Courtesy of Ampeg
By Thomas Semioli
“Jerry never does anything just because it’s right to do, he likes to do it because it feels good…” B.B. King.
A true giant of the instrument – Jaco Pastorius cited Jerry Jemmott aka “The Groovemaster” as his favorite player and mentor. And when you hear (and feel) Jerry’s bass artistry on scores of tracks, you can obviously understand why. A disciple of Paul Chambers and Charles Mingus – Jemmott owns “the pocket.” Greatly inspired by Paul Chambers, Jerry often stretches the harmonic and rhythmic boundaries akin to his mentor.
Along with James Jamerson, Duck Dunn, Carol Kaye, and Chuck Rainey – Jerry Jemmott played a major role in establishing the electric bass in the studio and on the bandstand.
Jemmott was among Atlantic Records’ most prodigious session cats during their golden era – appearing on such landmark recordings by Aretha Franklin (Soul ’69, Aretha Now!, Live at the Fillmore), The Rascals (Freedom Suite, Peaceful World), King Curtis (Live at the Fillmore, Everybody’s Talkin’), and Roberta Flack, plus numerous sides by George Benson (The Other Side of Abbey Road, Tell It Like It Is), Ray Charles, Nina Simone, Gil Scott-Heron, Janis Ian, Herbie Hancock, Wilson Pickett and Herbie Mann to cite a very, very select few.
Jerry is also a prolific solo recording artist, waxing sides which meld blues, funk, soul, and reggae under his name and the moniker Jerry Jemmott & Souler Energy.
Bass Player cited Jerry with a lifetime achievement award in 2001. Be sure to seek out the video Jaco Pastorius Modern Electric Bass, hosted by Jerry. Dig the way Pastorius’ heartfelt admiration and reverence for Jerry bursts forth in that historic meeting.
Jerry’s main weapon of choice during his 60s/70s heyday was the Fender Jazz.
Jerry Jemmott Sound & Vision
“The Revolution Will Not Be Televised” Gil Scott-Heron https://youtu.be/6043Z_WPaKU
“People Got to Be Free” The Rascals https://youtu.be/6043Z_WPaKU
“Memphis Soul Stew” King Curtis & The Kingpins: https://youtu.be/0Loy55z4GpA
“The Thrill is Gone” B.B. King https://youtu.be/kpC69qIe02E
“Ain’t Got No I Got Life” Nina Simone https://youtu.be/LKLeYot4l3I
“Tracks of My Tears” Aretha Franklin https://youtu.be/oTD7PGgEq9c
“Soul Limbo” George Benson https://youtu.be/99ppx4byI2U
“Soul Turnaround” Freddie Hubbard https://youtu.be/7Ri9OiHS1LI
As the harmonic and rhythmic anchor for John Lennon & Yoko Ono Elephant’s Memory Band, Chuck Berry, and Elephant’s Memory Band, among others – bassist Gary Van Scyoc has forged and indelible imprint on the artform that is rock and roll!
An educator, collaborator, side-man, clinician, and author, Gary discusses his life as a bass player in Know Your Bass Player on Film Seasons One and Tres, New York City 2015, 2018 at Euphoria Studios. https://bit.ly/3gxMqzj
Though Ziggy was the nazz with God-given ass – it was the late Trevor Bolder who tethered the mighty Spiders from Mars with his dense, soulful bass parts that referenced the hip rhythm and blues cats his bandleader so greatly admired.
The Spider with rock ‘n’ roll’s most elegantly multi-colored elongated side-whiskers steered the Stardust ship with a Gibson EB-3 hot-wired into stacks of Marshall amplifiers and cabinets, and on occasion, a Fender Mustang – which consequently afforded guitar deity Mick Ronson and piano maestro Mike Garson a firm platform on which to render their theatrical melodies to prop Bowie’s extraterrestrial sound and vision.
Trevor was also victim to the bass crime of the 20th Century on Alladin Sane (1973) which was perpetrated by Mr. Jones – who did not allow Bolder to repair the glaring error on “The Jean Genie” – which was likely a result of David’s propensity for miscues.
