Know Your Bass Player Q&A With Jon Rogers, By Joe Gagliardo

 

How/when/why did you start playing bass guitar?

 

I grew up in a house with a lot of live music.  My dad and his brother (my original guitar heroes) played and wrote folk music, and there were always guitars to play in the house.  I started learning how to play at about 8 yrs old, and joined the school band at North Main Street School in Spring Valley, New York when I was 11.  Bill Withers’ sister was the special ed teacher there and arranged to have Bill’s full band play in the little gym/ auditorium.  That was my first live concert and a real music lesson about what a rhythm section can do.  After the show, as the band was packing up, Melvin Dunlap came over to where I was standing with my elbows on the stage, and said he saw me checking him out, and asked if I liked the bass (I’m sure I was staring at him!).  I told him I did, and that I was learning guitar.  Melvin grinned and said “this is the bass; bass is where it’s at!”

 

When I was 13, my best friend Andy Rossi (now senior vice pres. at Korg) who also played guitar, suggested we start a band, but insisted that I play bass.  I immediately thought of Melvin Dunlap and said yes!  No looking back!

 

 Any formal training?

 

That was my dad’s condition on my buying a bass.   When I was 14, I found a teacher through the original Alto Music in Spring Valley.  I can’t remember the guy’s name, but he had an old full-size upright and an Alembic electric bass that lit up!  He was very relaxed and promised that he wouldn’t make me read out of the Simandl studies if I practiced my exercises, and learned my theory!  I stayed with him until I was 16 or so, and then started commuting into Manhattan on weekends to study with different bass teachers-anyone I could find really.  When I was 17 I got a job teaching bass at Alto Music, and had the realization that you can also learn from your students!

 

In 1981 spent my first semester of College at Berklee in Boston.  Berklee was a great experience, but I heard that Ron Carter was going to start teaching at the City College of New York in Harlem; a very short train ride from my apartment.  So I came home, auditioned with Ed Summerlin at City College (played a Jaco-inspired version of Charlie Parker’s “Donna Lee”), and was accepted into the program.  I showed up early for the commencement faculty performance and sat in the audience right next to where Professor Carter’s bass was lying on the ground.  He showed up almost 45 minutes late due to a snag at a prior recording session, not in the best mood.  He uncased, picked up and tuned his bass, and then launched into the first notes with the faculty jazz orchestra with such volume and power that I literally almost fell off my chair.  First lesson.  I learned so much from him- a real master, and a very nice man.  He made me defend every note choice I made.  Ron and I split up after my first year over my preference for electric bass.  I then studied with Blood Sweat and Tears bassist Ron McClure-a great bassist and guy, again through the City College, and then privately with Homer Mensch, from the “Jaws” soundtrack/ NBC Orchestra/ New York Philharmonic.  

 

Bass players who influenced you:

 

First from my parents’ records; Dee Murray, Paul McCartney, Bill Wyman, Billy Cox, Harvey Brooks, Rick Danko…

 

Then from my High school days; John Paul Jones, John Entwistle, Geddy Lee, Chris Squire, Glenn Cornick…

 

 Post High school and later; Jaco, Stanley Clarke; Ralphe Armstrong, James Jamerson, Paul Jackson, Pino Palladino, Tony Levin…

 

 Summary of bands/years, recordings, and current music activity.

 

In 1982 I got a job teaching and playing bass at Talent Unlimited, a NYC high school program for the performing arts, where my brother attended.  TU was a NYC entity with connections to a lot of cultural organizations, so we got to play for the gospel choir at the Abyssinian Baptist Church in Harlem, and regularly performed at civic events for the City and Board of Ed.  The program had an astounding array of young performers, including Cory Glover of Living Colour.  Keith Jarrett and Joanne Brackeen sent their kids there. 

 

I also joined the act “Mike Quashie, King the Limbo,” a glam rock-Calypso band.  Mike Quashie was famous for his friendships with Jimi Hendrix, Lou Reed and Led Zeppelin, and was a fixture in New York’s West Village.  We played a lot of dance clubs.  Quashie really focused on theatrics as well as the music, and I learned a lot about presenting on stage from him.  You can see him doing his fire act, setting John Bonham’s gong ablaze on the opening reel of the Led Zeppelin DVD. 

