics,
fretwire, and body wood.
Street Starting at $2,500
Contact lambdinguitars.com

Sims
Enfield Super Quad Pickups
With its multiple coils, Enfield’s Super Quad pickup
gives you more options than ever: With the flick
of a switch, you can toggle between split-coil (red
LED),  single-coil (green LED), or hum-cancelling
(blue LED) options.
Street 4-strings, $250; 5-string, $265
Contact simscustom.com

24 bassplayer.com / j a n u a r y 2 0 1 6

bas0116_newgear_ln3.indd 24 11/23/15 11:19 AM

 Hudson
Sidecar Germanium
Clipping Overdrive
Searching for a germanium clipping overdrive
inspired by the sweet sound of old Ibanez Tube
Screamers? You’re in luck. In addition to being
tuned for bigger bottom than its famous prede-
cessor, the Sidecar boasts a bass-and-treble Bax-
andall EQ section and an NOS germanium transis-
tor that’ll let your flavor shine through.
Street $270
Contact hudsonelectronicsuk.com

Bergantino
B|Amp
Modern bass-cab legends Bergantino get into the
amp game with the software-upgradable B|Amp
(pronounced “bee-amp”), which boasts a host of
hot features, including a 4-band EQ with adjust-
able frequency range, variable highpass and feed-
back filters, a programmable chromatic tuner, aux

input, headphone jack, DI, and a USB port. The

6.5-pound B|Amp puts out 700 watts at 4Ω and
800 watts at 2Ω.
Direct $1,400
Contact bergantino.com

Carvin
Kiesel Vader basses
These headless wonders from Carvin offshoot
Kiesel feature neck-through-body construction,
alder bodies, maple necks with carbon-fiber rods,
dual-action trussrods, ebony fingerboards, and the
Kiesel locking nut system; they accept standard
strings, and they’re available passive or active,
with single-coils or humbuckers, and with a whole
host of options. The VB4 4-string, VB5 5-string,
and VB6 6-string are available 34"-scale or 30" at
no extra charge. Highly customizable options.
Street $1,300 (VB4), $1,350 (VB5), $1,400 (VB6)
Contact carvinguitars.com

bassplayer.com / j a n u a r y 2 0 1 6 25

bas0116_newgear_ln3.indd 25 11/23/15 11:20 AM

 26 bassplayer.com / j a n u a r y 2 0 1 6

bas0116_jaco_ph3.indd 26 11/23/15 12:26 PM

 Jaco
Three Views Of
His Secrets
By E.E. Bradman
About half an hour into the new
documentary Jaco, there’s a scene that reflects a cru-
cial aspect of the Jaco Pastorius legend. It’s the fall
of 1975, and Blood, Sweat & Tears drummer Bobby
Colomby has flown a virtually unknown Jaco from
Ft. Lauderdale to New York to record his debut with
jazz luminaries Hubert Laws, Herbie Hancock, Don
Alias, Wayne Shorter, and Lenny White. The product
of those sessions, the soulful, eclectic stunner simply
titled Jaco Pastorius, would shake the bass world to its
foundations, of course, but the album cover—with
its bold lettering across a no-nonsense black & white
portrait by Don Hunstein—might suggest that the
unsmiling young maestro was overly serious about
making a good first impression.
That wasn’t true at all. “It was wild,” says Return
To Forever drummer Lenny White of the sessions in
October 1975. “Basically, we would play, do a take, and
go outside and play basketball.” “We could have done
it on bicycles with microphones, and he would have
played it perfectly,” remembers producer Colomby,
still impressed four decades later. Far from nervous,
in fact, 23-year-old Jaco was natural, relaxed, and in
his element. “I walked into the studio, and Jaco’s eyes
were lit up because he had found home—this was the
level he belonged on,” recalls trombonist/musical direc-
tor Peter Graves.
These quintessential Pastorius hallmarks—soul-
ful virtuosity, athletic showmanship, and superhu-
man technique, with confidence to burn—are central

