Who’s Dickey Betts?” As soon as Tony Senatore heard that David Goldflies agreed to a KYBP on Film interview during a tour stop in New York in October 2019, Senny polished his cherished Alembic, which was among Goldflies go-to instruments as anchor of Dickey Betts’ Great Southern, and later, the Allman Brothers Band upon their first reunion in 1979 – and brought it to the studio for this extraordinary bassist.

David had a great time riffing on this vintage instrument as he recalled meeting the iconic guitarist during a Top 40 gig, along with his role in the classic rock track “Black Betty” and a few lessons he learned as a young player in Part One of “A Conversation with David Goldflies.”

Tom Semioli: Interviewer / Writer. Mark Preston: Producer /
Director. Drew Taylor: Cinematographer. Mark Polott: Editor.

By Joe Gagliardo

In 1977 or thereabouts, Joe Cetner attended a Cheap Trick gig at the Brat Stop, a venue just over the Wisconsin border, and he was blown away by Tom Petersson’s bass playing.

The following night, he went to see Chicago legends, D’ Thumbs (Cliff Johnson’s band immediately before Off Broadway, which also included drummer Tommy Aldridge following his tenure in Black Oak Arkansas, and shortly before he would wax platinum albums and traverse arenas with Pat Travers, Whitesnake and Ozzy Osbourne).

Once again Joe was blown away by a bassist with a Cheap Trick connection: Jon Brandt, who would go on to replace Pete Comita – who took over the bass chair from Petersson. Brandt anchored the Rockford, Illinois Rock and Roll Hall of Famers from 1981-88.

Driven by those live club experiences, and influenced by Paul McCartney and John Entwistle, Joe made the decision to play the bass guitar!

Equipped with a 1972 Sunburst Gibson Thunderbird, Joe quickly became a regular on the Chicago club scene, including gigs anchoring Pin Ups, who were among the hot, local late 70’s club bands.

In the 80’s Joe played with Tommy Holland in a latter-day configuration of The B’zz.  As that band wound down, Joe became part of Tommy Holland’s next project, Holland, which was signed to Atlantic records, and also featured drummer Brad Rohrssen and guitarist Michael Angelo Batio.  Holland’s LP, entitled Little Monsters, produced by Tom Werman, rocks hard and fast!

At that time Joe switched to one of his 1963 Fender Jazz basses as his go-to instrument.

Check out Holland’s “Wake Up The Neighborhood,” a song that was featured in the 1985 movie, Girls Just Want to Have Fun   https://youtu.be/hkw0r3Hf2ZQ

… and “High Life” https://youtu.be/z0RuuAqL1Ng

In the early 90’s Joe and Kevin Lee were in California and formed Kevin Lee and the Lonesome City Kings.  Inked to the MCA imprint, the band released one LP, Restless, co-produced by Don Dixon.

 Check out these two tracks:

 “Standing in the Line of Fire” https://youtu.be/X6v3e_SuGXY

“One Little Promise” from the Kill the Power Show  https://youtu.be/z0RuuAqL1Ng.

Weary of Chicago winters, Joe packed up and moved to Florida in the mid-1990s.  In addition to playing music on the beach and for various charities, for the past twenty-five years Joe has been living his dream of being a boat captain: an endeavor which takes him back to his childhood – racing home from school to watch Where The Action Is—sun, sand, beaches, waves and music!

By Tony Senatore

Tony’s study of the bass guitar began in 1977, under the tutelage of Al Faraldi, who, interestingly enough, was not a bassist. Faraldi was primarily a jazz guitarist that played classical guitar. The core of Mr. Faraldi’s teaching was his emphasis on reading, the Carol Kaye Bass Method, as well as Bach’s Six Suites for Violincello Solo and the Charlie Parker Omnibook.

After three years with Faraldi, and a brief stint with Jeremy Steig in 1979, Tony left New Jersey for the Berklee College of Music, where he spent a semester, but soon realized that he could forge a more personal style on his own.

Although Tony reunited with Faraldi from 1983 to 1984, he came to the realization that what he was looking for could only be found through real world experience. Thus, the streets and bars of New York became his college campus, and his professors were his heroes, ranging variously from Jaco Pastorius, Gary Willis, to Ray Brown and Ron Carter.

These days, Tony enjoys playing live with his band Billy Panic, whose 2015 release entitled ISH is a musical tour de force of all that Tony holds sacred: melody, harmony and the groove. He also is the house bassist at the weekly jam session with his band The Dogs at The Peddler Jam in Cresskill, New Jersey.

He enjoys the challenge of the endless array of styles he is confronted with each week, and he particularly enjoys mentoring and nurturing younger players. Tony also maintains a rigorous daily practice schedule on his upright and electric basses and has learned a lot from Rufus Philpot’s bass instruction videos.

Tony feels that Rufus is one of the best players and educators available anywhere.

In summary, unlike many of his contemporaries, Tony Curatola’s strength as a musician is realizing what he doesn’t know and having the humility to learn it.

