Courtesy of Wolfgang’s Vault

By Thomas Semioli

 

 

“I don’t play bass, I just fill space!”

 

Along with drummer Levon Helm, Richard Clare Danko anchored one of American music’s most potent and influential ensembles: The Band.

 

Whereas most bassists tend lock in with the kickdrum and go with the flow, Danko’s bass passages defied convention, dancing betwixt the melodies and rhythms forged by Helm, guitarist Robbie Robertson, and keyboardists Richard Manuel and Garth Hudson.

 

Adept on guitar, mandolin, upright, cello, accordion, trombone, banjo, piano, and fiddle: Danko was also an accomplished vocalist and composer. Akin to Johnny Cash and Billie Holiday, you could feel the weight of the world in Rick’s impassioned vocal style – which directly translated to his bass playing.

 

His greatest work was in the company of his Band mates. Their ten studio slabs (with and without Robertson), archival, and live platters are essential. Whether they realize it or not, every Americana artist and ensemble owes a debt to Rick and The Band that can never be repaid.

 

 

Not to be overlooked is Rick’s extraordinary body of work with The Band’s mentor Bob Dylan. Throughout the grooves of Planet Waves (1974), Before the Flood (1974), and The Basement Tapes (1975) and assorted vault releases, Danko served as Bob’s most formidable harmonic and rhythmic foil.

 

Though Danko waxed several concert and collaborative platters, his true signature solo outing was his eponymous 1977 gem, which was overlooked during the punk era zeitgeist. Though weary from his tenure in The Band, Danko was still a force to be reckoned with. Sadly Rick’s career was beset by personal problems and substance abuse, passing at the age of 56 in 1999.

 

Rick’s weapons of choice were equally legend. No matter what instrument he chose, Danko’s rich tone was unmistakable. Among his tools of the trade was the Fender Jazz which he used on the legendary Dylan 1966 Tour, Music From Big Pink (1968) and The Band (1969). Rick’s command of the fretless Ampeg AMUB is astonishing, given the fact that he sang and played countermelodies simultaneously. Danko also commandeered a fretted Ampeg bass, an Ampeg baby electric upright, and several Gibson Rippers which featured custom pick-ups. 

 

 

Rick Danko Sound & Vision

 

Rick Danko, The Band, The Staples Singers “The Weight” https://youtu.be/TCSzL5-SPHM

With The Band

“Stage Fright” https://youtu.be/NZMfZe7OFFk

“King Harvest Has Surely Come” https://youtu.be/yeKY5PUMgvQ

“Acadian Driftwood” https://youtu.be/GoV52WsmDG4

“Look Out Cleveland” https://youtu.be/9igu3Ht3Jvs

“Life is a Carnival” https://youtu.be/a2L7SrUWZWY

“A Change is Gonna Come” https://youtu.be/byqq8iqKZv8

With his Bobness:

“Something There Is About You” https://youtu.be/mtfyuYKYO4M

 Solo Rick:

“What a Town” https://youtu.be/sMNjhzBh7k0

“Brainwash” https://youtu.be/rzz26zGFQgQ

 

 

 

Among the heroes of the classic rock era, the James Gang brought attention to two bona-fide guitar heroes: founding member Joe Walsh, and the late Tommy Bolin.

 

Bassist Dale Peters, who came aboard for the band’s definitive platter Rides Again (1970), was a versatile player who also composed, sang, and doubled on keys, guitar, and percussion.

 

To my ears, Peters’ extended bass improve as heard on “Lost Woman” from Live In Concert (1971) proves that excess is not necessarily a bad thing!

 

From KYBP Readers:

 

Dale, thanks for all the great bass lines. I’m still learning from your playing 35 years later. Dan O’Brien

 

“My Door Is Open” has the best bass track of all time. Absolutely the most overlooked track in ROCK AND ROLL HISTORY! The drummer banged it out pretty good too. I imagine these guys had a lot of fun playing this song together. Loji

 

Dale Peters Sound & Vision…

 

“My Door Is Open” https://youtu.be/m5eV7SgoNIY

 

“Lost Woman” https://youtu.be/zcap1-J-V58

 

“Walk Away” https://youtu.be/zo0vBdlWQs0

 

 

Just two years after she first picked up the instrument in her native Australia, Tal Wilkenfeld commenced studies at Los Angeles Academy of Music. She split college for New York City wherein she sat in on local jam sessions and quickly built her reputation as a top player. An invitation by Allman Brothers Oteil Burbridge and Derek Trucks to join the band on stage at their annual Beacon Theater residency led to widespread exposure and an impressive audition tape which she sent to Jeff Beck. Within months of that performance, Tal waxed her debut slab Transformation (2006) and was on the bandstand with Chick Corea. She later joined Beck’s band for several tours, one of which is  captured on the incendiary Live At Ronnie Scott’s Jazz Club.