 

My brother (a drummer) and I also hired ourselves out in the mid-80s as a rhythm section, and worked as a band in Manhattan with some of the talent from Talent Unlimited.  We called ourselves “The Worx” and did studio work, supported other acts, and performed our own original music in local venues.  In 1985, we cut a demo “Invisible Man” for Sony, but turned down the deal offered.  My brother continued to court Sony, and wrote for them, ultimately focusing on songwriting, engineering and production.  Dee Lite’s “Groove is in the Heart” is a good example of his early skills behind the console.  He’s still making it happen, big time.

 

I also played bass for several independent New York bands during the mid 80s including Rich Blood and the Equators, Black Tire Safari, and The Troubleshooters with Alan Freedman, and in 1985 I joined Bill Sledge and his Hammers, playing jazz six nights a week during the summers at Tavern on the Green. 

 

During winter of 1986 I escaped the cold by joining Princess Cruises’ Love Boat Orchestra; an 11-piece band playing production shows, and backing guest performers in the ship’s main theater.  This was a stellar band, full of seasoned pros from Vegas and younger pedigreed jazzers.  The only guys in the band who didn’t have degrees were myself and saxophonist Victor Goines (Wynton Marsalis’ cousin and director of jazz studies at Julliard and Northwestern University).  That was the most musically challenging, yet cushiest gig imaginable.  I can’t understate the luxury of not having to set up and breakdown gear for each show!   Of course the food, the itinerary and the social life were extraordinary.  Then I met my future wife from Chicago on board the ship, and by 1990 I was back to living life on land. 

 

When I got to Chicago I started jobbing on events with the Michael James Orchestra; a local big band, and working in the studio and on live dates for local indie bands, including Jack Salamander and later Barrett’s Hidden agenda, but my focus was primarily family and raising kids.

 

Nowadays, with the kids out and having their own adventures, I feel lucky to be playing more.  Currently, I’m recording both locally and back on the East coast, and I’m very happy to be playing live again with the popular festival band The Sofa Kings, Barrett, Jack Salamander, the Vini Bruckert Band, Black Partridge, and country band Hodie Snitch.  And I’m looking to do a whole lot more!  Have guns, will travel!

 

Your go-to basses back in the day, and now, and rigs:

 

1974 My first bass; a one pickup Guild Jetstar mated to a Gibson EB neck, so that it looked like a Gibson EB0 (it took a few years before I figured that out).  Rig:  My dad’s black Kustom plush.  I loved that amp.

 

 1978; a Rickenbacker 4001 modified with a brass ingot milled to fit the slot under the bridge, the brass was welded to a Badass bridge (all work imagined and done at Alto Music); sounded great for a couple of years but too much tension eventually made the neck warp.  Rig:  Ampeg SVT.  I took that to a couple of gigs on the NYC subway (with help). 

 

 1982 An Aria Pro II

 

 1983 I traded Ron Carter a broken down old 7/8 size Czech upright I had, for a fretless Fender Jazz with a neck of unknown manufacture (solid piece of rosewood with a single strip of maple down the back for the truss rod, no fingerboard, metal inlaid markers on the side only, old style grover tuners, but with a crack behind the nut before the first tuner).  I took the bass to Roger Sadowsky for an assessment before agreeing to the trade. He took the neck off and told me that Dave Schecter signed it, that the crack repair would be stronger than new, and that if I didn’t want it, he would buy it.  Good enough for me; by the end of the week it had a new set of EMG J pickups, a set of Roger’s hand-wound pots and wiring, and a headstock that still looks like it was never cracked.  Always my go-to if frets aren’t required.

 

 1986  A ‘57 Fender P bass with cut down body. 

 

 1987 The moisture at sea was taking its toll on the fretless, so I made an emergency run to the big guitar chain in LA as soon as we made port, and played every bass in the store.  The best playing instrument at any price was an Ibanez RD707.  It was cheap, light and sounded great; perfect for the gig, and it still feels and sounds great.  Rig: Dad’s black Kustom plush!

 

 Today, I still play the fretless and the Ibanez.  I picked up a new Gibson Thunderbird a few years ago and am just loving it.  The redesign makes it hang so much better than the old version, and the look and sound are just iconic.  Rig:  TC Electronic RH450 and Eden Nemesis.