bassplayer.com / j a n u a r y 2 0 1 6 27

bas0116_jaco_ph3.indd 27 11/23/15 12:26 PM

 CS JACO
Robert Trujillo themes of Jaco. The new documentary, initially directed by Stephen
plays Jaco’s Bass Kijack but helmed since 2012 by Paul Marchand, was executive-
of Doom. produced by Bob Bobbing and produced and financed by Robert
Trujillo. It uses three views—Jaco himself, those who knew him,
and a host of admirers—to reveal the secrets of his wild ride. In
two action-packed hours, it takes viewers from his South Florida
childhood in the 1960s and meteoric rise to fame in 1976 to his
’80s stint in New York and eventual murder in 1987. By skillfully
weaving together several audio and visual elements, the filmmak-
ers clear up myriad misconceptions, provide a visually stimulating
timeline of Jaco’s career, and show him as the complex and multi-
layered human that he was, which is no easy feat.
Rock Star
Although rumors of Pastorius biopics have floated through the
bass community for years, nothing ever materialized. In the late
’90s, Metallica bassist Robert Trujillo, who had grown up on Jaco’s
music, befriended eldest son Johnny Pastorius. When the family
faced bankruptcy while fighting to retrieve Jaco’s 1962 Fender Jazz
“Bass of Doom” from a collector in 2010, Trujillo bought the bass
so that it could be among the four Pastorius kids—Johnny, Mary,
28 bassplayer.com / j a n u a r y 2 0 1 6
bas0116_jaco_ph3.indd 28
JEFF YEAGER
Felix, and Julius. A couple years earlier, Bob Bobbing, whose close
friendship with Jaco dated all the way back to 1968, had released
an acclaimed two-CD audio biography of Jaco’s early years that lit
a spark. “Portrait of Jaco: The Early Years [Holiday Park] was basi-
cally a starting point for the movie,” says Johnny. “It’s like a little
movie in itself. That kind of integrity is where we wanted to go
for the next thing.”
Bobbing remembers talking to Trujillo about Jaco. “Robert told
me, ‘These jazzers think they own Jaco. Let me tell you something,
man. Heavy metal is 99 percent attitude, and Jaco is attitude. He’s
the reason I play the bass.’ I thought to myself, He’s right. Jaco
is a rock star!” A week later, Bobbing, realizing that Trujillo rep-
resented a wider audience of fans who might be ready for a Jaco
movie, invited Trujillo back to Florida to discuss the possibility
of getting involved in the film. Once Trujillo accepted Bobbing’s
invitation to be a part of the team in 2010, it became clear that
raising money, getting licensing, and getting the family’s approval
wasn’t going to be a cakewalk. “Two or three years into it, there
was an initial version of the movie, and everyone wasn’t happy,”
says Johnny. “To his credit, Robert said, ‘All right, let’s get it right.
We won’t put this thing out without you guys being happy.’” Over
11/23/15 12:26 PM
 a five-year span, Trujillo worked closely with Kijack
and then Marchand and director of photography
Roger De Giacomi to make sure the movie found
the right balance between respectful and realistic.
Packed With Goodies
Indeed, Jaco tells the story not only of Pastorius’
mythical rise to fame, but also of his well-publi-
cized descent into bipolar illness, exacerbated by
drugs, alcohol, and family woes. The film contains
footage of Jaco toward the end of his life that may
make some fans uncomfortable, but for Johnny,
it was important to show the whole story. “At the
end of the day, he was a guy who loved his family,
he loved life, and he loved music. And within that,
there was a lot of tragedy, a lot of pain, and a lot
of jokes and laughter,” says Johnny, who was just
entering his teens when Jaco was killed by a bouncer
in 1987. “You gotta show the whole thing. Other-
wise, it’s just not honest, and that’s the one thing I
couldn’t deal with.”
Fortunately, “the whole thing” also includes com-
pelling goodies. Brian Risner, best known among
Weather Report fans for his engineering and live
mix work with the band from 1972–83, brought
world-class sound design and audio sweetening to
the mix, smoothing transitions and making sure
interviews and vintage audio are crisp and clear.
Marchand’s sure-footed editing moves the story
along, deftly sequencing the archival visuals, from
home videos of little John Francis Anthony Pasto-
rius III, and actual portraits of first wife Tracy, to
footage from the infamous Havana Jam and heart-
breaking pictures from the New York years. Jerry
Jemmott shines as a narrator and bookend, as does a
dazzling lineup of bassists that includes Flea, Sting,
Geddy Lee, Darryl Jones, Jonas Hellborg, Armand
Sabal-Lecco, and Bootsy Collins. Alphonso Johnson
clears up why he left Weather Report before Jaco
joined; Wayne Shorter, the quiet mystic, stands up
for Jaco like a champ; the love Peter Erskine and
Bobby Thomas share for their fallen comrade is vis-
ceral and tangible. Herbie Hancock, Carlos Santana,
Joni Mitchell, and Jaco biographer Bill Milkowski
all add fresh angles to this many-sided portrait, and
the brief moment Jaco’s son Felix plays “Contin-
uum” stands out as a highlight. By the time you’ve
finished the second disc of extras—interviews with
Nate Watts, Mark Egan, Anthony Jackson, Victor
Bailey, Bob Moses, and 20 others—you can’t help
but have a 360-degree view of the life and times of
bassplayer.com / j a n u a r y 2 0 1 6 29
bas0116_jaco_ph3.indd 29
“the World’s Greatest Bass Player.”
Is Jaco perfect? It would have been cool to see
more of Jaco’s twin sons, Julius and Felix. Fender
fans and Bass of Doom geeks might be disappointed
that neither of Jaco’s two main basses get dedicated
screen time. But these are small complaints. Jaco
is absolutely worth celebrating—and celebrating
wildly—because it tells its complex story so fluidly
and has enough to interest both Pastorius newbies
and know-it-alls. Most important, it actually made
it to the finish line.
“We got in the trenches. Blood, guts, and pas-
sion—it’s all there,” says Trujillo, who shepherded
Jaco through the international film-festival circuit,
did a Pledge Music campaign when funds ran low,
co-produced Jaco’s Modern American Music … Period!
The Criteria Sessions during filming, and arranged
Jaco showings in several cities, including a star-
studded show at the Hollywood Bowl in Los Ange-
les last summer. “You take on the challenges, you
do the best you can, and nine times out of ten, it
becomes a reality. Jaco has been watching over us.”
What was toughest about making Jaco, Robert?
Balancing the priorities of the filmmakers and
the family. Johnny is one of the producers, and the
opinions of family members like Mary and [older
brother] Gregory were important, too. I had to make
sure Paul Marchand was creating the way he needs
to, and I also wanted to make my vision come to
life. Jaco had a very spirited, influential life, and he
was a family man, but then there was another side,
which was more tragic. Finding the balance was the
biggest challenge.
How did you first get involved with the film?
Bob Bobbing came to see Metallica, and he loved
the show and the energy. He also loved the fact that
I grew up listening to Jaco. We became friends, and
eventually, he asked me to be part of the team. That
was six years ago.
What made you decide to commit to making
this movie happen?
At a certain point, I realized that making a finan-
cial commitment was the only way that we could
make a quality film about Jaco that could compete KieselGuitars
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needed to happen, so I committed to financing it. in
America
And I don’t mean “investing.” You don’t make your
money back on a doc—that’s very rare. I took this on
because I wanted to share the story as best as I could.
11/23/15 12:31 PM
 CS JACO
Some people might wonder what the bassist for a mil-
lion-selling rock band could possibly know about Jaco.
When I wrote songs with Infectious Grooves—pretty much
everything, three albums’ worth—every note I played on those
songs was inspired by Jaco. There were other influences, like Larry
Graham, James Brown, Parliament-Funkadelic, and Anthony
Jackson, but Jaco was the main guy who motivated and inspired
me to write those songs. A lot of people don’t know that. They
i INFO
Elegant Extras
As one might expect, the Jaco DVD is
packed with classic Pastorius, right along-
side period music that moves the story
along. The film’s 16-track soundtrack disc
contains gems such as his own “Liberty
City,” Joni Mitchell’s “The Dry Cleaner
From Des Moines,” and Weather Report’s
“River People,” as well as “Longing” (with
Jaco’s daughter Mary Pastorius on vocals,
Chuck Doom on bass, and Bobby Thomas
Jr. on hand drums and drum kit). It also includes three
evocative interpretations of early Jaco classics: “Come On, Come Over,”
by Mass Mental (featuring Robert Trujillo, Armand Sabal-Lecco, and Flea),
“Continuum,” by Rodrigo y Gabriel, and “Shine,” by Tech N9ne, which uses
a sample of “Kuru.”
The second disc, “Outtakes, Anecdotes & Stories,” boasts additional
footage of interviewees from the movie, as well as unexpected insights
and nuggets from Les Claypool, Nathan Watts, Mark Egan, Meshell
Ndegeocello, Richard Bona, and Anthony Jackson. Interviews with Jaco
collaborators from every stage of his career—including Ira Sullivan, Bob
Moses, Joe Diorio, Tommy Strand, and Mike Stern—provide even deeper
perspective.
Jaco sound designer Brian Risner recorded and mixed everything Mr.
Pastorius ever did with Weather Report, and the band’s new The Legend-
ary Live Tapes: 1978-1981 [Sony Legacy], produced by Peter Erskine (and
reviewed by Chris Jisi on page 20), collects board tapes and room record-
ings Risner made during Jaco's tenure in the band. The four-disc box set,
which includes two unaccompanied Jaco solos, puts bass front and center
while showcasing some radical takes on Weather Report classics. Asked to
describe how the Tapes versions differ from 8:30 (1979) and Live and Unre-
leased (2002), Risner says, “These recordings were made for us to listen to
arrangements, for reference; [something someone played] might become
the germ for a new song. And Peter, who was new in the band, used them
to learn stuff.” Sometimes, though, Risner found gold by capturing the band
unaware. “It’s different when the artist knows the tape is running. They’d say,
‘Get that stuff outta here, we’re not recording tonight,’” Brian laughs, “and
I’d think, Yes I am, guys—I’m just not telling you.”
30 bassplayer.com / j a n u a r y 2 0 1 6
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think I’m this guy who’s headbanging and playing quarter-notes
all night long [laughs].
What music did you grow up listening to?
I had the good fortune to grow up with parents who were
young and hip enough to turn me on to a lot of different styles
of music, everything from Led Zeppelin and the Rolling Stones
to Beethoven and the Ohio Players. At a certain point, I realized
that it was the bass and drums that were moving me and driving
me, and I really enjoyed the funkier side of music. There was a lot
of James Brown in the house.
When did you get turned on to fusion?
Right when I was realizing that bass and drums were moving
me, fusion and jazz–rock came around, and that was very excit-
ing because bass became a prominent instrument. All of a sudden,
there were bass solos! I remember my uncle had Funk in a Mason
Jar, the Harvey Mason record, with a great Anthony Jackson solo
on “Phantazia.” I was at a Christmas Eve gathering, and I played
that over and over so many times that my uncle just gave me the
album. I still have it. Anthony signed it for me when we inter-
viewed him for the film.
How did you find out about Jaco?
A friend of mine turned me on to Weather Report. “Teen Town”
was the first thing I heard, and then Jaco Pastorius. Growing up a
fan of the instrument and then all of a sudden hearing about this
guy who went by one name, Jaco, was really exciting. He was a
bit of a mystery: There weren’t a whole lot of photographs, there
was no internet—you had to buy the record to hear him. I loved
Stanley Clarke’s School Days and I Wanna Play for You albums, but
there was something very mysterious about Jaco.
You finally got to see him when you were 14.
I saw Jaco for the first time at the Santa Monica Civic Audito-
rium around 1978. It blew my mind! I liked the edge and the atti-
tude that he brought to the instrument in performance. It was one
thing to hear the instrument played that way, but it was another
thing to see what Jaco was bringing to the performance and how
he captivated an audience.
What was the crowd like?
There was a lot of diversity that night. I remember seeing
friends that I knew from the skateboard community, and surf-
ers. And Jaco reminded me of a beach person. We discovered that
in the film, too: In a lot of the footage, he’s on the beach, throw-
ing a Frisbee or playing in the waves. Gregory told me they used
to go bodysurfing during big hurricane swells. Jaco was a bit of
a daredevil, too.
In the film Dogtown and Z Boys, the energy of those rebel-
lious young skateboarders and surfers remind me of Jaco.
Jaco’s energy was very similar to those guys. That’s why Stan-
ley Clarke called him “punk jazz,” because punk is a fearless atti-
tude of taking chances, and he was one to take chances, whether
it was jumping off a cliff into a small body of water or doing back-
flips off structures, including his amp. The night I first saw Jaco
11/23/15 12:26 PM
 play, he slid into his bass like it was home plate. I
had never seen someone do that. I don’t even know
whether he did it before that night or after. But he
did it that night, and I was like, Man! He didn’t just
slide into home plate!
Did you get to see him other times, too?
I saw him at the Playboy Jazz Festival the next
year, I saw him with the Word of Mouth Big Band at
the Dorothy Chandler Pavilion, and I saw him with
the scaled-down version of Word of Mouth with
[keyboardist/vocalist] Delmar Brown and [guitar-
ist] Mike Stern.
How’d you first meet the family?
I met Johnny through a bartender friend who
recognized Johnny’s last name on a credit card. The
next time I came through Ft. Lauderdale with Ozzy
Osbourne, we met and became good friends. And
one of the first things I told him was, “Someday you
gotta make a film about your father!”
What role did you play in getting the Bass
of Doom back to the family in 2010?
I still don’t know all the details about the situa-
tion—all I know is that there was a lot of sad, neg-
ative energy around the Pastorius family, and the
legal bills were piling up. So I sponsored the money
to get the bass from where it was. A lot of people
think I hijacked the instrument, but nothing could
be further from the truth. I’m not a collector. Right
now, the bass is with Felix.
Obviously, Felix has bass magic in his DNA.
Why don’t we see more of him in the film?
Felix gave us what he felt comfortable with. It’s
important for me to be very respectful; my position
was not to force anybody to be in the film, especially
as painful as it can be. Johnny and Mary are older
and had more time with their father, but even for
them, it’s not easy. For Johnny to watch the film is
a heavy load. I give him credit not only for getting
up in front of the camera and telling his stories, but
for commandeering this as a producer.
How did Joni Mitchell get involved?
She’s a perfect example of why I say this film
couldn’t have been made in a year. There were a
lot of treasures that came along the way, including
never-before-seen photos and recordings and that
Havana Jam footage. Jerry Jemmott moves two
miles from my house in L.A. and becomes a friend,
and then we have to re-cut the film!
We didn’t get Joni until about four years in.
No one could reach her, and then spontaneously
and miraculously, I met her at a Grammy party.
bassplayer.com / j a n u a r y 2 0 1 6 31
bas0116_jaco_ph3.indd 31
We became friends, and when she saw what I was
doing with the film, she jumped on board with open
arms and love and respect. Joni likes to keep to her-
self, and she’s very particular about what she does
and how she does it. So it was an honor and a huge
blessing. She also helped me with the licensing of
her songs—it’s a very involved and really expen-
sive process, and the fact that she was able to help
us through that was amazing.
What did you learn during the making of
the film?
I learned a lot. I learned about bipolar disease,
and now I have a different take when I see home-
less folks. I also feel like I went to the most incred-
ible school of documentary filmmaking. And I’m
amazed how Jaco got connected to so many people
around the world, and how so many stories revolve
around this person, this individual.
How did spending so much time with the
film affect the way you hear his music?
Aside from being inspired by his passion, his com-
mitment, and that great work ethic, I’ve embraced
Jaco’s compositions like “Portrait of Tracy” and “Teen
Town” more than ever. But the main thing I get from
Jaco is to take an influence, whatever it is, and put
your stamp on it. With Infectious Grooves, Jaco’s
music made us feel like we could incorporate Slayer
into James Brown grooves and have fun doing it. The
rules are off the table. Jaco gave us the tools to be
creative, but you’re supposed to take it the way you
want to and not really impose any rules on yourself.
Did you have a feeling that you’d be involved
in the Jaco movie?
Ten years ago, before I was even part of the
equation, I remember really wanting there to be a
film about Jaco. A lot of people have tried, but for
whatever reason, it didn’t happen. We have given
so much of our heart and soul to make this a reality,
and I can honestly say from the bottom of my heart
that I’m happy with what we’ve done.
What about all the great stuff that didn’t
make it into the film?
To get everything in there, you’re talking about
a ten-hour film or a series. We tried to passionately
share Jaco’s life the best that we could, and maybe
someone else can commandeer the next mission.
There are quite a few films about great musicians
like Bob Marley, the Beatles, Neil Young, and Jimi
Hendrix, and usually, there’s a little more there each
time. I commend anyone who can step up and take
it further than we did! BP
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09:09
11/23/15 12:31 PM
Michael Thurber
Human Touch
B y RI C K S U C HO W

