John brings the root, the fifth, and occasionally the minor six! He can dance, he can sing and boy-oh-boy he can do THAT thing! Swing, Johnny, Swing!!!  Emily Duff

 

Akin to many of our g-g-generation John Hamilton came to the instrument by way of the six-string. Yet as contra-bass icon Anthony Jackson and such Jacksonian devotees as Dave Swift (Later …with Jools Holland, UK’s most recognized bassist) rightly pontificate: the electric bass is indeed a member of the GUITAR family!

 

Unlike many a convert, Hamilton eschews the riffage approach (see Keef, Ronnie Wood….) and works the pocket in the Willie Dixon / William Perks (that’s “Bill Wyman” to you civilians!) perspective in his supportive slant on stage and in the studio with the aforementioned Duff collective and The Bakersfield Breakers – the latter of whom have embarked on “a mission to reawaken the classic guitar-driven sound of 1950’s Bakersfield and the driving tunes of 1960’s surf rock….” 

 

As Ms. Duff details, Hamilton serves the singer, song, and soloist with a warm tone borne of his “mutt” P bass, among other fine tools of the trade.

 

John Hamilton Sound & Vision:

 

Emily Duff Band Haverford Music Festival:

 

The Bakersfield Breakers

 

L to R: Kenny Soule, Scott Aldrich, Emily Duff, Charlie Giordano, and John Hamilton with his “P Mutt”

Photo by Charles Chessler

 

John Hamilton and the “Mutt P Bass”

 

 

By Tony Senatore

‘

Appreciation: recognition and enjoyment of the good qualities of someone or something; gratitude; a piece of writing in which the qualities of a person or the person’s work are discussed and assessed; a full understanding of a situation.

 

In November 2016 Huffington Post Entertainment published my annual Bass Players Who Belong in the Rock and Roll Hall of Fame op-ed (rant) which included Lamar Williams, David Goldflies, Allen Woody, and Oteil Burbridge of the Allman Brothers Band. https://www.huffpost.com/entry/eleven-more-bass-players-_b_13153786

 

The Hall, in all its infamy, cited the founding members despite the extraordinary contributions of those that followed. Including a virtuoso bassist from a place called Oxford, Ohio.

 

I can’t quite remember the exact details or time frame wherein I received a “thank you” missive from David “Rook” Goldflies. When I discovered that his extraordinary repertory A Brothers Revival ensemble had a show in Long Island, which I unfortunately could not attend (I had a gig as well!) I asked if he’d sit for an on-camera interview at Euphoria Studios in Manhattan the next day, to which he agreed.

 

I invited photographer Wade Gradia, who’d shot photos of David’s predecessor, the late great Lamar Williams, and had attended many Allmans, Sea Level, and Dickey Betts Great Southern concerts back in the 1970s.

 

Also among my crew was renown bassist and collector Tony Senatore, who came up with a brilliant visual: a vintage Alembic bass similar to the one David used with the Allmans and Betts. Surely Goldflies had not touched one of these four string beasts in a long, long time! (He hadn’t – and was thrilled to discover that Senny had paid rapt attention to detail!)

 

When the legacy of the Allman Brothers Band is reviewed, the emphasis is obviously on the original watershed version featuring Duane, and Berry Oakley.

 

The second version with bassist Lamar Williams, and keyboardist Chuck Leavell oft garners hosannas aplenty as they were actually the most commercially successful of the Brothers’ bands replete with chart-topping records, heavy rotation FM radio play, gossip magazine / TV coverage (Cher & Gregg), and high-profile engagements including Watkins Glenn, and The Midnight Special.

 

 

The latter-day line-ups with bassists Allen Woody and Oteil Burbridge are probably the most recognizable to the masses due to the emergence of digital media / video sharing platforms and extended star-studded engagements at New York City’s hallowed Beacon Theater.

 

So, what about my David “Rook” Goldflies version of the Brothers?

 

The year was 1979 and American roots music was not represented in the mainstream – which is where most teenagers, myself included, got their information during the Carter Administration.