Dig Tony with Billy Panic:

“Work Shoes” https://youtu.be/YSyAEtoPcu4

“Hudson River Walk”  https://youtu.be/dGVnZ1gEKkw

“Running with the Bulls” https://youtu.be/8ymhQzYhJ2s

Tony Curatola in his own words…

How do I judge me…” Let me count the ways.  

Two-five-one that’s right, for many years I not only studied jazz,  but I used it as a barometer to judge myself not only as a bassist but as a musician overall. 

Although I am relatively learned and fluid in the style and admittedly it has taught me much in terms of theory, composition and the like, in all honesty I have to admit two things. First and foremost, I don’t enjoy it, I never did and second I’m not much more than proficient at it. 

It wasn’t until recently when I had a conversation with pro bassist and confidant Tony Senatore who quite literally told me “its okay,” yes okay to openly admit that I don’t care to play jazz anymore.

It wasn’t the music of my time. I grew up in the seventies listening to Joni Mitchell, James Taylor and the all the super bands of the time (none of which played jazz). Since then I’ve come to happily emulate the music I grew up on and really enjoy playing. I no longer judge myself by two-five-one, but I do count to four at the start of most tunes.    

Nowadays I mostly play on a stage not a “bandstand…”

In this first edition of KYBP Tool Talk, KYBP Adjunct Professor, Bergen County New Jersey Bureau Chief Tony Senatore discusses the Gibson EB2-D with Steve Swallow.

Earlier in the week (March 2020), I posted some live Gary Burton videos ranging from 1968 to 1972. This garnered a lot of attention from my Know Your Bass Player cohorts Joe Gagliardo and Charles Lambiase. The videos featured Steve Swallow, one of the very first jazz bassists to play electric bass in an era when there was much hostility towards it, on electric and acoustic bass guitars. In the videos from 1968, Steve was playing the electric bass with his fingers, and by the 70’s had transitioned to playing with a pick, which helped him to forge his signature sound.

Gary Burton Molde 1974 https://youtu.be/i_TIVHp0epM

Gary Burton in Copenhagen 1968 https://youtu.be/CL6CcAbDSBQ

Charles, Joe and I marveled at Steve’s style and tone, and the three of us started guessing as to the what went into it, from the pickup configuration he used, to his strings and amplification. His choice of the Gibson EB2-D was key. Joe just added a dual pickup EB2-D that was stolen from him when he first started out, and Charles and I both own the single pickup EB2.

Charles noted that the silk winding on Steve’s bass strings was light blue, thus, we were able to deduce that they were Rotosound Jazz Bass flatwound strings. Rather than guess, I decided to send Steve a message to see if he could remember some of the things we were hoping to find out.

As it turns out, he was able to remember more than I imagined he would:

Tony,

I wish I could tell you more about my use of the EB2, but the truth is I’ve forgotten a lot.  At the time I was playing that instrument I knew next to nothing about electric bass, and I cringe a little when I hear my playing from that time.  But I must say Roy Haynes sounds incredible in the video you linked me to.

I have no idea what pickup, or combination of pickups, I was using.  The instrument was completely un-modified.  It was the first electric instrument I ever picked up, at the precursor to the NAMM show, in Chicago in 1969.  The strings were, I’m pretty sure, flat wound – they were whatever came with the instrument, and I subsequently ordered replacements from Gibson and just assumed that they were best for the instrument.  Initially, I played through a Gibson amp as well, but I soon figured out that it was terrible, and got an Ampeg B15, the classic flip-top.  I think that’s what drove me to play with a pick: the Gibson bass had a fat, dark sound and so did the Ampeg, and I was searching for brightness.

At some point – I’m not sure of the year but it was after I’d played with Eberhard Weber – I bought another EB2, this one in sunburst finish, and gave it to Peter Coura, the luthier who made Eberhard’s classic hybrid instrument, who put his pickups and electronics into it.  I’ve still got my original red EB2, but I sold the second one for a song a few years ago.  Big mistake.

The switch to pick was difficult.  I simply couldn’t hold onto the damn thing, would get about halfway through a song and watch it fly from my hand across the bandstand.  I took to lining up half a dozen picks on top of the amplifier and grabbing them one by one, until I finally developed that muscle between the thumb and index finger.

Sorry I can’t be more helpful.  Write if any questions come up.  Wash your hands.

Best, Steve

In four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses his career with The Beatstalkers, as a haberdasher, and bassist with The Only Ones, among other endeavors!

Special thanks to Amanda Thorpe, Sal Maida, and Edward Rogers for their editorial inspiration.

Alan Mair Know Your Bass Player on Film Season Tres https://bit.ly/2QAk64A

Alan Mair Part 1 

In the first of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses his tenure in The Beatstalkers who were considered the “Scottish Beatles.” Among the band’s notable collaborators included a young singer songwriter David Jones, later known to the world as David Bowie – who composed and sang back-up for the group.

Alan Mair Part 2

In the second of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses his transition from Beatstalker to boot-maker at Kensington Market, wherein he employed the former Farrokh Bulsara – later to be known to the world as Freddie Mercury.