“Jean Genie” – bass clam at 0:45 https://youtu.be/kMYg_Ra4cr8
When the kids had killed the man, and Ziggy broke up the band – much, much too soon, Trevor anchored Ronno’s Slaughter on 10th Avenue, and Play Don’t Worry – two releases which prove that the Spiders were much more than Ziggy’s hired ray-guns!
In 1977, Bolder commenced the gig that he would excel at for the remainder of his days on this mortal coil (save for a brief few years in the 1980s wherein he was replaced by Bob Daisley)– bassist, composer for prog-metal masters Uriah Heep. With Heep, Trevor’s primary weapon of choice was a modded-out Fender Precision with a J bridge pick-up.
Coda: As told to KYBP On Film, Trevor afforded John Bentley, later of Squeeze, bass lessons when Bolder left the band they were both in to join the Spiders.
Trevor on stage with Uriah Heep 1978 – Courtesy of Konstantinos Takos
Trevor Bolder Sound & Vision….
David Bowie:
“Lady Grinning Soul” https://youtu.be/18d_pLKgMoY
“Roslyn” https://youtu.be/-9LU21aU5aU
“Watch That Man” https://youtu.be/eQGobt4ub6U
Mick Ronson:
“Growing Up and I’m Fine” https://youtu.be/-3dtBblWmaM
“Billy Porter” https://youtu.be/QOwj0zgmykU
Uriah Heep
“Sympathy” https://youtu.be/Nvmkaw_ZQxM
“Free Me” https://youtu.be/lK45E6zfJeA
“Love Or Nothing” https://youtu.be/vRsxTdpfJ8o
“Carry On” https://youtu.be/pCYM9GHe81M
“Blood Red Roses” https://youtu.be/9Y0MlyNgGHs
Take note of Trevor’s lead vocal and melodic bass on “Fear of Falling” from Heep’s latter day classic Sea of Light (1995). https://youtu.be/Jx3Nzk5XvFQ
Cited as Bassist of the Year in 1988 by Rolling Stone, Kenny Aaronson is the among most versatile and resourceful players in the history of the art-form that is rock and roll. On the concert stage as a sideman, he is second to none as an accompanist, rhythmic/harmonic catalyst, and visual performer.
Ditto his career as a studio player. Aaronson’s canon embraces every sub-genre of rock ranging from traditional rhythm & blues, prog, metal, punk, alternative, roots, arena rock, pop, blues, folk, and every permutation thereof…and maybe a few Kenny invented – go ask him!!
A short list of his record and touring credits would break the internet quicker than a Kardashian. To cite a select few: Ronnie Spector, Billy Idol, Tom Guerra, The Stories with Ian Lloyd, Dana Fuchs, Bob Dylan, Sammy Hagar, Joan Jett, Graham Parker, Hall & Oates, New York Dolls, John Eddie, The Yardbirds, Edgar Winter, Robert Gordon, Dave Edmunds, Michael Monroe, Billy Squire, Dust, and Hagar/Aaronson/Schon/Shrieve…
As I was witness, Kenny’s tenure with Dylan – with guitarist G.E. Smith, and drummer Chris Parker – ranks with Bob’s collaborations with The Band, and The Rolling Thunder Revue.
