Courtesy of Mark Bass
By Thomas Semioli
Supporting a guitar icon is a daunting task, especially in the blues rock genre wherein solos are oft interminable, and the repertoire is frequently given to songs which are more improvisatory vehicles than compositions.
Which brings us to Tommy Shannon, who anchored two of rock’s most influential blues guitarists: Johnny Winter and Stevie Ray Vaughn.
Shannon met Johnny at The Fog in Dallas in 1968, forming the Progressive Blues Experiment which waxed one indie album before Winter inked a then record deal with Clive Davis and Columbia. Tommy backed Johnny on his debut self-titled platter, appeared with Winter at Woodstock, and helmed Second Winter (1970). When Johnny began his association with Rick Derringer, Shannon’s services were no longer needed as the guitarist/producer favored his rhythm section of bassist Randy Jo Hobbs, and Derringer’s brother Randy. For the ensuing decade, Shannon played in various bands with moderate success.
Once again, The Fog played a major role in Tommy’s life wherein he developed a relationship with an emerging guitarist who needed a bassist: Stevie Ray Vaughn. With drummer Chris Layton, SRV’s backing band was dubbed Double Trouble. Working first as a trio, then expanding to a quartet with keyboardist Reese Wynans, SRV & Double Trouble emerged as one of the most popular blues bands of all time, waxing platinum sides, playing to large audiences, and turning a new audience on to the blues in an era of sizzle over substance MTV.
Following SRV’s untimely passing, Shannon kept busy – auditioning for the Rolling Stones upon Bill Wyman’s retirement, and collaborating (often with drummer Layton) with such high profile artists as Eric Clapton, Susan Tedeschi, Little Richard, Hubert Sumlin, Jeff Beck, Jimmie Vaughn, Eric Johnson, Charlie Sexton, and Doyle Bramhall II to cite a few.
With Johnny, Shannon skillfully embellished Winter’s 12-bar blues forays with chords and rhythmic variations rendered with a warm, legato touch.
With Vaughn, Tommy stuck to the 1 / 3 / 5 / b7 modus operandi (tuned down to Eb) as Stevie was a Chicago-blues devotee.
Tommy’s weapons of choice include Fender Jazz, Fender Precision, MusicMan Stingray, and Yamaha basses. Shannon was inducted into the Rock and Roll Hall of Fame as a member Stevie Ray Vaughn & Double Trouble.
Tommy Shannon Sound & Vision
Johnny Winter, live in Copenhagen 1970 https://youtu.be/eNYDHZZSXIY
SRV & Double Trouble, live “Texas Flood” Austin City Limits https://youtu.be/evjMjpd4PNM
Courtesy of Columbia Records
Courtesy of Jethro Tull Dot Com
He forged an indelible identity on one of the most innovative and influential rock ensembles of any generation: Jethro Tull.
The first in a long line of bassists who worked under the auspices of Ian Anderson; Glenn Douglas Bernard Cornick anchored Tull’s most enduring early collections: This Was (1968), Stand Up (1969), and Benefit (1970).
Judging from the photographs that have been published over the years, Glenn utilized a wide array of basses, ranging from a battered graffiti laden reverse neck ’62 Fender Jazz to various Gibson instruments (Thunderbird, EB-3), to cite a few.
Regardless of his tools, Glenn’s phrasing, tone, and approach afforded him instant recognition as his lines were simultaneously supportive and melodic.
The rhythm section of Glenn and drummer Clive Bunker were the driving force beneath Tull’s signature meld of blues, jazz and progressive – these cats could swing and rock at the same time.
Glenn Cornick Sound & Vision with Jethro Tull…
“Bouree” https://youtu.be/z6ZJGaT30wk
“Back to the Family” https://youtu.be/a3uqdoJxJ50
“Teacher” https://youtu.be/NyLPX-YhpLo
“My Sunday Feeling” https://youtu.be/nzjp-cFkNoE
KYBP Adjunct “Il Professore” Tony Senatore’s Cornick Clinic
Explanation of Jethro Tull’s “Bouree” https://youtu.be/oTrMIuFltEQ
Working on “Bouree” https://youtu.be/XHEsfehUK-Y
Tony Senatore’s Complete Rendition of “Bouree” https://youtu.be/aA08zaXmbH8
Tony Senatore’s rendition of “Inside” https://youtu.be/oAVDpSpNh4A
Tony Senatore’s rendition of “Living In The Past” https://youtu.be/cNfV5RgNrg4
Tony Senatore’s rendition of “Nothing Is Easy” https://youtu.be/9ppRo_8a2sQ
Tony Senatore’s rendition of “Nothing to Say” https://youtu.be/tHoj47W1aUg
Following Glenn’s departure from Tull, which was never fully explained, Cornick formed prog-rock collective Wild Turkey with guitarists John Blackmore, Graham Williams, vocalist Gary Pickford, and drummer John Weathers.