 

Also note that this was ancient times previous to social media, websites, and the indie-specialty publishing explosion of the 1990s wherein every genre of popular music was represented in numerous magazine formats. Sure, there was Rolling Stone, Spin, Creem, New Musical Express, and Circus in the rock forum – however their spotlight, to my tastes, all to often shone on artists with a lot more sizzle than substance.  

 

The Allman Brothers never lacked substance. Their sizzle was their musicianship. Go figure!

 

With Rook they waxed a trio of records which acquiesced to the commercial tastes of the day. Again we must remember, this was before the emergence of the “legacy artist” in rock music. Either an artist resonated with what was considered “contemporary” lest they be relegated to the group-think journo tastemakers and radio programmers as “irrelevant.”

 

Nowadays veterans spanning Tony Bennett to the Rolling Stones are cited for the classic artistry that initially brought them the recognition they richly deserved in the first place. The final incarnations of the Brothers were able to bask in that legacy glow, but that was not the case with the Rook Brothers Band.

 

Ignored and somewhat disdained by the establishment, David’s version of the Allman Brothers Band kept the flame burning for a generation too young to experience the Fillmore East/West era on the concert stage. Their fiery performances and musical references prompted young players such as myself to dig out vintage blues and jazz records to uncover where these cats were coming from. And Rook was just a kid barely in his 20s! How did he play with such depth and maturity?

 

But don’t take my word for it: The Allman Brothers Band – Full Concert – 01/04/81 – Capitol Theatre (OFFICIAL)   https://youtu.be/uYaSKFSdzRA

 

I was witness to the Brothers with Rook during my days at the University of Miami, and the bass players, guitarists, and drummers were all taking notes!

 

And as for those overlooked Allmans ’79 – early ‘80s slabs, if they were cut by a younger, prettier ensemble with million-dollar video budgets and designer clothing endorsements, they’d be considered career highlights rather than Allmans lowlights. Perhaps I should abscond the masters, hire a few TikTok models, and re-release the music!  

 

Goldflies’ career since the Allmans is the most diverse, adventurous, and exploratory of all the members who served in one of rock’s most influential ensembles. I advise you to follow him on social media and his website. https://www.goldfliesmusic.com/

 

Sans the Rook version of the Brothers, would the band have ever reunited in the late ‘80s until their retirement in the 21^st Century wherein they recaptured some of the old glory and added a few new chapters? Maybe, maybe not.

 

Regardless, Rook’s role was undeniably vital. But that’s the life of the bass player, ain’t it? The other guys get all the credit!

 

To paraphrase Ron Carter “You may be the bandleader, but the bass player leads the band…” On behalf of my generation of bass players (“The Rook Renegade”), thank you David Goldflies for the inspiration (at the right time) and the timeless music. Long may you pluck, plectrum, bow, mute…

 

(Note that Tony Senatore anchors a power – progressive rock ensemble dubbed “Rook.” However the official inspiration for the name is drawn from the chess game piece. Though I do detect a Goldflies aesthetic to Senny’s playing. Where’d he learn that?) 

 

Read David’s take on the Allmans….

 

Own a Little Piece of the Allman Brothers Band? You Probably Already Do.

By David Goldflies (Medium.Com)

 

First, this article here on Medium is not an offer to buy a piece of the Allman Brothers Band or anything else for that matter. If someone calls you on the phone and offers to sell you a part of the Allman Brothers Band, hang up!

 

The Allman Brothers band has achieved legendary status in American rock music culture. While younger generations have mostly moved on, the iconic status of much of their music, especially from their early years, keeps their music very much alive. Selections like Dreams, Midnight Rider, and others are part of the soundscape of current movies and TV shows.

 

I was fortunate to play in the Brothers from 1979 to 1983. After that experience and in the 38 years since I noticed an interesting phenomenon. It goes something like this.

 

I’d meet someone, and they would at some point ask me what I do. I’d say, “I’m a musician,” to which they would say, “Oh great, where do you play”? Eventually, it would come out I was a bassist for the Allman Brothers Band. At that point, if they had had any experience of their own with the Allman Brothers, such as going to a concert, buying an album, or a favorite song, they would tell me about it.

 

But I then realized that at that moment, they had inadvertently had another experience with the Allman Brothers Band — Me! I wondered, where does this chain of association stop?