This writer cited Kenny in Huffington Post in December 2017 Eleven Bass Players Who Belong in the Rock and Roll Hall of Fame – in the category for Musical Excellence : https://bit.ly/2hOLzO3
Aaronson’s arsenal: I’ve seen Kenny commandeer Fender, Kay, ESP, Ibanez G & L basses…his strings are La Bella 760N…
Interview with Tom Guerra and Kenny From a Yardbird to a Mambo Son – Sowing Seeds in Tom Guerra’s American Garden – Tom Semioli NO DEPRESSION 2018 https://bit.ly/2XeOaWZ
Kenny Aaronson Sound & Vision:
Brian Setzer “Haunted River” https://youtu.be/tlGJu317T7E
Rick Derringer “Envy” https://youtu.be/EpjZ9gRjJU4
Stories “Brother Louie” https://youtu.be/wmF3jDwSTmI
HSAS “Missing You” https://youtu.be/Q1pUyLrZWcg
Joan Jett “World of Denial” https://youtu.be/XK_K_ft0dIU
Dust https://youtu.be/U4KnOFDxW0c
Michael Monroe “Not Fakin’ It” https://youtu.be/62w64L9j_0g
Tom Guerra “Tell the World” https://youtu.be/X_1zLzia3oQ
For all things Kenny Aaronson – https://www.kennyaaronson.com/home
Read Kenny Aaronson: An Appreciation on Know Your Bass Player Com https://bit.ly/2L6QUmA
Photo courtesy of Glenn Hughes Com
By Thomas Semioli
Courtesy Dennis Dunaway Facebook
By Thomas Semioli
Photo courtesy of Dennis Dunaway Facebook
During the question and answer segment for attendees, co-author Chris Hodenfield speaks eloquently of his time touring with the band for his well-known Rolling Stonemagazine feature in 1972. He quips “Dennis has an appallingly good memory….everyone in the band was a comedian who tried to outdo each other.” Reminiscing how Groucho Marx and George Burns were Alice Cooper band fans,
Dunaway praises his wife, the band’s former managers, his beloved band-mates, the road and lighting crews from years past, and of course, his loyal fans.
When Lou Reed decided to transform his persona from underground artist to a bona-fide arena rocker, he enlisted guitar shredders Dick Wagner and Steve Hunter, drummer Whitey Glan, keyboardist Ray Colcord, and bassist Prakash John to forge his sonic assault. The result was one of rock’s greatest concert releases: Rock n Roll Animal (1974) – and one of rock’s greatest bass performances.
With Steve Katz in the producer’s chair, John and the band essentially threw every motif imaginable against the wall and somehow all of it stuck!
With a strong foundation in his native Indian music, along with studies in classical, and a passion for rhythm & blues borne of his dues paying days in Toronto based Top 40 bands, John’s harmonic extensions and endless rhythmic variations within the most basic of rock chord progressions were inventive ala Jack Bruce. Perhaps Jaco heard Prakash with Lou and decided to tweak his bridge pickup – we’ll never know. John’s soulful playing on Sally Can’t Dance helped Lou nail his only Top 10 album.
After Lou sacked his Animal band, John and his mates went to work for Alice Cooper and replicated their signature din as heard on the live Alice Cooper Show album.
Prakash John Sound & Vision…
Lou Reed:
“Intro / Sweet Jane” https://youtu.be/KqpWTC-rvhQ
“Sally Can’t Dane” https://youtu.be/gbfB9z4Am-E
“Vicious” video clip: https://youtu.be/gYUIZg3bhjU
Alice Cooper:
“Under My Wheels” https://youtu.be/o_oQa0dTQSI
“School’s Out” video clip with bass solo: https://youtu.be/Kbz7ZI6S6oU
Steve Hunter: “Eight Miles High” https://youtu.be/0KtgqCiiIhE
Prakash John & The Lincolns: “How Sweet It Is” https://youtu.be/27NO95PdPQg
Matt Schofield: “Black Cat Bone” https://youtu.be/qZZpezJcPl0
Jordan John “Do Right Woman” https://youtu.be/OdcwqSe1o14
By Thomas Semioli
A composer, producer, bandmember, collaborator and recording artist – Kenny Passarelli has been the go-to bass player for numerous Rock and Roll Hall of Fame artists, serving as the harmonic and rhythmic catalyst on several seminal sides, and ensembles.
Born in Denver, Colorado, Kenny’s musical journey began as a classical trumpet player – studying with Byron Jolivett, and performing with the “Inaugural Band” as a member of the Denver Junior Police Band.
Following his meeting with Stephen Stills, who played him demos of his new group Crosby Stills Nash &Young, Kenny opted for a career in rock and roll. Though he missed the opportunity to work with the iconic guitarist at Woodstock in ‘69, Kenny nailed a gig with Joe Walsh, fresh out of the James Gang, with his band Barnstorm also featuring drummer Joe Vitale.