When Stephen Colbert took over the reins as host of

The Late Show last fall, it wasn’t just the Ed Sullivan Theater that received a radical
renovation. Colbert, aiming to give the show a musical makeover, hand-picked
jazz pianist Jon Batiste and his group Stay Human to be the house band for the
rebranded late-night institution. Strong on versatility and crisp with creativity,

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bas478802_0116.indd 1
SamAsh_BP_Jan2016.indd 1 11/10/15 2:48 PM
11/9/15 11:39 AM
 F MICHAEL THURBER
LEGENDARY
MUSIC STRINGS
SINCE 1958 Stay Human brings an eclectic energy to the show
with a repertoire that is nearly entirely original
music. The band’s core members include percussion-
ist Joe Saylor, saxophonist Eddie Barbash, multi-
instrumentalist Louis Cato, and the man now in
charge of pumping low frequencies into the house
that Sullivan built: Michael Thurber.
“Stay in love with music.
Don’t let that raw,
child-like love of
music ever go away.”
Although some might not yet know Thurber
by name, the 28-year-old doubler and composer
has created a major presence on social media over
the last several years via the unique project he co-
founded called Collective Cadenza, or CDZA for
short. With a YouTube channel that has generated
30 million views and 300,000 subscribers, Thurb-
er’s CDZA videos are innovative and often hilari-
ous. In “The Story of the Bass,” for example, you’ll
find Michael showing our instrument’s entire 275-
year history by playing 45 songs on nine basses—
all in eight minutes.  with each other until The Late Show.
BILLY SHEEHAN AND
Born in Tulsa, Oklahoma, and raised in Por-
ROTOSOUND BS66 tage, Indiana, Thurber began his bass journey
CUSTOM BASS STRINGS
LEGENDARY TONE
Basses Fretted and fretless NS Design CR5 Radius
5-strings, Aaron Riley/Guarneri House upright
EQUIP
Rig Aguilar Tone Hammer 500 head and
DB 410 4x10
Effects Electro-Harmonix POG Polyphonic
Octave Generator
Strings D’Addario Zyex Double Bass Strings
WORLD FAMOUS MUSIC STRINGS
Check out Michael’s website.
CONNECT
WWW.ROTOSOUND.COM Explore Collective Cadenza’s YouTube
FACEBOOK.COM/ROTOSOUND channel.
TWITTER.COM/ROTOSOUND_UK Watch Michael’s “The Story of the Bass.”
bassplayer.com/january2016
PROUDLY MADE IN ENGLAND
34
bp_third_bs.indd 1 bassplayer.com / j a n u a r y15/11/2015
2016 18:45
bas0116_feat_thurber_dc3_F.indd 34
at age 11. Studying classical on upright in public
school and then diving deep into jazz at the Inter-
lochen Arts Academy a few years later, he absorbed
the influence of upright greats Paul Chambers
and Edgar Meyer and electric masters Jaco Pas-
torius, Donald “Duck” Dunn, and James Jamer-
son. Thurber eventually moved to New York to
attend the Juilliard School, where he
took his love of both classical and jazz
to the next level.
How did you go about putting to-
gether the “Story of the Bass” video?
I’ve always loved and played many
different styles of music, which is why
the bass is the perfect instrument for
me: It’s the bedrock of every style. So I
wanted to make a video that showcased
how diverse the bass is. I did about a
month of researching. You might think
you know the history, the lineage, and all the great
players, but when you dig in and look at the actual
H
timeline, it gives you a new respect for how we
arrived at where we are today. 
How did you land the Late Show gig?
Jon Batiste and I met at Juilliard in 2005. At
the time, I was studying mostly classical music,
and he was all jazz, so we would show each other
stuff. Even back then, his genius and charisma were
radiant. Through the years, we would collaborate
every now and then, but we didn’t really perform
The show is extremely diverse. Every day there’s
totally new music, and we work with
all different types of performers, from
Willie Nelson to Yo-Yo Ma, in one
C
week. And we have little time to
learn the music. Also, doing on-
M
camera work is a very specific type Y
of thing. It takes a certain kind CM
of energy and vibe. Jon needed
MY
someone who could cover many
genres of music, play upright and
CY
electric, learn quickly, and be com- CMY
fortable on camera. I’m happy to K
be that guy.  
What is a typical day at
The Late Show?
Every day is new adventure.
We usually get to the theater
around 10 am for an hour or
two of rehearsal, where we put
together whatever music we
11/20/15 8:52 PM

want to play for walk-ons and commercial breaks.
If we are backing up the musical guest that day, we
go down to the stage and rehearse with them for
an hour to make sure we are ready for the taping.
Then we go to hair and makeup and get all prettied
up. After that, we have “comedy rehearsal” with Ste-
phen, which is a quick run-through to get a feel for
the flow of that day’s show. Then we go to our dress-
ing rooms, get in wardrobe, and boom—we go to
the stage for taping. We usually wrap around 7 pm.
What’s been the biggest challenge of the
gig so far?
Learning a lot of hard music very quickly and then
Harrison_Ad_BP_Jan_Feb_2016A.pdf
being able to not only remember1 it, 11/3/15
but execute2:08
it
Harrison TM
The Harrison of Digital Audio Workstations
CM
MY
CY
MY
bas0116_feat_thurber_dc3_F.indd 35
Scenes from “The Story of the Bass”
well in the heat of battle. It’s hard because the cues happen fast! And you can’t
miss it—you’ve got to be ready. It’s an amazing skill to learn, though. It’s like
being at the musical gym everyday doing CrossFit.
Tell me about the NS Design Radial basses you currently play.
They are light and fast, and they sound incredible. I’ve never had more fun
playing a bass guitar. Ned Steinberger and the team at NS put so much care into
their instruments. I can’t say enough about the Radius—I have four of them.
What is CDZA all about?
CDZA is an effort to solve a dilemma that many young conservatory-trained
musicians face today: How do we make older art forms like classical music, jazz,
and theater relevant today? There is no wrong answer, but we wanted to find a
way to have our cake and eat it, too—to stay true to the old music we love while
embracing the current sounds of our generation. 
PM
CDZA was about creating a platform where young, gifted performers from
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<gflj]dqgfhdm_%afk^gjl`Yld]_]f\Yjqkgmf\o`]fqgm[YfgofYj]Yd@Yjjakgf&
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us at NA
Visit
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8
# 700
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D]Yjfegj]Yf\\gofdgY\YleapZmk&`Yjjakgf[gfkgd]k&[ge
Bo oth
11/20/15 8:52 PM
 F MICHAEL THURBER

Thurber with Collective Cadenza popular music creates a feeling of familiarity for
people who might not be used to hearing violins
or opera singers. It bridges the gap between pop
music and musical talent one might normally only
hear at Carnegie Hall. We also just have a lot of
fun. We are all pretty goofy, ridiculous people
with weird humor. Looking back on the videos,
it’s amazing to see everyone who has been a part
of it and what they’ve gone on to do. From Jon
Batiste to Ariel Jacobs, who is currently in Wicked
on Broadway, we’ve featured so many incredible
young performers.
What advice can you offer bassists look-
ing to carve out careers in the music busi-
COURTESY FROM THE TOP

different musical backgrounds could come together to collaborate in a unique
setting and create videos that package their talent in a more universal,
fun, commercially minded way. Creating mash-ups and live remixes of
ness today?
Don’t be afraid to try things. Quality comes
from quantity. The only way to find your path is
put yourself in as many different situations as
possible and learn as much different music as
you can. Also, stay in love with music no matter
what. Don’t let that raw, child-like, honest love
of music ever go away. As long as it’s in you,
you’ll be fine. BP

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bas0116_feat_thurber_dc3_F.indd 36 11/20/15 8:52 PM

 PORTRAITS
IN TONE
LITTLE KNOWN REX BROWN OFFICIAL TRUTH: “I’ve been
using a SansAmp for as long as I can remember, both live & in the
studio. Every track that was played on all those Pantera tracks were
DEEPLY affected by the sound of that little D.I. box.”

What is known by all, is that Rex Brown has a power groove all his
own. He goes with his gut and dishes out no BS. Formerly known as
the quiet member of Pantera, Rex has found a new voice in recent
years, including speaking out about his Tech 21 toys:

VT BASS RACKMOUNT
“I can dial in any tone I want with just the slightest touch of a single
knob. It can go from clean to nasty in the blink of an eye. This sucker
goes from thumping to barking with any bass. Not only is it a killer
preamp, this thing is DANGEROUS!!”

SANSAMP™ RBI
“If you think that SansAmp couldn’t get any better, this versatile unit
is a beast of a preamp!! This is a must-have for me in any situation.
I can walk into any studio or live gig, and she sounds the same no
matter what.

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Do yourself a Favor!!”

DESIGNED AND MANUFACTURED BY TECH 21 USA, INC.