 

 A description of your playing style.

 

I like to think, musical and natural.  Everything else is so artist/ song-dependent for me.  I take my note choices seriously and focus on the feel.  I try to give every song what it needs from the bass, adding a little fun and flavor, just when and where it can really use it.  That’s it; Fun!

 

A few songs to highlight your playing:

 

Nayobe; “I Don’t Have to Make Believe” 1986 https://youtu.be/3-4HI9HzgaI

 

The Equators; “Road to Panama” 1986 https://bit.ly/3dmE1Tf

 

Chubby Checker (with Jerry Marrotta, Tracy Bonham, Happy Traum, Professor Louie); “Lookin’ for Me” 2016 https://youtu.be/_vIrRUedv2M

 

Jack Salamander (with Chicago poet Gregorio Gomez); “Midnight Dreams” 2021 https://youtu.be/VmBevzX3CN0

 

Vini Bruckert Group; “That Thing” (Lauren Hill) 2022 https://bit.ly/3C7dvYm

 

For All Things Jon Rogers …. Jonathan Rogers Music (jonrogersmusic.com) 

 

Courtesy of Lynyrd Skynyrd Com

 

Despite his self-taught approach and working his instrument with a left / right hand technique that bore resemblance to a soft-shell crab skittering across hot pavement, the late Leon Russell Wilkeson was a dexterous player who purveyed many a thrilling passage as anchor of the classic Lynyrd Skynyrd line-up.

 

Born in ’52, akin to many of his generation, Wilkeson learned his craft emulating such ’60 – ‘70s bass icons including Sir Paul, Jack Bruce, Phil Lesh, Berry Oakley, John Entwistle, and Jack Casady. When he nailed the Skynyrd gig, a job which he held for life, Wilkeson got cold feet and sat out the band’s debut platter Pronounced Leh-Nerd Skin-Nerd, waxed in 1973.

 

Bandleader Ronnie Van Zandt and producer / mentor Al Kooper convinced Leon to rejoin the collective, and the rest, as they say, is history.

 

Dubbed the “Mad Hatter” by way of his proclivity for eccentric headwear on and off stage, among Wikleson’s more notable instruments was a purchase from his aforementioned bass hero Entwistle – the hybrid Gibson Thunderbird body and Fender Precision neck – hence the moniker “Fenderbird.”

 

Though Skynyrd’s redneck posture was both a blessing (to fans) and a curse (to detractors) – they were a force to be reckoned with, deftly melding British rock influences with American blues and the gift of a pop hook.

 

Sadly, Wikleson was seriously injured in the ’77 plane crash which essentially destroyed the band’s classic line-up and he lost much of his abilities as a premier pocket and melodic player. He continued his career, nonetheless, holding the bass chair in his bandmates’ two terrific post LS  ensembles; Rossington-Collins, and later The Alan Collins Band – until Skynyrd reconvened with Johnny Van Zant as vocalist. Leon passed young due to substance abuse issues; no doubt prompted (enhanced) by Skynrd’s tragic fate.

 

Leon Wilkeson Sound and Vision…

 

With Lynyrd Skynyrd…

 

“One More Time” https://youtu.be/46PqCZHzBdw

 

“Freebird” (live) https://youtu.be/1kphg_kWMwE

 

“I Got The Same Old Blues” https://youtu.be/UporLxuEg1E

 

“Cheatin’ Woman” https://youtu.be/R4auSmfb2JU

 

“Travellin’ Man” https://youtu.be/_61OW8EUjwg

 

“That Smell” https://youtu.be/2n-azBfzcuU

 

“I Never Dreamed” https://youtu.be/eg6x3opGozk

 

Bass Solo (1987) https://youtu.be/q_MeNKcvHdE   

 

Rossington-Collins Band “Don’t Misunderstand Me” https://youtu.be/RZsYKYUYZeE

 

 

As an electric bassist, the late Michael Henderson played a major role in the evolution of jazz and modern music. As a pop singer, Henderson topped the charts numerous times with his unique blend of rhythm & blues, soul, and funk.