 

Wilkenfeld quickly rose to the top echelons of her profession, which is where she sits now, collaborating with the crème de la crème of rock, jazz, and pop artists including Prince, Herbie Hancock, Warren Hayes, Corinne Bailey Rae, Eric Clapton, Jimmy Page, The Roots, Wayne Krantz,  David Gilmour, Macy Gray, Ryan Adams, Pharrell, Buddy Guy, Jackson Browne, Todd Rundgren, Ringo Starr, Brian Wilson, and Dr. John to cite a very select few. Tal’s weapons of choice are Sadowsky basses, and EBS amplifiers.

 

Her solo bow entitled Transformation (2007) is a 21st Century jazz-fusion masterpiece.

 

Tal’s sophomore slab, Love Remains (2019) was a surprise to her “bass only” fans as she emerged as a formidable singer-songwriter, drawing influences as diverse 70s Laurel Canyon and 90s alt-rock!

 

Tal Wilkenfeld Sound & Vision…

 

Tal with Jeff Beck at Ronnie Scott’s “Nadia” https://youtu.be/drAv2FoYji8

 

“Transformation” https://youtu.be/iBKChtJ2AeU

 

“Corner Painter” https://youtu.be/sJuO_HKrVPQ

Of all the American bands who aspired to the mighty metal mantle of Led Zeppelin, to my ears, none remotely approached such manic nirvana as did the Stone Temple Pilots – in their original configuration. 

 

Though they emerged in the grunge era, there was nothing “alternative” about this quartet.  Astute hard rockers to the core who knew how to ply an acoustic ballad when necessary, the Stone Temple Pilots were mercurial in their melding of pop hooks with sonic riffs.  Akin to John Paul Jones and Carl Radle – two players propelled guitar heroes to greater heights – STP bassist Robert Emile DeLeo is also a defacto James Jamerson disciple – purveying passages peppered with rhythm & blues, and soul influences.

 

An arranger, writer, and master motif maker, and former employee of Schecter Guitar Research, Robert utilized a wide array of instruments, spanning vintage Fender, Rickenbacker, Danelectro, and his signature Schecter Model T.

 

Regardless of his choice of tools, Robert DeLeo glided through the chord changes and over the bar line with a warm tone, smooth articulation and harmonic prowess – which is the mark of an exemplary bassist. Outside of STP, DeLeo anchored one-off projects aplenty including Hollywood Vampires, Talk Show, and Army of Anyone.

 

Robert DeLeo Sound & Vision

 

“Days of The Week” https://youtu.be/JXqeYwUXRis

 

“Lady Picture Show” https://youtu.be/ds_43MdYiuQ

 

“Vaseline” https://youtu.be/ht672-wYelc

 

“Sour Girl” https://youtu.be/YxS4lqppZ6Y

By Thomas Semioli 

 

“He’s the baddest bass player in the U.S.A!” proclaimed the late, great Donny Hathaway from the stage of the Bitter End in New York City nearly 50 years ago (1971) – and that proclamation still holds true well into the 21st Century.

 

You know that jukebox that goes “doyt doyt” at Danny’s All-Star Joint? That’s Willie Weeks!

 

From the late 1960s to the present day, Willie Weeks continues to set the bar as a session player and sideman. A laid-back pocket player, Willie’s command of rhythm and blues, soul, country, jazz, and pop, and just about any permutation thereof has can be heard throughout the seminal recorded works of several artists including Stevie Wonder (“Misstra Know It All”), Rolling Stones (“It’s Only Rock n Roll), Chaka Kahn, Rickie Lee Jones, Herbie Hancock, John Mayer, Vince Gill, Ron Wood , Etta James, John Scofield, Aretha Franklin, Joe Walsh, George Harrison, Eric Clapton, BB King, Buddy Guy, Rod Stewart, Gregg Allman, Randy Newman, David Bowie (“Young Americans”), and Richard Thompson, to cite a very select few.

 

Willie’s weapons of choice include: Fender Precision and Fender Jazz basses, Kay, Alleva Coppolo, and his “WW” Willie Weeks signature bass by Bee Basses.