WWW.TECH21NYC.COM
Photo: Chad Lee Photography

bas490003_0116.indd 1 11/11/15 2:03 PM

 S
LEARN
PLAY

Soundroom
TECH
FACE
LINK
SOUNDROOM

Elrick Expat e-volution 4- & 5-string

B y J o n at h a n H e r r e r a |

The last time we checked in with renowned
Chicago luthier Rob Elrick, it was a January ’15 review of his Expat
New Jazz Standard basses. I praised the modern-J-style instru-
ments for their superb tone and construction, concluding that even
though the Expats are Elrick’s entry-level basses, they essentially
give up nothing to their much higher-priced U.S.-made counter-
parts, other than a less comprehensive option list. The supply chain
for the Expat instruments is notable, not only for its transconti-
nental scope, but for the boutique-style attention to detail that
characterizes each step of the instruments’ construction. Know-
ing the Czech’s centuries-old legacy of fine instrument building,
Elrick worked extensively with luthiers there to ensure that his
European instruments were every bit as good as his American
basses. Says Elrick, “I have partnered with the finest craftsmen
in the Czech Republic and personally perform final QC and setup
of each instrument. I select and supply all of the swamp ash used
for the bodies, as well as the fretboards.”
Imported Gold
The Expat e-volution basses are essentially imported duplicates
of Elrick’s Gold Series e-volution basses, with the same construc-
tion, design, and electronics, but without the figured tops. Our
test basses were as plain as could be, which may not please those
looking for a blingy boutique bass, but they will appeal to more
utilitarian players who simply want a handsome instrument that
plays and sounds great. The instruments’ construction was perfect;
that’s a quality I’ve learned to expect from Elricks. The fretwork
was smooth, with no protruding tangs or high spots. The sanding
and finish brought the most out of the plain-jane look. Top-notch
hardware is all over the instrument, from the Elrick-spec’d Hipshot

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bridge to the Hipshot Ultralite tuners and Dunlop
Dual Design strap buttons with strap-lock capa-
bility. Popping off the monstrous grain-matched
control-cavity cover revealed a beautiful electron-
ics assembly, with each component of the venera-
ble Bartolini NTMB+ 3-band preamp installed and
soldered with professional detail.
The Elricks’ pickups may appear to be a pair of
soapbar humbuckers, but in fact the pickups are
Bartolini J-coils, just in a soapbar-type cover. The
reason is clever: “This choice is intended to offer
an instrument with the same J-coil pickup used
on U.S.-Series basses,” says Elrick, “but with a
pickup rout large enough to accommodate a vari-
ety of retrofits without necessitating additional
woodworking.” Elrick can supply instruments pre-
loaded with Bartolini dual-coils or Aero J- or dual-
coil pickups in black plastic or matching wood for
an additional charge.
Bass body contours vary widely, with some design-
ers favoring aesthetics and others sacrificing visual
harmony for a comfortable feel. To me, the Elrick
e-volution has always exemplified a beautiful blend of
both. I dug the subtly bulbous body contour, which is
bas0116_soundroom_ph1.indd 39
utilize the 3-way mid-frequency select switch to
bump the output around 500Hz for punchy back-
pickup funk. Slapped with the pickups blended, the
basses had a crystalline sheen and just the right
amount of scoop in the mids to cut, but bolster.
While the soloed neck pickup has woody bite, the
basses’ natural tone isn’t exactly P-like in its tub-
biness (although the EQ can get you close).
The Expat e-volution basses are exemplars
of the midrange of bass buying, offering none of
the superficial features a player doesn’t need but
nearly perfecting the playability, tone, and musi-
cality that they do. Essentially faultless, the only
reasonable justification for spending significantly
more on the U.S. line of basses is access to Elrick’s
gorgeous tops and custom features. Otherwise,
those looking for a modern-sounding jack-of-all
trades instrument would be hard pressed to find
a better option. BP
S SPECIFICATIONS
Expat e-volution
Street 4-string $2,299; 5-string $2,499
case included
ELRICK Pros Perfect construction; versatile and
singular in the bass landscape, but also deeply appre- elegant tone; thoughtful design
ciated the basses’ superb ergonomics and balance. To Cons None
further improve playability, the e-volutions incorpo- Bottom Line No matter the price, these
rate Elrick’s signature heel-less neck joint, which essen- instruments are simply divine. That
tially offers the high-fret access of a neck-through, they’re reasonably affordable means the
e-volutions are one of the highest-value
making excursions up high less gymnastic than on
semi-boutique basses out there.
clunkier heel designs. The basses’ light weight also
adds to their overall cozy vibe.
Construction Bolt-on 
Body Ash
Czech Please Neck Maple
The Elrick e-volution basses combine a time-tested Fingerboard Wenge
formula for tone, and indeed their sound didn’t Frets 24 medium
disappoint. Combining a carefully chosen ash body Nut Phenolic corian
with a maple neck (and, in this case, wenge fin- Bridge Custom Elrick by Hipshot
SPECS
gerboard with a Bartolini preamp and pickups), Tuners Hipshot Ultralite
the Elricks exemplify the do-it-all hyper-flexible Scale length 4-string 34"; 5-string 35"
Pickups Bartolini J-style in soapbar cover
sound that a working professional might need to
Controls Volume, blend, bass, midrange,
cover just about every gig. String-to-string balance
treble; 3-position mid-frequency switch
and clarity is exceptional, and as ever, the zero fret
(250Hz/500Hz/800Hz); active/passive
diminishes the glaring timbre difference between switch
open and fretted strings. Each Expat’s essential
voice is clear and piano-like, with a wiry edge that Made in Czech Republic;
never felt grating. The Bartolini 3-band preamp Final QC and assembly, U.S.A.
has a gutsy midrange, and it was especially nice to Contact elrick.com
bassplayer.com / j a n u a r y 2 0 1 6 39
11/23/15 12:59 PM
 S
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TECH
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SOUNDROOM
Barefaced
Big Baby II & Big Twin II
B y J o n at h a n H e r r e r a |
For better or worse (okay, mostly
worse) bass cabinet design can be roughly divided
into two categories. First, there are the manufac-
turers that essentially take a plywood box, bolt
in off-the-shelf Eminence or Celestion speak-
ers, throw in a simple crossover and a chintzy
tweeter, and call it a day. This approach can actu-
ally work, insofar as there’s plenty of free know-
how (and easily imitated designs) out there for
anyone seeking to make a decent bass cabinet.
40 bassplayer.com / j a n u a r y 2 0 1 6
bas0116_soundroom_ph1.indd 40
S SPECIFICATIONS
Big Baby II & Big Twin II
Street Big Baby II $1,099;
Big Twin II $1,599
Ba r e face d
Pros Detailed and even frequency re-
sponse; excellent off-axis projection;
light; monstrous power handling
Cons None
Bottom line Some of the coolest
cabs I’ve tried in a good long while.
Woofers 12" custom-designed
12XN550 neodymium driver(s)
On the other side of the spectrum lie the audio Tweeter Waveguide
engineers who take cabinet and speaker design
SPECS
Crossover 4th-order
as seriously as the most skilled luthier or expert Connector 2 parallel Neutrik dual
amp designer. Generally driven by dissatisfaction connectors
with current designs or a visionary solution to an Impedance Big Baby II 8Ω;
Big Twin II 4Ω
acoustic challenge, these engineers develop their
Power handling Big Baby II 1600
own drivers, test materials, experiment with cab-
watts; Big Twin II 800 watts
inet shape and baffling, design proprietary cross-
overs, and more. Alex Claber of Barefaced is one Made in England
such engineer. For proof, just take a glance around Contact barefacedbass.com
11/23/15 12:59 PM
 b a s s e s b u i lt f o r a l i f eti m e s i n c e 1 9 7 6
W W W . S P E C T O R B A S S . C O M