 

Anchoring an opening act for Stevie Wonder at the Regal Theater in Chicago while still in his teens, the headliner summoned Henderson as his new bassist. Michael served as Stevie’s catalyst on stage and in the studio during the Motown legend’s initial transformation from a pop singer into one of the greatest forces in modern pop music.

 

Whilst Wonder scaled artistic and commercial heights at the dawn of the 70s, Miles Davis was seeking an anchor who came from a pure ‘electric’ approach in contrast to Davis’ most recent bassists Ron Carter and Dave Holland who were upright jazz players first and foremost. According to legend, Davis poached Henderson from Stevie during a Copacabana appearance in New York City in 1970 – allegedly informing bandleader Wonder with the utmost subtlety “I’m taking your f***ing bass player!”  

 

Though Henderson’s membership in the electric Miles ensembles raised the ire of many a jazz journalist (Stanley Crouch) and a few of Davis’ employees (Keith Jarrett) – Henderson was the most crucial piece in Miles’ electric puzzle.  He was the only bassist Miles used in the golden era of his jazz fusion career spanning 1970-75.

 

Henderson’s repetitive, staccato bass passages borne of Sly Stone and James Brown’s vamp-oriented influences– though ‘deceptively’ simple to jazz purists, provided the bedrock for the harmonic, rhythmic, and sonic explorations forged by Davis, Gary Bartz, John McLaughlin, Jarrett, Airto Moreira, Dave Liebman, Jack DeJohnette, Herbie Hancock, Chick Corea, Reggie Lucas, Pete Cosey, Sonny Fortune, and Al Forster to cite a select few. Every time Henderson repeated a line – it grew bigger and bigger and bigger. It’s impossible to gauge how many hip-hop artists sampled Michael’s passages.

 

When Miles went into hibernation circa 1975, Henderson forged a successful career as a singer. Collaborating with Phillis Hyman (“Can’t We Fall In Love Again”), Jean Carn (“Valentine Love”), Norman Conners (“You Are My Starship”) – Henderson never fully abandoned his funk jazz inclinations – using many of Davis’ former players including Herbie Hancock, and young lions such as Ray Parker Jr. on his solo slabs.

 

Michael Henderson Sound & Vision:

 

Stevie Wonder live “Signed Sealed Delivered” https://youtu.be/VvHV2Ityb1E

 

With Miles Davis:

 

“Right Off” https://youtu.be/3U_jem9q_mg

 

“Ife” live: https://youtu.be/PruMPJTsqvo

 

Live in Tokyo 1973: https://youtu.be/rOsP24FwcYw

 

 Michael Henderson solo:

 

“Wide Receiver” https://youtu.be/BuO0TuvH-3c

 

“Take Me I’m Yours” https://youtu.be/mV6eLrNHtuI

 

Norman Conners “You Are My Starship” https://youtu.be/7S2HNjfeaj4

 

Phillis Hyman “Can’t We Fall In Love Again” https://youtu.be/w43yQQ5kZNg

 

Jean Carn “Valentine Love” https://youtu.be/3KXVJl7knFo

 

Photos Courtesy of Michael Henderson Facebook 

 

 

Stars in their native UK and Germany; the collective that toiled under the moniker of “Dave Dee, Dozy, Beaky, Mick & Tich” were founded by bassist Trevor Ward-Davies – aka Dozy.

 

Recording and performing songs mostly penned by the celebrated theatrical writing team of Alan Blaikley and Ken Howard – who also composed various West End musicals and television themes – DDDBMT scored several hits spanning ’66 to ’69.

 

Noted for their fashion savvy (or lack thereof) and exuberant performances (and early music videos), Dozy was soulful pocket player who occasionally rendered lead vocals including a Shakespearean monologue on the group’s final chart hit “The Wreck of the Antoinette.”

 

When singer Dave Dee departed, the band faded into obscurity (from which KYBP now rescues them…) and eventually re-emerged as a popular presence on the nostalgia circuit in recent years. Dozy dosed off for good in 2015, yet his legend prevails…

 

Trevor Ward-Davies Sound & Vision…

 

“Hold Tight” https://youtu.be/J5RiPbBgO6g

 

“Wreck of the Antionette” https://youtu.be/yCgqIYbGfcY

 

“Legend of Xanadu” https://youtu.be/rsExj_0IHEs

 

“Bend It” https://youtu.be/MSlpK0U9dhE

 

Know Your Bass Player Q & A with Joe Gagliardo & John Abbey

 

How/when/why did you start playing bass guitar?