 

For instance, it might go something like this:

 

I met a dude from the Allman Brothers! The person would then tell their significant other: I met a dude from the Allman Brothers. In turn, their significant other would tell their friend, hey, my other half met a dude from the Allman Brothers! Later, that person who has a dog would take the dog to the vet and, in conversation, tell the vet my friend’s significant other met a dude from the Allman Brothers! Later that day, after treating the dog for fleas, the vet would tell his co-workers, I treated the fleas on a dog that was owned by someone whose friend dates the guy who met a dude from the Allman Brothers.

 

I’ll stop here. You get the idea. My question once I observed this was, where does the chain end? Or does it?

 

Flash forward to now. In the spring of 2021, my band, A Brother’s Revival, where we strive to bring the original recordings of the Allman Brothers Band to life, resumed touring. The audiences at these gigs were enthusiastic to hear live music again after over a year of various lockdowns due to COVID-19.

 

After each show, while hawking our band merch in the theater lobby, many fans would come up to us, and almost every one of them, after expressing how much they loved the show, would then slip into a more serious, almost reverential demeanor and would tell me about their previous experience with the Allman Brothers. One man told me that he had seen over 50 shows by the band. Another woman told me the story of serving the band dinner one night in Ohio and how Gregg Allman had spoken to her during the evening. Another knew someone that had dated a roadie of the band 40 years ago.

 

Each story was different in detail, but there was a common thread. Each person owned their story and, in some cool, magical way, felt a strong sense of connection to the community that has surrounded the Allman Brothers for decades. In most cases, these memories went far past identifying with the actual music the band played.

 

The keyword in all of this is “owned.” The sense of ownership in these stories was palpable. And a bit humbling since we were here to bring this music to life. The fact that these stories came out so easily after our show helped me believe that we are doing a respectable job representing the Allman Brothers’ music.

 

So I got to thinking about the piece of the Allman Brothers that I own. Although I didn’t know it at the time, and to be honest, I’m sure the Allman Brothers didn’t know it either, by being asked to play with guitarist Dickey Betts (and eventually with Greg Allman, Butch Trucks, and Jai Johnny Johnson), I was being entrusted to learn and in some way carry on the music of the Brothers. That idea took almost 35 years for me to understand, let alone put into motion.

 

What part of the Allman Brothers legacy do musicians like myself, that have developed their talent and style from the Allman Brothers’ music, own? When arranging, rehearsing, and touring A Brother’s Revival, I find my relationship to the music, culture, and yes, the community that defines the ABB’s legacy keeps expanding as we dive deeper into the music of the band. Each story told to me after our gigs, in fact, wherever I hear them (at the grocery store, in the doctor’s office, on an airport shuttle), makes me think of the endless chain of association that exists around the group.

 

I’m glad I can be a self-aware flea on the back of the dog that was treated by the vet of the person whose friend dates someone who met a dude from the Allman Brothers.

 

Although I didn’t realize it at the time, it has been the most unexpected gift I’ve experienced in my life.

 

 

 

 

Rook bassist Tony Senatore affords a public service announcement on behalf of Studio 601 “Music Against Drugs and Alcohol”

 

When I was a student at Columbia University, I made a comment in class that human beings, regardless of geographic location, all aspire towards the same things. Love, family, and the never-ending quest to find the meaning of life are just a few of the things that bind us together. I asserted that when it comes right down to it, global citizens have more similarities than they do differences. My comment was summarily rejected by my professor, but in retrospect, I stand behind my original statement. Drug and alcohol addiction is a problem that we all face. Often, those that suffer with these afflictions have long periods of remission from disease, only to have their addiction recur many years later. The staff at Studio 601 realize that drug and alcohol addiction is a serious problem.

 

To raise awareness to addiction, they have put together a non-traditional concert event in which musicians share their views of the dangers of drug and alcohol abuse. In their own words, and in their native languages, musical performers from around the world share their music and their stories in an entirely internet-based concert event. The wonderful Soviet teacher Vasily Sukhomlinsky said that just as gymnastics straightens the body, music straightens the soul. Music has the manifest function of giving us immediate joy and gratification, but it also has a latent function; it helps to awaken the idea of the sublime, majestic and beautiful, not only in the surrounding world, but also in ourselves. Music is a powerful means of self-education. We must help our children make the right choice.