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 S
LEARN
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his website, one of the most well-consolidated resources for speaker and cabi-
net design concepts and technical information I’ve come across. And that’s just
TECH
incidental to the fact that he’s actually making cabinets. Given his clear fasci-
nation and dedication to the task, I was eager to see whether his designs reveal
a thoughtful engineer at work.
The Barefaced approach is definitely unconventional. First, rather than stick
FACE
to tried-and-true configurations and shapes, Barefaced endeavors to make its
cabinets as tall as practical for their size. We’ve all done small gigs with small
cabinets where we’re shoved into a corner with the woofer hitting our ankles.
LINK
It’s no fun, and it’s the source of much trouble trying to balance stage volume.
By design, the Barefaced designs give players a better shot at actually hearing
themselves onstage. And it’s not just the cabs’ verticality; it’s also their excel-
SOUNDROOM
lent polar response, which refers to the cabs’ on- and off-axis projection. That
means acoustically accurate sound whether you’re standing directly in line with
the cab or not.
Care In Construction
Our test cabinets demonstrate many of the concepts unique to Barefaced. First,
each features Barefaced’s proprietary 12XN550 neodymium driver. The result
of several years of development, the driver is designed to excurse like a sub-
woofer (move a lot of air), but with the even midrange response and fast tran-
sient response of a PA-style driver. The resulting speaker is a wonder, offering
class-leading sensitivity—less power is needed to produce a given volume—plus
bas0116_soundroom_ph1.indd 42
high power handling and remarkably even frequency
response. In tandem with the new speaker design
is a high-frequency driver whose intense develop-
ment matches that of the woofer.
As a serious cabinet engineer, Claber understands
the critical role the enclosure plays in the charac-
ter and behavior of a speaker cabinet. He feels that
the conventional formula—a minimally braced six-
sided box made from heavy plywood—was chosen
for practical convenience when stacking, rather than
sound. To Claber, the magic of his cabinets is due
to their thoughtful and extensive perforated brac-
ing and the use of thin-walled plywood. This design
eliminates unwanted resonances between parallel
internal surfaces and goes a long way toward flat-
tening the cabinets’ frequency response. To further
augment stiffness, increase low-frequency response,
improve stage volume, and maintain optimum driver
performance, Claber also put a ton of thought into
his port design. For further detail, check out the
Barefaced website.
In spite of the deep attention paid to the inter-
nal design of its cabinets, Barefaced put just as much
11/23/15 12:59 PM
bas490985_0116.indd 1 11/20/15 6:19 PM
 S
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thought into its cabs’ external durability. Each cabinet features a durable tex-
tured polymer finish, CNC-cut mounts for the steel grilles, and an attention
TECH
to detail that includes ensuring that the finish behind the grille and inside the
ports is identical to the more visible exterior. In a few months of use, I didn’t
scratch or ding the cabs noticeably, and their light weight and well-placed han-
dles made each schlep a breeze.
FACE
Naked Bass
Our two testers are like siblings. The Big Baby II is much like the Big Twin II,
LINK
but it only features one 12" driver. To test the cabs, I paired them with a variety
of amps, including an Aguilar DB 750, Kern IP-777/Crest CA-9 rig, Markbass
Big Bang, and even an audiophile power amp, the Krell KSA-80B. I also played
SOUNDROOM
a healthy amount of Moog SUB 37 synth bass through each, verifying the cabs’
capacity to reproduce wall-shaking lows without notable fatigue.
My overall reaction to each cab is that they are capable of mind-numbing
volume, but this volume never comes at the expense of a poised and balanced
sound. Whether with the Big Baby II or the Big Twin II, the transition from low
to high frequencies is smooth and remarkably even. I couldn’t get the speak-
ers to break up, no matter how hard I dug in and turned up. Their composure
in a variety of settings was stunning. It’s confidence inspiring, knowing that
no matter how loud I had to be (which, granted, is never as loud as you think
when you’re on a proper stage with monitors), the speakers wouldn’t seem near
BRUBAKERGUITARS.COM
44 bassplayer.com / j a n u a r y 2 0 1 6
bas0116_soundroom_ph1.indd 44
their limit. Also, the high-frequency response was a
joy. Rather than the brittle, mildly distorted sizzle
that a lot of bass cabs seem to crank out, the Bare-
faced cabs have a graceful and elegant transition
into the high register that just seems like a natural
continuation of the cabs’ deeper response. The more
impressive of the two is the Big Baby II, not because
it sounds better than the Big Twin II, but because
in spite of its size and weight, it easily cranks out
the volume of much larger configurations, includ-
ing some iconic 4x10 designs. The Big Twin II is no
less impressive sonically, but it is a good deal larger.
I’d be hard-pressed to imagine a setting where it
wouldn’t suffice on its own.
The Barefaced Audio cabinets are a satisfying
exemplar of what happens when an obsessive mind
tackles an age-old problem with the spirit of innova-
tion. In what once seemed like a tired corner of the
bass market, it's folks like Alex Claber that remind
us that improvement is always a possibility. The
cabs nail it in pretty much every category; you must
check one out. BP
RODNEY ‘SKEET’ CURTIS
PARLIAMENT | FUNKADELIC | MACEO PARKER
JXB SERIES
The next wave
of a classic line.
11/23/15 1:31 PM
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 LEARN
PLAY
TECH
FACE
LINK
SOUNDROOM
B y J o n at h a n H e r r e r a
W h e t h e r i t ’ s e m u l at i n g t h e
squelchy quack of classic Bootsy Collins, the tubby
dub of Bill Laswell, or the intricate attack and fre-
quency dynamics of an analog synthesizer, envelope
filters are among the most useful—and radical—
stompboxes available. To create the classic enve-
lope filter sound, a lowpass filter (a filter that only
allows low frequencies to pass) is paired with an
envelope follower that sweeps the filter’s cutoff
frequency to reflect the changes in your signal
level. When this cutoff frequency is emphasized
slightly, dramatic wah-wahs, scoops, and dwoops
are the audible result. Envelope filter sounds can
be dramatically expanded if the control voltage is
applied to different types of filters; bandpass (fil-
ters that emphasize midrange frequencies) and
highpass (high-frequency selective) filters can be
paired with an envelope follower to produce a host
of intriguing sounds. The TWA Little Dipper 2.0
is definitely a left-of-center filter in that it uses
a pair of bandpass filters to produce “formant”
effects, emulating the vowel-like sounds of the
human voice.
When two bandpass filters are combined and
made to sweep around the audible frequency spec-
trum, the resulting sound is quasi-vocal, in that
it exhibits a shifting, lumpy frequency response
like the human voice. This is the Little Dipper’s
strength. Its ascension knob controls the depth
of the sweep of the pedal’s two filters, a bit like
the threshold or sensitivity control of a typ-
ical envelope filter. The 5-position inclination
switch alters the trigger timing of the Little Dip-
per’s dual-filter circuit, and is the primary means
of achieving a wide range of vowel sounds. Dif-
fraction adds gentle fuzz to the sound, going a
long way toward dramatizing the filtered tone’s
46 bassplayer.com / j a n u a r y 2 0 1 6
bas0116_soundroom_ph1.indd 46
TWA Little Dipper 2.0
impact. The occultation knob accesses a vari-
ety of timing and EQ options beyond the stan-
dard setting. Finally, the exp jack allows you to
control the ascension parameter with an expres-
sion pedal, allowing for even more dramatic and
dynamic effects.
The Little Dipper is certainly a gorgeous and
clever-looking pedal. Its seven status LEDs are
arranged like the pedal’s eponymous constellation,
giving context to the parameter names. Placement
of the input and output jacks is unusual, paired adja-
cently on the pedal’s right side. This could present
some tricky routing obstacles on a pedalboard. The
lb switch is welcome, adding a 6dB boost at 80Hz
to better mate the Little Dipper with bass, but its
deeply recessed set-it-and-forget location seems
unnecessarily finicky. So, too, does the occulta-
tion rotary switch, which—unlike the pedal’s other
main parameters—you tweak with a tiny trim-pot-
style knob that is only adjustable with a flathead
screwdriver (or a particularly rigid fingernail). While
I can buy that the bass boost is a parameter that
most bass players will just leave on, I don’t under-
stand the logic behind making one of the pedal’s
most useful parameters so difficult to adjust. Oth-
erwise, construction is rugged, and I especially dug
the relay-based “S3” true-bypass switching.
The Little Dipper 2.0 distinguished itself imme-
diately when I started futzing around. Simply put,
there’s no other pedal I can think of (I’m limit-
ing this comparison to other analog pedals) that
produces similar sounds. It’s difficult to grok the
precise impact of the pedal’s innumerable set-
tings, although I’m sure a particularly motivated
player could learn its idiosyncrasies. Fortunately,
it rewards even the ham-fisted tweaker with great
sound no matter what. It’s capable of almost
human-like vocalizations, P-Funk-esque bleeps and
bloops, and a ton of eerie and hollow ever-shift-
ing soundscapes. Since the filter’s intensity and
sweep is proportional to playing amplitude, it’s an
incredibly dynamic and expressive pedal. It’s not
a do-it-all envelope filter, as it struggles to emu-
late a classic MuTron-style sound, but that’s not
what it’s for. It’s for creating otherworldly effects,
many of which are further enlivened when you pair
the TWA with an octave pedal, overdrive, or both.
Being a cutting-edge bass player in today’s
pop-music climate means quick access to a huge
pool of sounds. The Little Dipper is no little dip
in the water of weirdness—it’s a huge dive in. BP
S SPECIFICATIONS
Little Dipper 2.0
Street $300
Pros Unprecedented formant-filter-
ing vocal sounds
Cons occultation knob annoyingly
T WA
small; jack placement might present
problems on a pedalboard
Bottom Line An intrepid explorer
of bass’ outer space should head
straight for the weird and wonderful
Little Dipper.
Input jack q"
Output jack q"
Expression pedal jack q" tip–sleeve
SPECS
Power 9V tip-negative Boss-style
power adapter
Made in USA
Contact godlyke.com
11/23/15 12:59 PM
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WOODSHED Jazz Concepts

TECH

Play Like Ray,

FACE

Part 1
There Is No Greater Ray
LINK

By John Goldsby
WOODSHED

A bassist will certainly notice the problem inherent with

Amy Winehouse’s platinum version of “There Is No Greater Love” [2003, Frank, Island]:
i INFO
There’s no bass player on the track. Hip-hop producer Commander Williams did a fine
job of showcasing Ms. Winehouse with vinyl-record pops, cricket sounds, and sexy sax in Visit John on the

J O H N G O L D S BY
the quasi-tribute to two of her heroes, jazz singers Billie Holiday and Dinah Washington. web at johngoldsby.
But the great standard, written in 1936 by Isham Jones, would have benefited from a com for sound
samples, videos and
real bassist laying down hip lines under Winehouse’s seductive yearnings.
answers to all of
Holiday (with legendary bassist Bob Haggart) and Washington (with Keter Betts)
your bass-related
recorded definitive vocal versions of “There Is No Greater Love” in the ’50s. However, two
questions.
instrumental recordings cemented the 32-bar song into the jazz repertoire for time eter-
nal: Miles Davis’ 1955 version with Paul Chambers [Miles: The New Miles Davis Quintet, • Mark Myers talks
Prestige], and Sonny Rollins’ 1957 version with Ray Brown [Way Out West, Contemporary]. to Sonny Rollins
Way Out West presents three masters—Rollins, Brown, and drummer Shelly Manne— about the legendary
at the top of their game in a chord-less trio setting. According to the liner notes, the trio Way Out West
had never played together before, and the album was recorded in a session that started session, which
at 3 am—ingredients for either catastrophe or magical triumph. In this case, magic was featured Ray Brown
made, and the album remains a landmark in jazz history. on bass.
• Hear Billie Holiday
“There Is No Greater Love” belongs to the canon of standard jazz songs that every
singing her classic
bassist should know. The tune could pop up on a hotel gig, jazz jam session, concert (“We
version of “No
don’t have time to rehearse, but we can just call some standards!”), or with your local
Greater Love” with
pop–jazz–Winehouse–Holiday–blues singer. Yes, if you work with a lot of singers, you Bob Haggart on
should be able to play it in every key. bass.
CONNEC T