 

I kind of started playing by “accident” when I was 13 or 14. Two of my older brothers play bass. One summer, my friends and I would hang out at my house listening to records and play air guitar along with them. One of my brothers was home from college, and on a whim one day, I pulled his bass out of the case and figured I’d play “air bass” while actually holding a bass. I guess the accidental part was this, he played left-handed. I assumed he had a left-handed bass but he’d learned to play upside down, and when I strapped on the bass it was “set up” for me and from that day on that was it.

 

 Any formal training?

 

At first no. I’d ask my brother(s) when they were around to show me some stuff. I bought Mel Bay’s Volume 1 bass book…learned the names of the strings, notes on the fret board but mainly just listened to records and tried to figure stuff out. In elementary school I played violin for a year, and in junior high, you had to be in the chorus, but I had no formal training. I didn’t take any music classes in high school at all, but by my senior year I wanted to learn to read music and understand theory etc etc…unfortunately none of the music teachers were interested in having someone who knew nothing join band or orchestra.

 

That summer, between senior year of high school and freshman year of college, I took a basic music theory class at a community college, and I ended up staying there for my freshman year. It was a classically oriented program and after a year I wanted to learn other stuff. I switched to SUNY Old Westbury. At the time it was one of the only jazz programs around. The head of the department was Ken McIntyre and faculty included Warren Smith, Charles Persip, Jack Jeffers, Dick Griffin, Jimmy Owens…super heavyweights, although at the time their impact was lost on me.

 

After that, I went to B.I.T and studied with Potter Smith, Bob Magnuson, and Jeff Berlin. I was there during a very transitional year for that school..it was just starting to lean away from the jazz/fusion side of things and towards the “metal/big hair” of the mid-80’s. The guitar program still had Joe Pass and Joe Diorio on board and they were thrilled with guys that were into what they did vs what they thought was the “flash”

 

Bass players who influenced you…

 

Man..so many!…Jack Casady, Bill Wyman, Willie Dixon, John Entwistle, Paul Chambers, Charles Mingus, James Jamerson, Jerry Jemmott, Duck Dunn, Larry Graham, Marcus Miller, Jaco, Rick Danko, Aston “Family Man” Barrett, George Porter Jr..I’m sure I’m forgetting a bunch.

 

Summary of bands/years—and recordings…

 

Alright, let’s see I’ll probably be off by a year or two and I’ll skip the “early years”and apologies in advance for stuff I’ve missed and therefore omitted.

 

1984-85 Lauren Smoken-self titled debut record produced by Jack Douglas, 1985-1990?-Outback..came this close :-), recordings with Rob Fraboni, Lori Carson 1988-1990, Carolyne Mas 1989, Todd Kray 1990-1998?

 

Stevie Cochran 1985-1992, David Poe 1995-2003-self titled debut produced by T-Bone Burnett, The Late Album, Love Is Red, Dog’s Eye View-1994-1996(?) debut album Happy Nowhere, Amy Rigby 1994-97, Mike Errico 1996-Pictures Of the Big Vacation, John Cale-1996-1998, Ray Davies-2000, Hubert Sumlin and David Johansen 2004-2005, Amy Speace 1999-2002, Neal Casal- 1995-1997, Moe Tucker 2000, Mark Geary 1998-2001.

 

Current musical activity…

 

Let’s see-since 1998/99 I’ve been producing and engineering…so since moving from NYC to Chicago in 2002, that’s been a majority of my work.

 

Throughout my 20 years in Chicago, I’ve been playing (on and off in some cases) with Robbie Fulks, Steve Dawson, Sons Of the Never Wrong, and Jon Langford’s Four Lost Souls.

 

Partial “recent” discography Producing/Engineering- Emily Hurd -her full discography, The Old Town School of Folk Music Songbook Volumes 1-4, Robbie Fulks-Revenge of the Doberman and 16, Funeral Bonzai Wedding self-titled, and Last Flight Out, Martin Lang-Bad Man.