 

A giant of the instrument, Willie Weeks is long overdue for recognition in the Rock and Roll Hall of Fame

 

Tom Semioli / Huffington Post “A Bass Player’s Rant: 33 Who Belong in the Rock and Roll Hall of Fame” : https://bit.ly/2POxUJr

 

Willie Weeks Sound & Vision… (See Best Bass: Willie Weeks Know Your Bass Player Playlist – Spotify) 

 

Willie Weeks’ watershed solo on “Voices Inside (Everything is Everything)” https://youtu.be/3gpN-SJD-VY  from Donny’s iconic Live (1972) album remains a benchmark for bassists.

 

A rare Willie slap passage with  George Harrison “Woman Don’t You Cry for Me” https://youtu.be/47l0EzvjN4I

 

Willie and Eric Clapton on a live rendition of  “Motherless Children” https://youtu.be/h9d2ZeAvBgA

 

Rolling Stones “It’s Only Rock and Roll” https://youtu.be/DmgCy__eUa8

 

David Bowie “Young Americans”  https://youtu.be/iO6OvHxD_m8

 

Willie’s bass solo composition with Ron Wood “Crotch Music” https://youtu.be/KNAg8TVS2RY

 

Vince Gill “Never Alone” https://youtu.be/MtQvLF1ZKCg

 

James Taylor “I Was a Fool to Care” https://youtu.be/SnwZySCHyNw

 

Stevie Wonder “He’s Misstra Know It All” https://youtu.be/uivvYGyQiow

 

Rickie Lee Jones “Danny’s All Star Joint” https://youtu.be/T9dRLzd0sXU

 

The late, great Wilton Louis Felder first made his mark in the music biz as a saxophonist and founding member of the groundbreaking Crusaders jazz ensemble with Joe Sample and Stix Hooper. Originally tabbed the “Jazz Crusaders” – this innovative collective was among the early practitioners of “soul jazz” and “jazz funk” – later to be referred to as “jazz fusion” and ultimately “smooth jazz.” 

 

In the late 1960s, Felder commenced to working sessions on electric bass, waxing sides with the Jackson 5, Marvin Gaye, John Cale, Seals & Crofts, Joni Mitchell, Billy Joel, Randy Newman, Michael Franks, Steely Dan, Ringo Starr, Ronnie Laws, Shuggie Otis, Dee Dee Bridegwater, and Joan Baez, to cite a select few.

 

With a Fender Precision that growled when he grooved, Wilton also waxed eight solo sides, and also served as a producer, composer, and arranger.

 

Wilton Felder Sound & Vision…

 

Joni Mitchell “Free Man in Paris” https://youtu.be/jQj6h8KpkiQ

 

Jackson 5 “I Want You Back” https://youtu.be/UvynvnxZJ3Q

 

Billy Joel “The Entertainer” https://youtu.be/d_VHFyaSXQw

 

 

Resplendent in his kaleidoscopic haberdashery and long braided hair, which complimented his multi-colored Warwick instruments, Thomas Michael Stevens was among the preeminent bassists in pop, rock, jazz, funk, metal, punk, hip-hop and permutations thereof in the 1980s-90s until illness necessitated his retirement.

 

A composer, vocalist, producer, recording artist, first call session cat, clinician, educator, and showman extraordinaire – TM anchored platters and concert performances aplenty by artists spanning James Brown, Steve Vai, The Pretenders, Joe Cocker, Billy Joel, Tina Turner, Nona Hendryx, Tupac Shakur, Cissy Houston, and Narada Michael Walden to cite a very, very select few.

 

A brilliant slap, and finger player, TM was a warm, and spirited presence on the New York City music scene, frequenting clubs and talking bass with anyone – myself included, who shared a love for the instrument.

 

T.M. Sound & Vision….

Corey Glover and Van Romaine on a remake remodel of Deep Purple’s “Burn” https://youtu.be/pY56aonrm48

 

From his Shocka Zooloo LP “The River Flows” https://youtu.be/vuJbkBAmi88

 

With Eric Gales on Jimi’s VooDoo Chile https://youtu.be/TCx-quZVzAw

 

The Pretenders “Don’t Get Me Wrong” https://youtu.be/pKzoXuEkk00

 

The Pretenders “How Much Did You Get for Your Soul” https://youtu.be/47AfhCQAlrU

 

With Neil Zaza “I’m Alright” and “I’m A Believer” https://youtu.be/MIn0XrMn9Fc

 

 

Master showmen, conceptualists, players, recording artists, and composers, The Tubes were undeniably among rock music’s supreme collectives. Waybill & Co.’s distinctive socio-political-absurdist canon traversed theater, hard rock, pop, glam, cabaret, techno, new wave, prog, porn, punk, funk, dance, rhythm and blues, jazz, experimental and whatever else they could throw against the wall, most of which stuck!