Ray Brown undoubtedly played “No Greater Love” countless times in his career. In • Check out Paul
1995, he revisited the standard with his own trio (plus Ulf Wakenius on guitar) on the Chambers, Wynton
album Seven Steps to Heaven [Telarc]. Example 1 shows Brown’s line from the melody Kelly, Cannonball
chorus. “No Greater Love” is a 32-bar AABA form, with four eight-bar sections. Note Adderley, and
the following: Jimmy Cobb

Bars 1–16 Brown is a master of playing in two. Although he mainly uses half-notes playing “No Greater
Love.”
in the A sections, Brown creates rhythmic drive and forward motion by staying on top
bassplayer.com/
of the beat, and adding rhythmic embellishments and leading tones to emphasize chang-
january2016
ing chords.
Bars 2, 10, 26 The note A on beat three of bar 2 is a surprise choice, which Brown
consistently uses at the same spot in the A sections throughout the melody chorus, as
if to say “This is my trio—we’re playing an A7 here.” The note A leads into the D7 in
the next bar.
Bars 3, 7, 11, 28 The triplet figures in these bars are signature Ray Brown devices.
He had a way of homing in on a target note several beats in advance, launching a

48 bassplayer.com / j a n u a r y 2 0 1 6

bas0116_woodshed_kc2.indd 48 11/20/15 9:02 PM

 somersault-like triplet rhythm, and landing on
his feet every time.
Bars 9–12 In this characteristic move, Brown
travels the complete range of the instrument,
ascending one-and-a-half octaves in four bars.
Bar 13 Brown places the 3rd of the C7
chord, the note E, on beat one. This breaks the
“root always on the downbeat” rule and creates
a melodic bass line.
Bar 14 Even though the note E doesn’t tech-
nically match the F7 chord, Brown slams it out
and justifies its use as a leading tone to the F7
in bar 15. If it were played weakly, the E would
sound wrong. Brown stays confident and in your
face with his note choices.
Bars 15–16 Normally, the harmony would
move to Bbmaj7 in bar 15. Brown chooses to delay
the resolution to Bbmaj7 until bar 16, when he
begins to walk in four and leads the band into
the song’s B section.
Bars 17–24 Brown swings like nobody’s busi-
ness when playing in two. When he shifts into
four on the B section, it feels like an almost-too-
powerful muscle car easing out of the merge lane
onto the open highway. No one drives a band like
Ray Brown playing in four.
Bars 21–22 This is textbook R.B.—outlin-
ing moving harmonies by using open strings on
the roots (A, D, G) and guide tones at the top of
the bass. The note G is the 7th of the Am7b5. The
note F# is the 3rd of the D7. The note F is the 7th
of the Gm7.
Bars 31–32 Brown plays a big, fat low F during
the last two bars of the head. This creates a cushion
for the guitar solo break, and builds anticipation for
the swing fest about to break loose in bar 33. BP

Medium swing,
two feel

= 98
Bb6/9 Eb7 D7 G7 C7
A

7
7 7 6 5 2 5
1 5 6 5 2 3 5 5

G7
Cm7 F7 Bb6/9 Eb7 D7 3
7 3 A

7 8 9 10 11 12 10
5 4 3 7
3 0 1 5 6

C7 F7 (Bbmaj7) Bbmaj7 Am7b5 D7 Gm7

13 B
Ex. 1

9 3 2 2 3
10 3 5 4 5 2
9 8 0 1 5 5
0 1

Am7b5 D7 Gm7 Am7b5 D7 Gm7 C7 F7 Bb6/9

19 A

2 12 11 0 10 3
5 4 5 0 5 2 3 5 3
5 5 0 1 0 5 3 5
0

Eb7 D7 G7 C7 Cm7 F7 Bbmaj7 F7 Bb6/9

26 3 Start guitar solo chorus

7 5 3
7 6 5 5 5 3 5 3
6 5 5 2 3 3 5
3 0 1

bassplayer.com / j a n u a r y 2 0 1 6 49

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TECH
R&B Gold
FACE
The Roots Of
Rhythm & Blues
LINK
WOODSHED
By Ed Friedland |
Welcome to the first installment of my
new column, R&B Gold. I’m excited to have the opportu-
nity to explore a body of music that has been a continual
source of inspiration to me—particularly when examined
from the bottom up. It seems fitting that I’m finishing
up this first column working in the back lounge of a tour
bus in Motown—Detroit, Michigan, one of the great
R&B towns of all time. Living my new life as a full-time
touring musician with the Mavericks, I’ll be traveling to
many of the places where this great music was created,
and I hope to share some of those experiences with you.
“R&B” is short for rhythm & blues, and readers of my
previous column Blues You Can Use will find there is a
lot of cross-talk between the two categories in terms of
artists, players, songs, and styles. R&B as a genre is hard
to pin down to any one set of parameters, as it spans a
roughly 70-year timeframe and encompasses artists rang-
ing from Louis Jordan to Jay Z. For the purposes of this
column, I will be limiting my focus to what is considered
by some as R&B’s “Golden Era,” roughly between the late
1940s and late 1970s. The earliest work I’ll examine was
originally performed on upright bass, but by the early
1960s, the electric bass (usually a Fender Precision) was
the dominant instrument. The term “rhythm and blues”
first came into use as a marketing category for music
aimed at an increasingly urban African-American audi-
ence. As country blues migrated to northern cities, it
began to reflect the new environment—it was louder,
faster, and had a heavy beat that could inspire even tired
factory workers to shake their money makers. These con-
ditions gave rise to the electric post-war blues of Muddy
Waters, Howlin’ Wolf, John Lee Hooker, and others, but
another form of popular African-American music was
also taking shape—one that melded the vocabulary and
emotion of raw blues with more sophisticated rhythms
borrowed from jazz and Latin music.
50 bassplayer.com / j a n u a r y 2 0 1 6
bas0116_woodshed_kc2.indd 50
R&B would stray from the ubiquitous 12-bar blues
progression, diversify its rhythmic palette, and explore
themes that reflected the new urban experience. It’s dif-
ficult to pinpoint the first true R&B record, as the style
developed from, and ran parallel to blues, jazz, and jump
styles, but it is possible to trace the “rhythm” in R&B
to a point in time when Latin dance rhythms blended
with blues music. The tresillo rhythm (Ex. 1) is felt
and notated in 2/4, but stretching it out to 4/4, we see
the dotted-quarter/eighth-note rhythm that launched
a thousand hits, like “Sitting on the Dock of the Bay”
(Ex. 2). A similar South American rhythm, the baion, is
syncopated with the “and” of beat two tied to the quarter-
note on beat three (Ex. 3). Apply this rhythm to a simple
triad, and you now have one of the most popular riffs
in history (Ex. 4), and perhaps the first R&B bass line.
Louis Jordan was a popular sax player, singer, and
bandleader who bridged the gap from swing jazz to jump
blues in the early 1940s with hits like “Saturday Night
Fish Fry” and “Ain’t Nobody Here But Us Chickens.” His
popular and commercial success opened a new pathway
for African-American artists and laid the foundation for
R&B and rock & roll. Although his music was primarily
swing-based, he recorded several Caribbean-influenced
tracks, introducing the Latin “tinge” to a new audience.
His 1946 duet with Ella Fitzgerald, “Stone Cold Dead in
the Marketplace,” prominently features the two singing
i INFO
with put-on West Indian accents over a Latin 3:2 clave
groove. In 1947, he recorded “Early in the Morning,” Ed Friedland is
a 12-bar blues with a baion-inspired bass pattern that currently touring
ED F R IE DL AN D
became known as the rhumba-boogie. As a side note, the with Grammy
Award winners
track features a remarkable piano intro by Wild Bill Davis,
the Mavericks,
a pioneer of jazz Hammond B-3 playing, but his piano
and living outside
work here is virtually identical to the style of Professor
of Nashville,
Longhair, whose 1949 recordings of “Longhair’s Blues-
Tennessee.
Rhumba” and “Mardis Gras in New Orleans” have also edfriedland.com
11/20/15 9:02 PM
 been lauded as the “first rock & roll records,” as the intro; it is sometimes syncopated, while
despite their being released two years later. other times it’s played on the beat. Example 6b
Ex. 1

Example 5 is the basic pattern from Jor-
dan’s “Early in the Morning.” It’s a very literal
5 5 5 5
presentation of the baion-triad pattern, played
over Latin-style accompaniment, and doubled
by the pianist’s left hand. The bassist sticks
to the pattern without variation over a 12-bar
Ex. 2
is another baion, played over the Gm chord,
that serves as an interlude and the outro. This
particular pattern has been reused many times;
two examples are Hendrix’ “Third Stone From
the Sun” and the main groove of Reverend
Horton Heat’s “Marijuana.” Example 6c is the

blues form. To get a sense of how this pattern
can adapt to different grooves, check out the
5 5 many versions of Professor Longhair’s “Mardis
3 3
Gras in New Orleans”: The bass line remains
the same, but each version has its own unique
rhythmic interpretation.
Another early “rhythm number” by Jordan
Ex. 3
basic idea used for the verses. It’s more simi-
lar to the tresillo rhythm, as the two quarter-
notes on beats three and four are the emphasis.
The early years of R&B are a trove of riffs and
rhythms that went on to become the staples of
rock & roll, soul, and funk. To hear them in their
prenatal form, one gets a whole new perspec-

is his 1948 Caribbean-infused track “Run Joe,” tive on modern music, and a greater apprecia-
which features several different Latin bass pat- tion for our musical history. Stay tuned—there’s
5 5 5 5 terns. Example 6a is a baion rhythm that serves lots more R&B Gold to come! BP
Ex. 4