 

As such, Studio 601 is proud to present this virtual concert whose primary goal is to convey that playing and listening to music is a powerful alternative to drug and alcohol addiction. Studio 601 would like to thank all the musicians who participated in the concert. Your support in the fight against this serious problem of humanity which has affected the entire world, is greatly appreciated. The staff at Know Your Bass Player would like to thank Juliya Gorbachyova who represents the soviet satellite branch of our KYBP organization for her tireless efforts in procuring talent for this event.

 

The original date for the six-hour concert event was planned for October 3rd, a significant date, as it coincides with World Sobriety Day. However, to comply with various laws and regulations, the concert event will be rescheduled, and we will keep you posted as to the new date, and a link to the event.

 

“The Path” Rook, the Progressive Jazz / Fusion band formed in 2020. A versatile set of musicians whose foundations are firmly rooted in music theory and improvisation, who have honed their skills over the years with never ending playing and practice in the Tri-State Area. Rook’s Chariot is the stage — and each member of the band can take the reins at any point during a performance and set the tempo of the song. Alan LoPresti (guitar / vocals), Andy Rothstein (guitar), Tony Senatore (bass), Tom Cottone (drums), Joe Deninzon (violin)

 

By KYBP Austin Bureau Chief Robert Jenkins “Austin Underground”

 

Thad Stevens. Thad Stevens. Thad! Stevens!

 

Know that name. Know that bass player. Because Thad Stevens is one of the best bassists on the Austin Underground scene right now. He is a dedicated fretless player with a wide range of abilities that allows him to be somewhat of a chameleon in the jungle of bands in Austin.

 

Thad got his start at a relatively young age when he was in middle school. His brother played guitar and when a family friend offered to sell a bass, Thad took a stab at it. With a little background in music from middle school, the interest for Thad to play the bass was immediate, if only diversionary, at first.

 

Coming up during the post – grunge era, Thad was influenced early on by bands like Alice In Chains but was also drawn deeper into bass playing by listening to Steve Harris of Iron Maiden.

 

The music of Pink Floyd got Thad deeply interested in the sound of fretless bass. Listening to Death (and Steve Di Giorgio) helped Thad understand and love melodic bass playing in a metal context.

 

Thad’s bass career really started when he joined local Austin prog metal heavyweights Ethereal Architect. It was with this band that he was able to really showcase his range on the fretless bass in a setting of complex arrangements with broad melodic structure. The regimented style of Ethereal Architect helped Thad to really refine the style of playing fast and in tune on fretless.

 

Thad went on to play with Immortal Guardian and Descendants of Erdrick, continuing to explore his opportunities to add his fretless sound and style to a metal context.

 

Thad currently plays with local Austin hardcore behemoths Böndbreaker. “I really like playing with Böndbreaker because it allows me complete freedom to play my style while engaging in and promoting a message that I feel is important and worthy. It is very fulfilling” says Thad. He also plays with singer/songwriter Amanda Lepre. This provided him with the opportunity to learn to play in a “less is more” style, playing to the song so as not to be overbearing in a lighter musical setting.

 

Thad Stevens really can play just about anything. He is a musical chameleon with the ability to play a wide range of genres with a unique sound and style. You should definitely know this bass player.

 

Thad is an endorser of Clement Basses by Tom Clement of Florida.

 

He plays two Clement Basses: 5-string Wide Joan and 6-string Wide Joan, both fretless. His  5-string is a swamp ash body with a black limba top; white limba neck; black/white ebony finger board; Bartolini Original Bass Dual pickups; Bartolini preamp.

 

Thad plays through a Genz – Benz Shuttle Max 6.0 through Genz – Benz Shuttle 2/10 and 2/12 cabinets.

 

Who are Thad’s influences? There are too many to mention. But he credits Doug Kaiser of Wrathchild, Lars Norberg of Spiral Architect, Steve Harris of Iron Maiden, and Geddy Lee of Rush as being his primary influences.