Glenn with Wild Turkey on their debut slab, aptly titled Wild Turkey – waxed in 1972 https://youtu.be/qsEU1QfF9Y0
Despite critical acclaim Wild Turkey folded after two releases, and Glenn entered into a collaboration dubbed Paris, a decidedly hard-rock trio with ex-Fleetwood Mac member Bob Welch and former Nazz drummer Thom Mooney, and later, for their second slab drummer Hunt Sales.
Once again, despite critical acclaim and extensive touring, Cornick’s ensembled folded after two releases.
Glenn with Paris “Pale Horse Pale Rider” https://youtu.be/kY-xYPEb0j8
In his later years, Glenn -whom Anderson noted was the only member of Jethro Tull who maintained his signature appearance as he aged – worked in assorted Jethro Tull repertory ensembles with his former bandmates, participated in a Tull reunion with Anderson, and also reunited on occasion with Wild Turkey, in addition to other musical projects. Cornick passed in 2014.
Ian Anderson’s tribute to Glenn Cornick, courtesy of Drew Cornick https://youtu.be/GObmgmmjrts
Courtesy of The Stranglers Co UK Com
Armed with a Fender Precision, Rotosound round-wound strings, a HiWatt amp, and a background in classical guitar; bassist, vocalist, composer, producer Jean-Jaques Burnel has anchored the legendary post-punk, alternative rock icons The Stranglers since their inception in the 1970s.
An exceptional melodic and pocket player, Burnell draws from many influences spanning funk, ska, old-school classic rock, dance, electronica, blues, and reggae.
An early adopter of Trace Elliot amps, J.J. now endorses Ashdown with his signature JJ500 rig. Among his weapons of choice aside from Fender include the Yamaha BB2000, and Steinberger L2.
John Shuker created a J.J. Signature Bass which he now uses. https://shukerguitars.co.uk/basses/j-j-burnel-signature-bass/
With The Stranglers:
“Skin Deep” https://youtu.be/aw9mEFn38to
“Golden Brown” https://youtu.be/z-GUjA67mdc
“Always The Sun” (Dig J.J. and his Steinberger XL https://youtu.be/8dEySTzQ6oc
“Do You Wanna” https://youtu.be/ctO4cX8SPJ4
“Longships” https://youtu.be/DoVPeHS03zg
“Sha Sha a Go Go” https://youtu.be/-q3erBndoww
“No More Heroes” https://youtu.be/2tfy8f9lDD0
“No Mercy” https://youtu.be/QzrciavctzQ
“Peaches” https://youtu.be/j2w0rbp6J9Y
J.J. Solo
“Euroman Cometh” https://youtu.be/ysWp2FkZ9cc
“Un Jour Parfait” https://youtu.be/9NtknlcTKLc
With Pat DiNizio
“124 MPH” https://youtu.be/4E1uNcoehw4
Courtesy of John Illsley Com
Courtesy of Doug Wimbish Com – Photo Karstens Staiger
By Thomas Semioli
Hail (hail) What’s the matter with your mind and your sign? And a oh, oh, oh-a Hail (hail) Nothing the matter with your head baby, find it, come on and find it…
He co-founded an ensemble of Native Americans whose music traversed pop, Cajun, rhythm & blues, Latin, and soul. The name Redbone is a Cajun term for a mixed-race person – all of the founding members were of mixed blood ancestry.
Redbone bassist, singer, composer, and multi-instrumentalist Pat Vegas honed his chops as a session player and sideman in Los Angeles in the 1960s. Their 1973 Wovoka album, which contained their biggest hit, “Come and Get Your Love” also featured the track “We Were All Wounded at Wounded Knee” co-written by Vegas, however the song was banned from US releases due to its “controversial subject.”
As noted by Vegas, the band referenced Cajun and New Orleans culture many times in their lyrics and arrangements, as evidenced on such tracks as “Crazy Cajun Cakewalk Band,” “Maggie,” “The Witch Queen of New Orleans,” and “Poison Ivy,” among others.