2
4
5
Ex. 5

2 5
3

Bb F

3 2 5 2
3 3

Gm
Ex. 6

5 3
5
Bb F

3 5
0 3 1 3

bassplayer.com / j a n u a r y 2 0 1 6 51

bas0116_woodshed_kc2.indd 51 11/20/15 9:02 PM

 W
LEARN
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TECH
FACE
Tonal Vision
LINK
Jaco &
WOODSHED
Effects
By Juan Alderete |
Jaco Pastorius’ superior technique and
his melodic sense—especially on fretless—are two of
the several reasons so many listeners have fallen in love
with his music. Jaco was an innovator who was always
stretching sonic boundaries with ripping bass lines, rich
open-string harmonics, pinch harmonics, and sliding
harmonics, and when he had electronic effects at his
disposal, he created even more sounds that all of us
wanted to emulate.
Jaco’s use of the chorusing effect is all over his
records. In the late ’70s and early ’80s, many bassists
used chorus on bass—I did because of Jaco and a few
new-wave bassists—but Mr. Pastorius’ incorporation
of chorus with open harmonics was truly genius. By
fretting and holding down a note while plucking open-
string harmonics, he created a wall of otherworldly
chord sounds. Modulation made the chords more lush,
and what came out of his speakers was huge! Even with
fingered chords and double-stops, Jaco’s sound was dif-
ferent, thicker than anything else out there.
As we entered the digital era, MXR began making
rackmountable effects that could be used onstage, and
Jaco began rocking the MXR Digital Delay as his chorus.
A digital delay reproduces your signal after a slight time
lag, and if you get the repeats very close in time to your
original signal, and then you slightly modulate them
(i.e., electronically slow them down and speed them
up), you create chorus. These days, it’s much easier to
use an actual chorus pedal to get this sound.
52 bassplayer.com / j a n u a r y 2 0 1 6
bas0116_woodshed_kc2.indd 52
Jaco also used a second MXR Digital Delay for its
sample-and-hold function. Sitting this rack effect on
top of his amp, he would sample himself playing a
bass line, loop it, and like a drummer, stack rhythmic
sounds to support the original loop. Next, he would
add sonic embellishments and then solo over every-
thing. Layer after layer of his electric bass would create
this beautiful and rich composition, all on the fly!
Jaco was opening doors to all of the ways we could
incorporate gear into our bass playing. 
Jaco’s use of effects didn’t end with chorus,
though. He was known to crank the onboard fuzz on
his Acoustic 360 head during his solos and for per-
formances of “America the Beautiful” (you can see
a great example on his instructional video, Modern
Electric Bass). Jaco would run to his 360, crank the
fuzz so it was overdriven like a Jimi Hendrix solo,
and start burning. Never afraid of feedback or of toss-
ing his bass into the air while the distortion raged
i INFO
on, Jaco always gave the audience more bang than
any other bassist. A veteran of Racer X
and the Mars Volta,
As I examine Jaco’s influence on me, I still use
JUAN AL DER E TE
Deltron 3030 bassist
vibrato/chorus effects on my bass, I sample myself
and Vato Negro
playing and stack bass parts on top, and I crank up
founder Juan Alderete
fuzz to blast through the mix. I still dream about what de la Peña is an effect-
else Jaco would have done with pedals and effects. pedal supergeek who
I know he would have owned an arsenal of stomp- proudly displays his
boxes, because he would have continued being innova- addiction at
tive, taking us places no bassist had gone before. BP pedalsandeffects.com.
11/20/15 9:02 PM
bas000001_0116.indd 1 11/20/15 7:15 PM
 ?
LEARN

Elton John’s “Take Me To The Pilot”

Dee Murray’s Complete Bass Line
PLAY

TRANSCRIPTION By Chris Jisi |

TECH

“Dee Murray is an undersung pioneer of rock & roll subtle variations (dig Dee’s blue-note-filled discourse
bass who brought a new level of R&B-informed creativity and facility to the idiom,” in bars 51–52). As he did earlier, Murray makes each
says veteran New York bassist John Conte. Conte’s trio, Early Elton (with pianist/ measure a separate statement in F’s third pre-cho-
FACE

vocalist Jeff Kazee and drummer Rich Pagano), pays tribute to John’s dynamic rus; most notable is his jump up the neck in bar 56.
early-’70s touring trio with Murray and drummer Nigel Olsson. While Murray’s Letter G is the extended out chorus, which evolves
later studio sides with John caught many a bassist’s ear—songs such as “Rocket in interesting and spontaneous ways. The first eight
LINK

Man,” “Goodbye Yellow Brick Road,” “Philadelphia Freedom,” and “Bennie and measures follow the previous form, and when John
the Jets” [BP, May ’07]—the raw, open sound of the “piano power trio” on John’s leaves the vocal melody in bar 69, Murray departs
classic live album, 11-17-70 [MCA, 1971], makes for the ultimate Murray show- from the “written” bass line, starting with the three
TRANSCRIPTION

case. Born in England in 1946, Murray got into bass as a teen playing along with high D’s in the previous bar. Other liberating mea-
Beatles and American R&B records, and he also played guitar and sang in his first sures include 73 and 77.
band before handling the bass duties in the Spencer Davis Group (with Olsson on At H, the out chorus continues with a breakdown
drums). From there he began the first of three stints with John, eventually suc- marked by Murray switching to eighth-notes on beats
cumbing to cancer while living and working in Nashville, in 1992. one and three, and then a just single eighth-note, start-
The 11-17-70 session took place at A&R Studios in New York, recorded by Phil ing in bar 90. A musical dialogue between the three
Ramone before a live audience. The trio performed 13 songs, with six on the offi- develops, with John letting Murray step forward in
cial release, although numerous bootlegs exist. Murray sat for the recording, and bars 92–93. John’s “Ssshh” in bar 94 lowers the level
although he was later known for playing Fenders, he finger-plucked a Gibson EB-3 further, while Murray, looking for fresh devices over
here, favoring the bridge pickup and likely using Rotosound round- the stagnant changes, applies slides
wounds. What amp he played and how his bass was recorded is
unclear. Conte points to the soulful, midtempo “Take Me to the iINFO in bars 95–98 and trills in 98–99. Ols-
son’s drum fill in bar 100—which Dee
Pilot” as a stellar example of Murray’s multi-faceted approach. answers with a descending run—sig-
The track begins with John singing and playing a verse for nals a return to full bore at I. Here,
eight measures, followed by Olsson and Murray—playing octaves, Murray remains inventive, repeating
likely to compensate for the string section part on the studio a bar-102 idea in 104, moving up the
L IST E N

version—entering for the pre-chorus at bar 9. For letter A’s first neck in bars 105–106, descending in
chorus, Murray doubles John’s left hand while also singing back- 107, and riding high again in 110–
ground harmonies. The line leaves the last two beats of every 111. Notes Conte, “Dee was fearless
other measure open for Murray to improvise a turnaround fill, Elton John, 11-17-70 and adventurous, but always grounded
[1971, MCA]
which he varies each time. In bar 19, Murray takes the part up in taste and commitment to the part
an octave for momentum. At letter B’s second verse, John plays and the pulse.” As the track hurtles
• Read Dee
basic roots, leaving Murray to step forward with a syncopated line toward its conclusion, Murray comes
Murray’s bio on
that serves as a counter-voice. Amid all the motion, Conte cites the Elton John
up with one more variation, the slid-
bar 30 as an ear-catching moment, where Dee sits on an F against website. ing triplet pickups in bars 115–116,
the Bb chord. Letter C’s second pre-chorus finds Murray tempo- • See Murray before ending on a tremolo C and even-
rarily missing the Eb root, only to recover by ear, first playing rehearsing with tually adding the C one octave below.
the chord’s 4th, 3rd, and flatted 3rd. The next bar (33) is a Conte John’s trio in 1970. Advises Conte, who has also been
favorite: “Dee comes right out of Jamerson, playing a non-chord • Watch John balancing stints with Marshall Cren-
Co nnect

tone (Bb) on a strong beat—the downbeat of two—and then he Conte performing shaw and Southside Johnny, “The first
lingers on the dissonant Bn across the next downbeat, but it all “Take Me to the step to playing the part is to get your
Pilot.”
feels and sounds great.” Adds Conte, “Dee obviously had R&B and fingerboard navigation together. Also,
bassplayer.com/
jazz sensibilities, with his use of root-5th-octave shapes, his sense Dee isn’t using an overly bright sound,
january2016
of syncopation which Nigel Olsson is so dialed into, his anticipa- so I’d roll off my treble to get in the
tions of the coming chord changes, and his harmonic sophisti- zone, tone-wise. Feel-wise, he’s defi-
cation via the use of chromatic and passing tones. At the same nitely driving the song from the forward
time, he had great, McCartney-like pop-song instincts, delivering side of the beat without ever rushing
melodic, vocal-informed, hooky lines with expressive phrasing.” or losing the groove, so try to maintain
The second chorus (D) and third verse (E) mirror A and B, with his aggressive spirit and go for it.” BP

54 bassplayer.com / j a n u a r y 2 0 1 6

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 William Andersen
“Take Me To The Pilot” Transcription by Chris Jisi & John Conte
Med. R&B/rock
Eb F Ab Gm7 C Bb Ab Eb C
= 86
Intro

S PO S
8 8 8 8 10 10 10 10 5 8 5
6 6 6 6 5 6 5 8 6
6 6 6 6 8 8 8 8 0 3 6 3
4 4 4 4 3 4 3 6 4

C C/E F G C C/E F G C
15 A

5
3 3 3 3 3 3 2 3 3 0 3
0 0 1 1 1 1 3 1 3 3 0 0 1 1 1 1 1 3 3 3 0 1 2 3

C/E F G C C/E F G C
19

2 2 3 0 3 5 2 2 3 3 5
3 3 5 0 3 3 3 3 5 5 0 0 3
3 3 0 0 1 2 3 3 3

Take Me To The Pilot

Words and Music by Elton John and Bernie Taupin. Copyright © 1969 UNIVERSAL/DICK JAMES MUSIC LIMITED. Copyright Renewed. All Rights in the United
States and Canada Controlled and Administered by UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC. All Rights Reserved. Used by Permission.
Reprinted by Permission of Hal Leonard Corporation.