 

Thad Stevens Sound & Vision…

 

Thad with Ethereal Architect: https://youtu.be/kuVDC9PjU08

 

Thad with Immortal Guardian: https://youtu.be/jRUK6EpLUFI

 

Thad with Amanda Lepre: https://youtu.be/47VK3I4Zo_4

 

Thad with Descendants of Erdrick: https://youtu.be/WSFH2G0nXqM

 

Thad with Böndbreaker (full performance): https://youtu.be/8yWKu0hbjr4

 

Conceived, created, and gestated by Dr. Patricia Arean, this bass playing miniature replica of Know Your Bass Player “honcho” and Notes From An Artist radio / podcast host Tom Semioli traverses landmark locales in New York City….

 

 

 

 Rooftop hang on the #UpperEastSide of #Manhattan…. #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #StayingPutInNYC

 

 

 

“Twenty, twenty, twenty, twenty-four hours to go, I wanna be sedated, Nothing to do nowhere to go,  oh I wanna be sedated…” #LowerEastSide #JoeyRamone Place #Bowery & 2^nd Street #NYC #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC #TheRamones #NewYorkCityRock #punkrock

 

 

 

“Happy and I’m smilin’ walk a mile to drink your water….” Standing Up with #IanAnderson #MartinBarre #GlennCornick #CliveBunker #JethroTull #NYC #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC

 

 

 

#GrandCentralStation #NYC #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NYTransit #MTA #NYSubway #NewYorker #StayingPutInNYC

 

 

 

“Once upon a time you dressed so fine, Threw the bums a dime in your prime, didn’t you?”  Hangin’ at 4 Gramercy Park West in #NewYorkCity – the cover image locale of #BobDylan #Highway61Revisited 1965 #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #StayingPutInNYC

 

 

 

Hangin’ on the 50^th Anniversary of the last concert at Bill Graham’s #FillmoreEast 27 June 1971 #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC #NewYorkCityRock #NewYorkCityLandmark  #SanFranciscoRock #FillmoreWest #AllmanBrothers #JGeilsBand #AlbertCollins

 

“Once I had a love and it was a gas, Soon turned out had a heart of glass …”#DebbieHarry #Blondie Mural at #BleeckerStreet & #Bowery #NYC #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC #NewWaveRock #NewYorkCityRock #punkrock

 

 

#TompkinsSquarePark #LowerEastSide #EastVillage #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC

 

 

 

“The magnificent seven… Ring! Ring! It’s 7 A.M.! Move y’self to go again…” Hangin’ at the #JoeStrummer mural on the #LowerEastSide of #NYC at #NiagraBar adjacent to #TompkinsSquarePark!  #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC #NewYorkCityRock #punkrock #TheClash

 

 

 

“Felix Unger was asked to remove himself from his place of residence; that request came from his wife. Deep down, he knew she was right, but he also knew that someday he would return to her. With nowhere else to go, he appeared at the home of his friend, Oscar Madison. Several years earlier, Madison’s wife had thrown HIM out, requesting that HE never return. Can two divorced men share an apartment without driving each other crazy?” Hangin’ at 1049 Park Avenue,  #UpperEastSide #NYC Site of opening credits and “home” to Oscar Madison and Felix Unger 1970-75 #OddCouple #NeilSimon #TonyRandall #JackKlugman #Broadway #NewYorkTheater #trailguardian #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #StayingPutInNYC

 

 

“Tom, get your plane right on time, I know your part’ll go fine. Doh-n-doh-de-doh-n-doh. And here I am, the only living boy in New York… Hangin’ on the east end of The #CentralParkReservoir (since renamed for Jackie O.) at the precise locale of #SimonandGarfunkel album image for their first Greatest Hits collection. #PaulSimon #ArtGarfunkel #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC Feelin’ groovy?

 

 

 

“Let me take you to the movie.. Can I take you to the show? Let me be yours ever truly…Can I make your garden grow?” Hangin’ at 96-98 St. Mark’s Place, #LowerEastSide #NewYorkCity site #LedZeppelin #PhysicalGraffiti album cover #JimmyPage #JohnPaulJones #JohnBonham #RobertPlant #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC #StMarksPlace

 

 

 

Hangin’ at the #VillageVanguard #GreenwichVillage #NewYorkCityJazz #JohnColtrane #BillEvans #ScottLaFaro #PaulMotian #NewYorkCityLandmark  #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC

 

 

 

“I hear voices, I see people I hear voices of many people, everything is everything…” Hangin’ at the legendary #BitterEnd #folkrock #DonnyHathaway #CurtisMayfield #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC “Hush now child and don’t you cry, your folks might understand you by and by, just move on up towards your destination, though you may find from time-to-time complications….”