Working on-and-off with Walsh throughout the 70s, Kenny co-authored “Rocky Mountain Way” and his ascending fretless motif enabled Wash to live a “Life of Illusion” – another classic rock track which he co-wrote with Walsh.
Courtesy of Joe Walsh Com
Dig Tony Senatore’s rendition of Joe Walsh’s “Life of Illusion” https://youtu.be/guBps-ftmPk
Along with Rick Danko and Boz Burrell, Kenny was an early proponent of the fretless bass in a rock context which he plays with a decidedly soulful / rhythm and blues approach.
At the recommendation of Walsh, Kenny was the foundation of Reg Dwight’s second greatest band as heard on Rock of the Westies (1975), Blue Moves (1976), and the archival Captain Fantastic Live at Wembley (2005).
Courtesy of Elton John Com
Dig Kenny on “Island Girl” https://youtu.be/H19MbiOICa0
Dig Tony Senatore’s rendition of Kenny on “Grow Some Funk of Your Own” https://youtu.be/ZuvUxFqiPyM
As the bedrock of the Darryl Hall & John Oates band, Kenny waxed Livetime and Along the Red Ledge (1978) in addition to Hall’s iconic Sacred Songs slab.
Courtesy of Hall and Oates Com
Dig Tony Senatore’s renditions of Kenny’s select work with Darryl Hall and John Oates:
“It’s a Laugh” https://youtu.be/kUyVrBftDGY
“Pleasure Beach” https://youtu.be/U-eDze5_f4Y
“Serious Music” https://youtu.be/U-eDze5_f4Y
“Room to Breathe” https://youtu.be/VL_hBn0UPkg
“Don’t Blame It On Love” https://youtu.be/2q9Tzc8CTwA
“I Don’t Want to Lose You” https://youtu.be/kUyVrBftDGY
An extended range version of “The Last Time” https://youtu.be/JnOJP6-L0AE
Several musical guests on Live From Daryl’s House have rendered compositions from Sacred Songs with their esteemed host– and with good reason: it stands among the seminal slabs of its era!
Go figure why RCA shelved it for three years fearing its lack of commercial potential.
Produced by Robert Fripp, who also renders his signature sonic guitar soundscapes, Sacred Songs prominently features the core of Sir Elton’s most dexterous ensemble : guitarist Caleb Quaye, drummer Roger Pope, and bassist Kenny Passarelli. The tracks, which were recorded in 1977, burst forth with the vibrancy a concert performance – even though they never played ‘em on stage!
Kenny works his gritty soul influences from cut to cut, and keeps the pocket percolating when reinforcing Daryl’s left-hand keyboard motifs throughout.
Dig Tony Senatore’s rendition of Kenny’s bass passages from Sacred Songs…
“Sacred Songs” https://youtu.be/NUxbDLSIGDk
“Something in 4/4 Time” https://youtu.be/W-SFYbN9BMg
“NYCNYC” https://youtu.be/_jj_jIUdxUQ
Dig Kenny on Sacred Songs
Dig “Survive” https://youtu.be/0ZaLqTd9wWk
Dig “Babs and Babs” https://youtu.be/235nPzFOXSY
Kenny also shined on notable slabs by Stephen Stills (Stills and Stephen Stills Live -1975), Rick Derringer (All American Boy / 1973), Otis Taylor, and Dan Fogelberg (Souvenirs / 1974), among others.
His impressive solo canon, which also features Kenny’s talents as a pianist, includes releases which are a meld of classical, new age, and Spanish heritage.
Coda: In November 2016, I cited Kenny Passarelli among Eleven More Bass Players Who Belong in the Rock and Roll Hall of Fame in Huffington Post http://huff.to/2gHNIOA in the Musical Excellence category.
Among Kenny’s weapons of choice include the Fender Jazz bass, and the fretless Fender Precision bass.