bassplayer.com / j a n u a r y 2 0 1 6 55

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 ?
LEARN

3 C Am Bb F C
24 B
PLAY

5 5
TECH

5 5
3 3 3 3 0 0 0 0 1 0 3 3 3 0 2
0 0 3 3 4 0 (0) 1 0 1 2 3 3

Am Bb F C Eb
FACE

29 C
LINK

PO
S S
5 5 3 2 1 0
5 5 5 6 6 7 5 3 2 4 1 (1) 1 2
3 (3) 3 3 7 8 8 1 3 5 3
5 5 6
TRANSCRIPTION

F Ab Gm7 C Bb Ab Eb C
33

3 0 1 2 3 6 6 6 5 5 3 (2) 0 1
0 0 1 1 2 2 3 6 6 5 5 3 1 3
4 (0) 4 3 4 3

C C/E F G C C/E F G
38 D

S S S

3 3 2 3 2 3 2 3 3 0 3 0 0
0 0 1 0 1 1 3 1 3 0 0 1 0 1 1 3 1 3 3

C C/E F G C C/E F G C
42

S S S
2 2 3 0 3 5 2 2 3 0 3 5
3 3 5 0 3 3 0 0 3 3 5 0 0 3
3 3 3 3 3

C Am Bb F
47 E

S
5 2
5 2 2 3 0 3
15 3 3 3 0 1 1 2
0 1 2 3 4 0 1

C Am Bb F C
51

S S
5 5 3 3
5 5 3 3 2 3 4 5 5
3 6 6 3 3 1 0 0 0 0 0 1 1 3 3 1
3 2 0 3 1

56 bassplayer.com / j a n u a r y 2 0 1 6

bas0116_transcription_kc2.indd 56 11/20/15 9:06 PM

 Read your copy of the way you want!
Bass Player is available in print and can now be found in your
iTunes store. Choose your subscription today- print OR digital!

Go to www.bassplayer.com/subs for a print subscription

For the iPad version you can either search in your
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Bass Player is the deepest source of inspiration, information, and
instruction for players seeking mastery of the low end. Choose your
subscription method to Bass Player and join our dynamic and
diverse musician's community!

bas476906_0515.indd 1 3/19/15 12:43 PM

 ?
LEARN

Eb F Ab Gm7
55 F
PLAY

S
10 8 7 (7) (12)(7)
TECH

10 8 7 5 6 6 8 6 8 6 5 5
6 3 5 6 7 8 8 8 8 8 6 6 6 5 5 5
3 4 5 5 6 4 3

C Bb Ab Eb C C C/E F G C C/E F
FACE

59 G

3 3
LINK

(1514 12)
1 (14 12 10)
3 1 3 3 3 0 3 3 (0) 3 3
4 0 0 1 0 1 1 3 1 3 0 (3) 0 0 1 1 1 1
TRANSCRIPTION

G C C C/E F G C C/E F
64

S S
2 2 3 0 3 4 5 2 2 3 0 3 4
0 3 3 0 0 3 3 5 0 3 3 0 0 3 3
3 1 3 3 3 3 3 3

G C C C/E F G C
68

S S S S
5 7 7 7 5 2
5 5 7 5 2 3 (3) 3 5
5 3 3 3 5 0 3 3
3 3 5 1 3 3 0 1 2 3

C C/E F G C C/E F
71

S
S S
5 5 7 7 9 7 5 2 0
2 2 3 3 3 3 4 5 5 7 3 3 0
3 3 5 0 3 3 3 3 0
3 3 4

G C C/E F G C
74

S S
5 3 2 2 2 3 3 3 3 3 4 5 0 1 2 2 3 5
5 3 3 3 5 0 2 3 3
3 0 1 2 3 3

C C/E F G C C/E F G C
77

H S
5 5 3 10 10
5 3 3 4 5 2 3 3 5 2 2 2 3 3 3 3 3 4 5
3 5 (5) 3 3 3 3 5 3
(1)1 3 3 3 5 (5) 0 1 3

58 bassplayer.com / j a n u a r y 2 0 1 6

bas0116_transcription_kc2.indd 58 11/20/15 9:06 PM

 C/E F G C C/E F G C
81 H

S
5 3
5
3 3 5 3 3 3 3 0 2 3
0 0 1 1 1 1 3 3 3 0 1 3 0 0 1 1 1 1 3 3

C/E F G C C C/E F G C
85

S S
5 7
3 0 3 3 0 3
0 0 1 1 1 3 3 0 0 1 1 3 3 3 0 1 2 3

C C/E F G C C/E F G C
89

H
S H
5 3 4 5 7 9
2 3 3 4 5 5 2 3 3 5
3 3 3 3
3

C/E F G C C/E F G C
93

S S S S
7 5 2
3 5 5 (5) 1 2 3 3 4 5
(5) 0 3 3 5 3 3
3 3 0 1 3 (3)

C/E F G
C C/E F G C C
97

H H H PO S
S S S
8 9 8 9 10 9 10 12 10 9 7 5 3 2 0
2 3 3 5 7 10 10 3 2
3 3

C C/E F G C C/E F
101 I

3 4
1 2 3 3 3 3 3 4 5 5 3 2 (2) 2 2 2 (3) 3 3 3 3 3
3 3 3 5 3 1 0 1 3 3

G C C/E F G C
104

H
S S
3 4 5 3 2 5 5 9 9 9 9 10 10 10 11 12
5 5 3 2 5 12 10 12 13 14 12 10 10
5 3 10 10 12

bassplayer.com / j a n u a r y 2 0 1 6 59

bas0116_transcription_kc2.indd 59 11/20/15 9:07 PM

 ?
LEARN

C C/E F G C C/E F G C
107
PLAY

S S S
TECH

10 5 7 7 7
1010 8 7 10 10 2 3 5 2 2 2 2 3 3 3 4 5 5 7
10 8 8 5 0 2 3 3 3 3 3 5 0 3
3 3 0 0 1 2 3 3 3
FACE

C/E F G C C C/E F
111
LINK

H
S
7 9 7 5
7 5 3 5 5 5
TRANSCRIPTION

5 3 0 3 3 3 3 3
4 3 3 3 3 0 1 2 3 0 0 0 1 1 1 1 1 2

G C
114

3 3 3
(Apply tremolo & scoops into C) (On cue)

S S S S
5 10 12
5 5 10 8 7 5 7 7 5 10 12 12 10 12 14 14 10
10 8 7 5 3 8 8 12 10 3
3 3 3 8

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bas0116_transcription_kc2.indd 60 11/20/15 9:07 PM

 B a s s S H O W C AS E

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bas0116_SHOW.indd 65 11/23/15 12:39 PM

 LEARN

Mi
ch
ael Weintr
B o bb y ’ s B A SS m e n t
PLAY

ob
1949 Ampeg Super 800
Bobby Vega is a
world-class
TECH

collector and vin-

tage bass freak
of the first order. Years ago, I used to look for basses,
The gear is real. guitars, and amps in the want ads of local newspapers. Sundays
FACE

The stories are

were always the best! And then there were the classified papers
true. The dates
in every city—they were filled with effects, cabinets, keyboards,
are foggy. And
anything and everything. You had to have a good eye, but you
LINK

the names of the

innocent have
never knew what you might find.
been changed Recently, I was out hillbilly handfishing—that’s what I call
to protect their shopping on Craigslist—when an Ampeg amp caught my eye.
B o bb y ’ s B a SS m e n t

identities… and It was brown, it had a baseball-style logo, and it was cool. I had
save Bobby’s ass! never seen one before, so I made an appointment to check it out.
But as I’m driving to meet the lady, I smell something funny, and
then I see smoke—my car is on fire! I pull in to a gas station just
before my car dies, and I beg the owner to reschedule.
Later that day, I’m at work and I tell my friend Marcus about
the amp. We head over during lunchtime, and it turns out that the
amp is in a trailer park. We meet the owner in the rec room; I’m
starting to get a bad feeling. But the lady is totally cool. The amp
got left to her years ago, and it was time for it to go. Lucky me!
The owner says the amp doesn’t work, and I don’t want to
plug it in and try it out. Lord only knows what could happen
… what if it catches fire or
shocks me? I ask how much
she wants for it, and when
she says $400, I think about
beating her down on the price.
But something tells me to shut
up and pay the lady, so I do.
The amp still has the
original GE 1x12 speaker. It
has volume, treble, and bass
knobs, an on/off switch, and
a fuse cap on the control
panel. The back panel looks
like something out of Fran-
kenstein’s lab: The knobs are
connected to the amp’s chas-
sis with speedometer cables,
and when you turn the con-
trols, the cables turn pots in
the amp chassis. The tubes are
odd, too—the cable on top
of the power tube looks like
an old sparkplug you might
see in a car.
The amp sits in my office
for a year until my friend
(and amp tech to the stars)
Kirkwood Rough sees it and says he’ll fix it for me. Like my
grandmother Mary would say, “How about that shit, Robert!”
I am so excited! I tell my friend Scott Patterson at Ampeg, and
he wants to see and hear it. It turns out the amp, the Super
800, was made in 1949, not in 1959 as I first thought. Then I
get a phone call from Bass Player editor Chris Jisi, who tells
me there will be a clinic about the history of Ampeg at Bass
Player LIVE. Otay!
After putting me in touch with Ampeg bass specialist Dino
Monoxelos, Scott asks if I can bring the Super 800 to BPL and
participate in the Ampeg clinic. Man, am I lucky or what? But
oops, the amp isn’t working yet. Right on time, I get a call from
Kirkwood. I drive to San Francisco, plug in, and holy shitballs!
It’s totally hi-fi. I can’t believe what I am hearing, so I take it
downstairs to Gary Brawer’s Real Guitars, and yep—it’s for real.
It’s all that and a bag of chips.
Next stop: Bass Player LIVE. As we’re setting up for the
clinic, Dino tells me that the Super 800, Ampeg’s very first
production amp, was aimed at upright bassists and jazz gui-
tarists. But when I plug in, it sounds like it was made for my
1961 Fender Jazz Bass. Go to YouTube and type in “Bobby Vega
1949 Ampeg bass amp,” and you’ll see what I mean. The amp
sounds effing cool!
May the groove be with you. —Bobby Vega

66 bassplayer.com / j a n u a r y 2 0 1 6

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