 

 

 

“I’ve stumbled on the side of twelve misty mountains, I’ve walked and I’ve crawled on six crooked highways …”  Positively West 4^th and Jones Street in #GreenwichVillage, site of #BobDylan Freewheelin’ (1963) album image  #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #folkrock #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC

 

 

 

“A hustle here and a hustle there, New York City’s the place where they said, ‘hey, babe, take a walk on the wild side…” What was once #CBGB at 315 #Bowery #punkrock #TheRamones #Blondie #LouReed #Television #PattiSmith #JohnVarvatos #RichardHell #IggyPop #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC

 

 

 

“…a smile relieves a heart that grieves, remember what I said, I’m not waiting on a lady, I’m just waiting on a friend…” Hangin’ at 96-98 St. Mark’s Place, #LowerEastSide #NewYorkCity – site of #RollingStones video “Waiting on a Friend” #MickJagger #KeithRichards #BillWyman #CharlieWatts #RonWood #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patjisan #NewYorker #stayingputinNYC #StMarksPlace

 

 

 

“I’m just sittin’ here watching the wheels go ‘round and ‘round, I really love to watch them roll…” Hangin’ at #StrawberryFields and The Dakota, home of #JohnLennon in #NYC #CentralParkWest #TheBeatles #GeorgeHarrison #PaulMcCartney #RingoStarr #YokoOno #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patsjisan #NewYorker #StayingPutInNYC

 

 

 

“I’ll be your mirror reflect what you are, in case you don’t know, I’ll be the wind, the rain and the sunset, the light on your door to show that you’re home…” Hangin’ with #LouReed at the #East86thStreet #NYCSubway station. #ChuckClose #NYCsubwayart #NYCarts #VelvetUnderground #JohnCale #NewYorkRock #RockHall #bass #bassplayer #FenderBass #FenderPrecisionBass #BassGuitar #NewYorkCity #NewYorkCityBassPlayer @trail_guardians @patsjisan #NewYorker #StayingPutInNYC

 

Hosts David C. Gross and Tom Semioli converse with bassist, producer, collaborator, entrepreneur, label owner, recording artist, musical director, composer, multi-instrumentalist, and light-bulb changer Michael League from his home in Spain. ML discusses his new solo record “Right Where I Fall” which was released on 6/25, his work with Snarky Puppy, his ongoing musical evolution, and the state of the music industry in the 21st Century.

 

 

 

 

“Ask him about throwing Roy Harper off a ferry!”

In this video preview from an episode of The Bass Guitar Channel Radio Show on Cygnus Radio with host David C. Gross and Know Your Bass Player “honcho” Tom Semioli, Richard Thompson discusses the bassists he’s employed over the years including Jerry Scheff (Elvis Presley, The Doors), David Pegg (Jethro Tull, Fairport Convention), Danny Thompson (Pentangle), Pat Donaldson (Fotheringay, Chris Spedding, Sandy Denny), Bruce Lynch (Kate Bush, Cat Stevens), Willie Weeks (Donny Hathaway, Rolling Stones, Eric Clapton), and Taras Prodaniuk (Lucinda Williams).

 

 

By KYBP Austin Bureau Chief Robert Jenkins

 

Punk rock is an integral part of the evolution of music and Rock & Roll in particular. There are numerous bands who have been influenced by the sound of early punk rock and allowed that sound to develop into something completely new (just listen to the early Iron Maiden recordings to hear how British punk turned into British metal). But it is a sound that has endured numerous decades, still holding true to its roots. In Austin, Texas punk rock has been alive and well since the 1980’s and continues to thrive to this day.

 

Enter Jankem.