By Thomas Semioli
In Memoriam: The axiom “don’t get too close to your heroes…” did not apply to my bass hero Jim Rodford. When we spoke on film at his local pub in St. Albans where The Kinks, Who, Beatles, and Stones, among others, all honed their craft back in the day, Jim shared insightful and untold stories about his career, the artists, and the era. As per my request, Jim was kind enough to dig his weathered Fender Mustang out of storage which can be heard on The Kinks and Argent classics. With my colleagues’ co-producer Mark Preston and cameraman Derek Hanlon, I bought Jim a pint or two to repay all those bass lessons from In Deep, Low Budget…. Godspeed to the great Jim Rodford!
If you’ve ever grooved to “Hold Your Head Up,” “Give The People What They Want” “God Gave Rock and Roll to You,” “Come Dancing,” “(Wish I Could Fly Like) Superman,” and “Destroyer” among other Argent and Kinks “Klassics,” please refer to James Walter Rodford, of St. Albans, Hertfordshire England. As a member of Mike Cotton Sound, Jim shared stages with The Beatles, The Who, The Animals, and The Kinks’ original line-up.
He was a founding member of the progressive pop powerhouse Argent (1969-76) and the longest tenured (1978-96) and most musically adept bassist The Kinks employed after the departure of Peter Quaife. With Argent, Rodford rendered adventurous counterpoint for the band’s legendary extended instrumental passages. With the Kinks, Jim underpinned Ray’s melodies and Dave’s riffs with inventive lines that facilitated the band’s commercial and artistic rebirth the moment he joined. Jim also appeared with The Kast-Off Kinks tribute band, wherein he replaced John Dalton whom he originally replaced in The Kinks back in the late 1970s!
The ageless Jim Rodford continued to ply his bass artistry on stage and on record with revamped line-ups of Argent, The Zombies, and the Colin Blunstone Band, among others until his passing in 2018.
Coda: I cited Jim Rodford (and John Dalton) in Eleven Bass Players Who Belong in the Rock and Roll Hall of Fame for Huffington Post in 2015: http://huff.to/1WPHSp6
And Jim was also mentioned in my Huffington Post interview with Colin Blunstone and Rod Argent The Zombies Still Got That Hunger for New York City: http://huff.to/1JQbpWe
Dig Jim Rodford in Know Your Bass Player on Film Season One 2014 – filmed at The Horn, in St. Albans UK https://bit.ly/2QuX6E7
Affectionately referred to as “Plonk” by his bandmates for reasons not appropriate to discuss on this forum, the late great Ronnie Lane’s career, which spanned from 1965 until his passing in 1997, was an amazing journey which traversed pop, folk, rhythm and blues, soul and permutations thereof.
Though he is more renowned for his songwriting with Steve Marriott and the Small Faces, and later with The Faces (“Glad and Sorry,” “Debris,” “Stone”) Mr. Lane was a remarkably fluid bassist who served as a pocket player and melodic foil – often within the same composition.
Ronnie on fretless on “Debris” https://youtu.be/cbTDVTwPNZw
Slim Chance “How Come” https://youtu.be/z4U2Fcz_iKw
Small Faces: “Tin Soldier” with PP Arnold: https://youtu.be/6vWTtx_PxPo
Ronnie’s solo career leading Slim Chance was a groundbreaking meld of traditional English folk and rock which inspired generations on both sides of the Atlantic.
Lane’s collaborative album with Pete Townshend Rough Mix (1977) was among the most overlooked gems of the 1970s.
When he was stricken with multiple sclerosis in 1983 – Mr. Lane assembled the historic Ronnie Lane Appeal for ARMS (Action into Research for Multiple Sclerosis) Charity Concerts in the UK and US which featured his mates Jimmy Page, Eric Clapton, Jeff Beck, Steve Winwood, Andy Fairweather-Low, Paul Rodgers, Joe Cocker, Ray Cooper, Chris Stainton, Bill Wyman, Kenny Jones, and Charlie Watts among others.
Though diminutive in physical stature, Mr. Lane was a giant of classic rock – and kept gigging to the very end despite his debilitating disease.