 

Your go-to basses back in the day, and now…

 

These are the basses I used to have and play(very rarely more than one at a time)…that I regret selling; 1978 Fender Jazz Bass, Ken Smith 4 string serial # 109 (smh), early 80’s Steinberger, 1973 Fender P-bass-fretless, mid 80’s Tobias 6 string.

 

I had a GREAT late 18th century German upright bass that suffered a broken neck on the last day of a tour..after it was fixed, it was never the same and I sold it…still haven’t found an upright I like as much as that one.

 

In 1986 I got a 1966 Fender Jazz bass…it took about 6 months for it to get and stay in shape…that’s been my go to bass ever since. I also currently have a 1967 Guild Starfire (the bass I grew up playing courtesy of my bro!) a 1968 Vox violin and a bass made by a great luthier here, Bruce Roper. It’s a short scale hollow body based on Starfire specs. My upright is a German carved bass from the 50’s but made in Italian style..Oh almost forgot, I also have a Guild Ashbory.

 

 Describe your approach / style…

 

Hmm..another tricky one to answer.  I’d like to think that I always serve the song, stay in the pocket and react to what’s happening in the moment.

 

What are you up to when not playing bass?

 

 I am a Producer-Engineer (and Bass Player) at Kingsize Sound Lab and I have taught at the Old Town School of Folk Music.

 

Similar to how I started playing bass, I got into producing and engineering kind of by accident. A buddy of mine from M.I.T. days, Joe Carter III, a great jazz guitar player, said “You know all these singer/songwriter, rock guys..I want you produce a record for me.

 

I wrote a bunch of tunes on piano and I want to make a record that’s a cross between Tumbleweed Connection and Exile On Main Street.” 

Without skipping a beat, I agreed..and not knowing ANYTHING, but with the help of a lot of super talented people I started to learn and TJ Swan-Redemption was the result.

 

Fast-forward 12 years and a few random spaces in Chicago, Mike Hagler and I partnered up and got our current space together in 2010.

 

It’s a great set-up. We work independently of each other…but we share a huge live room, gear, etc.

 

A partial list of stuff I’ve been lucky enough to work on: Robbie Fulks-Revenge of the Doberman and Sixteen, Funeral Bonzai Wedding-self titled and Last Flight Out, Freakons-self-titled, Mike Allemana-Vonology, Martin Lang-Bad Man, Jonas Friddle-The Last Place To Go, Belle deLouisville, Use Your Voice

 

Emily Hurd-(pretty much everything) most recently- Underkill, Nightshades, Josh Berman-A Skip and a Hop….

 

John Abbey Sound & Vision…

 

“New Pony” live w. Robbie Fulks https://youtu.be/xEduxa3J4UA

 

“Oh Chocolay_Sons of the Never Wrong”  https://youtu.be/uS5uxjj5ZVk

 

“Heart of Snow” Emily Hurd  https://youtu.be/3qAcYG6NECM

 

“Reunion” David Poe https://youtu.be/scS2xlIcIIo

 

“Love is a Blessing” live w. Steve Dawson  https://youtu.be/uYYZWiydtUI 

 

Said the late, truly great Morris “B.B.” Dickerson to Rolling Stone magazine circa 1974 “some people call it ‘ass music’…others call it street boogie…rhythm…our rhythm is different.”

 

As the rhythmic and harmonic anchor of War, a collective which forged a seamless fusion of funk, rock, soul, jazz, Latin, blues, and permutations thereof – B.B. Dickerson grooved a generation. Literally!

 

Dickerson’s career started in a Harbor City Los Angeles church – singing in the choir. He took up bass and guitar at 12. When his brother Scott returned from Vietnam service, he formed Night Shift – backing NFL football star Deacon Jones who was dabbling in a soul music career. When former Animals singer Eric Burdon caught their act in 1969, he enlisted the ensemble as his backing band. Scott summoned B.B. for the bass chair in the newly christened Eric Burdon & War – and the rest, as they say, is history.

 

With a Fender Jazz as his primary weapon of choice, B.B. exuded a sharp, blunt tone wherein he worked the pocket and rendered melodies and motifs which served as hooks for the hits and album tracks. An accomplished lead and backing vocalist, B.B.’s lines often danced around the beat with a relaxed Southern Californian vibe: indicative of their environs. 