Alan Mair Part 3 

In the third of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses tenure in The Only Ones.

Alan Mair Part 4

“I want some of that!”

In the fourth and final interview segment with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher recalls the unlikely reunions of both The Beatstalkers and The Only Ones.

Alan Mair: Season Tres Behind-the-Scenes: Rockers ‘n’ Schmatas!

Beatstalkers / The Only Ones bassist Alan Mair, who employed Freddy Mercury as a salesman in his Kensington Market boot shop, discusses fashion with Mark, who has familial ties to the garment industry. Derek reminisces about The Who with Alan.

By Joe Gagliardo

When Andre Howard was growing up, he had an uncle who would regularly visit his home and play blues guitar and sing.

Andre’s dad had a house full of instruments too, and Andre would sometimes join in with his with his uncle, playing trumpet or drums.  Then one day his uncle arrived with a friend who brought along his bass guitar, and everything changed for Andre!  With minimal instruction that day, Andre learned to play a basic blues pattern, and he never looked back.

With his Teisco bass, Andre began soaking up the plentiful blues, soul and rhythm and blues music being played on Chicago radio.  While still in high school, Andrew was gigging five nights a week in the clubs.

Eventually Andre’s pursuit of music took him to Nashville, where he did studio work, and performed regularly with Victor Wooten’s talented Family at 3rd and Lindsley, one of the great authentic blues bars outside of Chicago.

Since returning to Chicago in 2000, Andre has been a mainstay at the top Chicago blues clubs, including the Kingston Mines, B.L.U.E.S., Blue Chicago, and Buddy Guy’s Legends, often playing 5 nights a week.

He has played with a virtual who’s who of blues royalty, including, Lonnie Brooks, Magic Slim and the Teardrops, Eddie “The Chief” Clearwater, Liz Mandeville, and Big Time Sarah.

These days, Andre’s basses of choice are a 7-string Ibanez, a 5- string Schack, or a 4 string Steinberger.

If you have been in a Chicago blues club in the last twenty years, there is a good chance that you have seen and heard Andre perform.

You can catch him supporting a blues legend, playing with Frank Bang and the Cook County Kings, or with his critically acclaimed Andre Howard Band.

Check out Andre’s soulful grooves with Frank Bang & The Cook County Kings, and it’s is readily apparent why he has become known as “Da Funky One!”

The Blues Don’t Care LP  https://youtu.be/t3KCYVa18s4

Live at “The Funky Biscuit”  https://youtu.be/qyHY8hnRhA0

In the third of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses tenure in The Only Ones.

Special thanks to Amanda Thorpe, Sal Maida, and Edward Rogers for their editorial inspiration. Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: cinematographers. Mark Polott: Editor.

By Tony Curatola

Eddie Jackson, cofounder of Queensryche, is arguably one of the most underrated bassists of our time!

Mr. Jackson is also commonly known among those in-the-know as “Edbass” and “One Take” both of which speak to his tremendous knowledge and facility on his instrument.

Born in Robstown, Texas in 1961 Eddie came up as a player in a golden era of the instrument which gave us John Paul Jones, Chris Squire, Jaco Pastorius, and John Entwistle – to cite a few who raised and set the bar extremely high for upcoming players.

Eddie Jackson’s sound is reminiscent of Chris Squire – who I’m sure we can all agree was one of the premier players as bassist and anchor for Yes – Mr. Squire’s work needs no introduction!

Eddie “One Take” Jackson clearly embodies the best of the best in progressive music and has always done so with impeccable modesty. His discography is as extensive as his talent. Any time spent listening to Eddie and his work (and his approach to the nuances and complexity of the music) is time well spent for bass enthusiasts as well as “Joe Listener.”  Perhaps “Silent Lucidity” says it all. Pun intended!

Eddie Jackson’s weapons of choice include Fernandes, Spector NS-2, Spector 5LX extended range, Tobias 5-string, and Hartke amplifiers, bass cabinets.

My choice tracks which I feel demonstrate Eddie Jackson’s diversity include…

“Jet City Woman”  https://youtu.be/EHapAsmvGEU

“Light Years” https://youtu.be/qqI4OfolPuo

“Hundred Mile Stare” https://youtu.be/N9gYGpFltOA

“The Killer” https://youtu.be/qYLxGa57YGs

In the second of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses his transition from Beatstalker to boot-maker at Kensington Market, wherein he employed the former Farrokh Bulsara – later to be known to the world as Freddie Mercury.

Special thanks to Amanda Thorpe, Sal Maida, and Edward Rogers for their editorial inspiration.

Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: Cinematographers.
Mark Polott: Editor.

In the first of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses his tenure in The Beatstalkers who were considered the “Scottish Beatles.” Among the band’s notable collaborators included a young singer songwriter David Jones, later known to the world as David Bowie – who composed and sang back-up for the group.

Special thanks to Amanda Thorpe, Sal Maida, and Edward Rogers for their editorial inspiration.

Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: Cinematographers. Mark Polott: Editor.