 

Bassist Rick Anderson was a study in versatility, seamlessly morphing multiple genres along with his resourceful bandmates.

 

Rick Anderson Sound & Vision with The Tubes…

 

“White Punks on Dope” https://youtu.be/L21mYN9mFP4

 

“She’s A Beauty” https://youtu.be/mQ_k_VG6Syc

 

“Talk To Ya Later” https://youtu.be/H-rEVVAw3-0

 

The Tubes Live at Winterland, New Year’s Eve 1975 https://youtu.be/l8mFEBnAImY

 

 

 

 

By Tom Semioli

 

You’ve heard him on the radio…you’ve heard him on the juke box on the song “Juke Box Hero” among many others….and you’ve likely seen him on the concert stage. Rick Wills commenced his remarkable chart topping career as a bassist with British blues rockers Jokers Wild in 1965 – which also featured future Pink Floyd guitarist David Gilmour. He also anchored hard rockers Cochise for a few slabs which never quite reached their commercial potential despite their stellar output.

 

Among the most sought after recording and touring bassists in the album rock era (1970s-1980s), Rick plies his craft with a decidedly rhythm and blues disposition, usually on a Fender Precision. His high profile gigs include Peter Frampton’s Camel, Roxy Music (Viva Roxy / 1975), solo Bryan Ferry, and the revamped Small Faces. In 1979, Rick commenced a fourteen-year career with Foreigner – waxing several platinum slabs whilst filling arenas around the globe.

 

In 1992 Rick joined Bad Company following Boz’s second or third exit, and helmed the bass chair for Lynyrd Skynyrd for a spell when their original bassist left for health reasons. In recent years Rick and Small Faces / Faces / Who drummer Kenny Jones are on the bandstand under the guise of “The Jones Gang.” 

 

Among Rick’s stellar recordings include David Gilmour’s self- titled debut (1978) wherein he utilizes flange and chorus effects and harmonic extensions to augment the guitarist’s best work outside of the Floyd.

 

Rick Wills Sound & Vision and Zoom Zessions:

 

Cochise: “59^th Street Bridge Song” https://youtu.be/VQtMF8ljtGg

 

Peter Frampton:

 

“Don’t Fade Away”  https://youtu.be/D3HB6ZWVCWo

 

“All I Wanna Be Is By Your Side” https://youtu.be/AoOu5Xa-Iw4

 

“It’s A Plain Shame”  https://youtu.be/pgwEFO651bE

 

“Do You Feel Like We Do” https://youtu.be/CGczyG6-aAw

 

“Something’s Happening” https://youtu.be/mif_MW8YeUU

 

“Doobie Wah” https://youtu.be/3VM0wb7RqeI

 

With Bryan Ferry and Chris Spedding “Let’s Stick Together” https://youtu.be/Z9EbR0ckb40

 

David Gilmour: “Mihalis” https://youtu.be/HTQHA0tOG9A

 

 Foreigner:

 

“Night Life” https://youtu.be/4cAy3hK5tNs

 

“Juke Box Hero” https://youtu.be/W_TOsFvnmeQ

 

Small Faces: “High and Happy” https://youtu.be/U0cnbOo6fe8

 

Bad Company: “Clearwater Highway” https://youtu.be/5aTwhe5seSg

 

The Jones Gang EPK: https://youtu.be/hkYXyAh65us

 

 

 

 

 

 

 

 

Behold the pure power of pop as purveyed in New York City 1981! Bassist Bruce Gordon anchors The Mod Frames with buoyant pocket grooves, upper register grace notes, and graceful contrapuntal passages akin to such masters as Sir Paul, Dee Murray, and Colin Moulding.

 

With Billy Altman (vocals/guitar), multi-instrumentalist Ben Rosenblatt, my drummer pallie David Donen and guitarist Mark Michaels, dig Bruce almighty on “I Don’t Want to Cry” http://bit.ly/2FtCp7w and “Anyone After You.” http://bit.ly/2FWUr03

 

How did the big time elude these maestros of melody? 

 

The Mod Frames live at St. John’s University with Ben Rosenblatt and Dave Donen