 

In the hip-hop age, B.B. and War’s grooves provided a bedrock for such artists Kanye West, De La Soul, the Beastie Boys, and Janet Jackson to cite a select few.

 

Notes War super-fan Reina Laguerra:  As one of WAR’S biggest fans it was my extreme honor to get to meet BB and call him my friend. BB was not only a legendary bass player, he’s the one singing lead on one of WAR’S most iconic songs, ‘The World Is A Ghetto’, which was Billboard Album of the Year 1973, and is #444 in Rolling Stone Magazine’s 500 Greatest Albums Of All Time.

 

“BB”, along with six original members of WAR and Eric Burdon, were the very last artists to jam with Jimi Hendrix the night before he died. WAR has been nominated 3 times for Rock & Roll Hall of Fame, only to get snubbed while they induct artists who sample or cover WAR; The Beastie Boys, NWA, Janet Jackson, 2PAC, and others. Because of WAR name legalities back in 1999, by producer Jerry Goldstein, the remaining WAR originals have been divided into two bands that perform WAR music. Goldstein’s faux “WAR” with one original, and the Lowrider Band, what with BB’s passing, is down to three WAR originals. True WAR fans stand with the Lowrider Band. Declare WAR at the Rock & Roll Hall of Fame NOW for 2023 induction.

 

B.B. Dickerson Sound & Vision…

 

“Spill The Wine” https://youtu.be/3i0DMbCKnAg

 

“The World is a “Ghetto” https://youtu.be/VIIbT89V7EI

 

“Where Was You At” https://youtu.be/PSBWtq4evTw

 

“All Day Music” https://youtu.be/U5pX4mRQcFo

 

Joe Iaquinto, Tom Semioli, Tony Senatore, Mark Polott at John’s Italian restaurant, New York City 2021

 

Joe Iaquinto: A Guy Like Me

 

In 2006, I spoke on the telephone with my friend John Conte, who is currently the bassist for Southside Johnny and the Asbury Jukes. We discussed bass equipment and our never-ending quest for the ultimate tone. John was telling me about a non-Fender vintage bass he wanted to buy. He told me it was an excellent instrument for “guys like us.” He did not have to elaborate on the meaning of the phrase guys like us because I instinctively knew what he was talking about. Members of this group would probably regard the Acoustic 360 as the most outstanding bass amplifier of all time and have no problem explaining the difference between Gibson EBO, EB-1, EB2, or EB3 basses.

 

Moreover, it was likely that one of these basses is the instrument they currently play most often. Most importantly, group members likely started playing bass guitar in the 1970s, which they consider the most significant period for creativity regarding the electric bass. In many ways, being a member of the guys like us club was analogous to Henry Hill’s definition of being a good fella; “you’re going to like this guy Joe Iaquinto. He’s all right. He’s a good fella. He’s one of us.” He plays an EBO-L through a Marshall Major. More practical individuals ponder the great mysteries of life.

 

On the other hand, guys like us are more concerned with things they deem more important, like what bass guitar and amplifier did Dee Murray use on Elton John’s 11-17-70 vinyl masterpiece. The guys like us club is an exclusive club along the lines of Yale’s Skull and Bones. To gain entrance, we might trace your bass history back 100 years. If you owned a bass that requires 9-volt batteries or owned a bass with a million knobs made out of fancy wood that looked like a coffee table, your hopes of admittance are slim to none.  Finally, if your bass tone sounds like the theme music from Seinfeld, that is grounds for a sit-down with the heads of the five New York City Bass families with Don Semioli at the helm.

 

When Know Your Bass Player head honcho Tom Semioli permitted me to interview Joe Iaquinto; I took advantage of the opportunity to get to know Joe better. To the staff of KYBP and me, Joe is no stranger. When he is in New York City, he is always a guest of honor at the KYBP dinners that “Don” Semioli puts together. Often, there is not enough time to ask him the types of questions I want. I messaged Joe, and he agreed to a lengthy phone conversation. When it was over, I was amazed to learn that Joe was not only a genuine member of the guys like us club, but our life stories were incredibly similar. Whether in person at a Semioli-hosted dinner or during a Zoom call with KYBP stalwarts Joe Gagliardo and Mark Polott, Joe Iaquinto amuses us. He is extremely funny and makes us laugh, but to be clear, he is not funny like a clown. I think he could have a career as a stand-up comedian if he ever chose that career path. His humor is undoubtedly a by-product of his days observing comedians while performing with the Brooklyn-based band Hollywood during their 1976 stay at the Brickman Hotel in the Catskills.