A member of the Native American Music Hall of Fame, nowadays Vegas continues as the sole founding member of Redbone.
Pat Vegas and Redbone Sound & Vision:
Crazy Cajun Cakewalk Band https://youtu.be/yaC_kX_kWs4
“Maggie” https://youtu.be/s91hvRs3_SY
“The Witch Queen of New Orleans” https://youtu.be/_Svb95SAOM8
“Poison Ivy” https://youtu.be/xnbS0Xb8FaY
“Come and Get Your Love” https://youtu.be/OnJqFrVD3uE
Courtesy of Pearl Jam Com
By Thomas Semioli
Courtesy Bob Daisley Com
Huffington Post / Tom Semioli (November 2017): A Bass Player’s Rant: Bass Players Who Belong in the Rock and Roll Hall of Fame: Bob Daisley https://bit.ly/3sc2NaJ
Bob Daisley’s career and discography reads like a hard rock history book: Ritchie Blackmore’s Rainbow, Ozzy Osbourne, Yngwie Malmsteen, Steve Vai, Paul Rodgers, Tony Williams, Jon Lord, Widowmaker, Uriah Heep, Gary Moore, Black Sabbath…
A supportive player, Daisely’s stylistic disposition is decidedly of a blues origin. Inspired by 60’s Motown, at the ripe old age of twenty Bob migrated from his home in Sydney, Australia in 1970 to seek fame and fortune as a rock bassist in London.
Replacing John Glascock (Jethro Tull) in Chicken Shack, Daisley quickly built a name for himself on the bandstand and in the studio. Anchoring such British blue-collar rockers Mungo Jerry, the Stan Webb Band, and Widowmaker (with Luther Grosvenor), among others – Bob was eventually tabbed by Ritchie Blackmore for the bass chair in Rainbow which led to an even higher profile for the dexterous bassist, composer, and producer.
In 1979 Daisley accepted Ozzy Osbourne’s offer to join Blizzard of Ozz with guitar prodigy Randy Rhodes. Intended to be a band rather than an Ozzy led solo project, Daisley played a major role in the writing and recording several Ozzy slabs and tours which put metal on the mainstream map including Osborne’s mega-hit No More Tears (1991).
However shady machinations in the Ozzy camp often rendered Bob un-credited and un-compensated. Last time I checked the lawsuits / disputes were still flying. Even Bob’s bass parts were wiped off Ozzy tracks at the behest of Mrs. Osborne. Such is the business of rock and roll.
Regardless, Bob continued his career with Gary Moore, Uriah Heep, Bill Ward, Mother’s Army, Living Loud (with Deep Purple guitarist Steve Morse, Uriah Heep drummer Lee Kerslake and Purple keyboardist Don Airey), Hoochie Coochie Men (with Jon Lord), and Black Sabbath among other notable projects.
In 2014 Bob published his highly controversial autobiography For Fact’s Sake – which reveals more than a few hard truths behind the hard rock legends!
Gear heads be sure to review Bob’s numerous weapons of choice https://bobdaisley.com/gallery/bobs-guitars
For all things Daisley, check in with www.BobDaisley.com
Bob Daisley Sound & Vision…
With Chicken Shack: “Revelation” https://youtu.be/RkV21EAZC48
With Widowmaker: “Such a Shame” https://youtu.be/Tw4Ew7MQwh4
With Rainbow: “Sensitive to Light” https://youtu.be/MzRN9CgVxWc
“Long Live Rock and Roll” Live: https://youtu.be/HDT_uqM1iqI
With Ozzy:
“Crazy Train” https://youtu.be/RMR5zf1J1Hs
“I Don’t Want to Change the World” https://youtu.be/zN7xOdjNIMc
With Gary Moore: “Teenage Idol” https://youtu.be/n4PaYq-H36M
With Steve Vai, Paul Rodgers, Tony Williams from In From the Storm Jimi Hendrix Tribute: “Bold As Love” https://youtu.be/gmIpQeF0xhQ
With Jon Lord & The Hoochie Coochie Men:
“Who’s Been Talkin” https://youtu.be/SFzg-gomrfw
“Hideaway / Lonesome Traveler Blues”https://youtu.be/te8hW2mO6rQ
With Living Loud: “Over The Mountain” https://youtu.be/rdIYBWNm8G0
With Black Sabbath: “Glory Ride” https://youtu.be/K8oSyLV2BUI