 

Gee Patino is the bassist for Jankem, a new punk band in Austin, Texas. Jankem is an extension of a punk band formerly known as Splif. Founded some years ago, (specifics aren’t needed because punk rock doesn’t care, it just is) Splif was formed with Gee as a founding member when he was 22. Originally a guitarist, Gee was forced into the role of bassist out of necessity (how often does that happen?) and he gladly accepted because, in his words, “Fuck yeah, it’s got two less strings and I get to make that thumping sound!” I mean, isn’t that really why we all play the bass? The honesty of our mission is distilled in that sentence.

 

What’s interesting about Splif is that their influences reach deep into prog rock. Their drummer, Mitchell, was heavily influenced by the likes of Genesis, King Crimson, Rush, et al. Gee was bringing the harder influences of The Minutemen (Mike Watt) and Fugazi. Splif guitarist, Anthony, brought along classic rock influences of Led Zeppelin et al. The result is a blissful, raucous mix of crazy musical arrangements paying homage to their influences while having the absolute irreverent blast a punk rock band should have. Sadly, the impact of COVID-19 brought Splif to an end when their drummer had to exit the band.

 

Okay, NOW enter Jankem.

 

Gee and Anthony kept working together. When they found a new drummer it was their decision to start the band anew. While Jankem still pursues the adventurous music started in Splif, they didn’t want the new drummer to feel confined to old material so everything is new. And Jankem is out of the gate in ATX having played their first show in March 2021 and continuing regularly to show the underground scene that they are here to, first and foremost, party, and then rock the house.

 

Gee is a humble bassist. He freely admits that he knows nothing of technique or music in general. He plays by ear and by what he feels, working closely with his bandmates to get the sound he needs. Gee also freely admits he doesn’t know anything about gear. Most (if not all) of what equipment he plays has been borrowed or bought as cheap as possible. “Dude, I’m not gonna spend $4000 dollars on gear to get fucked up and party with it.” By my reckoning, this is sound reasoning.

 

Jankem plays loud and obnoxiously, but they still respect the music they write and the music they listen to. Gee says, “We may not know a lot but we feel that we are good musicians for what we do. And we respect the musicians who work really hard at their craft. We love to listen to all kinds of music, and Jankem wants to draw from that. We keep an open mind. Good musicians have good taste.”  Jankem is doing what all musicians should strive for: they have fun.

 

So who are Gee’s two biggest influences?

 

1) Mike Watt

 

2) Les Claypool

 

Now for the fun part. Gee’s rig rundown (disclaimer: I have done tech work on Gee’s bass).

 

Bass: No Name Jazz style bass that plays really nicely. Gee says he got it for about $20 or so.

 

Amp: “What kind of amp do you use, Gee?”

 

“Fuck man. It’s an Acoustic. Let me Google it and see what kind. Yeah, here it is. It says here that it is a B300HD.”

 

Cab: “What cab are you running it through?”

 

“I think it’s a 4×10 stack.”

 

“So 2 4×10 cabs stacked; an 8×10 stack?”

 

“Yeah, maybe? Wait. No. It’s just one cabinet with 4 10s in it.”

 

“So a single 4×10. Cool. What kind is it?”

 

“Fuck, man, I don’t fucking know.”

 

“Sweet.”

 

Jankem, ladies and gentlemen, are punk rock at their core.

 

Gee Patino Sound and Vision…

 

Splif:

 

 

Visit the Jankem Facebook page for live clips and promotional videos: https://m.facebook.com/JankemATX/

 

 

“If you twist my arm and ask me what type of music I play, it’s chamber music!” Fretless bass virtuoso, innovator and recording artist Michael Manring reflects on the evolution of “live” performance and the future of instrumental music outside of the mainstream. This clip is taken from an episode of The Bass Guitar Channel Radio Show with host David C. Gross and Know Your Bass Player “honcho” Tom Semioli.

 

 

“David, the electric bass is not a valid instrument…” David C. Gross and guest Michael Manring discuss their time at Berklee and the bold proclamation which forever affected Mr. Gross , how Manring straddles the “pre-Jaco and post-Jaco eras,” Michael’s tuning methodology, and how Joseph Zon helped bring Michael’s aural visions to fruition. This video clip is from a February 2021 episode of The Bass Guitar Channel Radio Show on Cygnus Radio, hosted by David C. Gross with Know Your Bass Player “honcho” Tom Semioli.