 

 Joe only had one private music instructor. Between 1971 and 1975, Joe studied bass guitar with a guitarist named Jack Leone. I find this intriguing, as I only had one instructor, primarily a jazz and classical guitarist. Joe was so proficient that by the time he was 13 years old, Leone was using Joe on his own gigs with The Noblemen. This was made possible via a pencil applied to Joe’s upper lip. Charlie Dere was Joe’s high school stage band director. Dere was a mentor to Joe and was the person that introduced him to the legendary bassist Jeff Ganz. This was another exciting revelation, as Mr. Ganz was also a great inspiration to me. He was a close friend of my father’s, and my dad held Jeff in the highest esteem as the type of consummate bassist I should seek to emulate.

 

Perhaps the most important commonality between Joe and me is that our parents did not expend tremendous energy to guide us on a career path. In Joe’s case, it was unavoidable. When Joe was 11, his mother and father passed away.  My father was a professional musician who toured the world with Tito Puente and was quite involved with my development as a young musician. Unfortunately, my father dissuaded me from attending college when I was about to graduate high school. He told me that after graduating, I should get a job and start helping around the house. This contrasts with most of my friends whose parents urged them to apply to Harvard, Yale, or Princeton. Joe and I were on our own when it came to creating our destiny. We both agree that, unlike many of our peers, we already knew how we wanted to spend the rest of our lives, so we were blessed. Spending our days practicing and nights wielding a Gibson Ripper while plugged into an Ampeg SVT seemed much better than four more years of education. Besides, we both concluded that most of our heroes did not study music in college. We had no interest in getting into the double bass played arco or studying serial composition, or becoming the next Schoenberg. The only context in which the word serial meant anything to us concerned David Berkowitz, the serial killer whose reign of terror defined the 1970s and our neighborhoods.

 

Perhaps you have heard of a college student that never wants to leave school. Becoming a perpetual student is much more palatable than getting out into the real world as soon as possible and perhaps failing. Unlike these types, Joe and I had no interest in higher education and immersed ourselves in the NYC music scene. Jeff Ganz offered to take Joe under his wing and groom him for the Broadway scene. I had similar offers from NY bassists, most notably Paul Adamy, the primary bassist for Mama Mia, one of the most successful Broadway shows of all time. It was essential to convey that while we appreciated the offer, Joe and I wanted to be a part of an original live band, and all of our efforts were on securing a major label record deal for the bands with which we were involved. In retrospect, this was shortsighted and the wrong plan for me, but as we all have learned, hindsight is 20-20.

 

While I remained tethered to the NYC area, Joe decided to try his luck in California. He left New York in 1978, returning only once in 1982. Ultimately, Joe spent from 1978 to 2017 on the West Coast. While there, he did a stunning array of singer/songwriter gigs and live performances with a who’s who of the music business: Earl Slick. Rita Coolidge, Stephen Bishop, Jeff “Skunk” Baxter, Patrick Simmons, Wayne Newton,  Bobby Kimball.

 

Joe’s tenure as the bassist for Branscombe Richmond, the star of the well-known television series Renegade, is perhaps his most enduring musical relationship. Joe started with Branscombe in 1995 and is still the band’s bassist. Joe told me the band’s direction was country-inspired before he occupied the bass chair. Joe’s funky bass playing was the catalyst for a new direction for the band. Joe also confided in me that between 1985 and 1988, he made quite a bit of money doing the soundtracks for porn movies. The libertarian in me has no problem with that. I find it offensive that those who clamor about the dangers of big government seem to be preoccupied with what consenting adults do behind closed doors. I think Joe should have starred in some of the movies he created soundtracks for. I will save the political commentary for another time because Semioli likes to keep these conversations private and within the family. Perhaps head honcho Semioli is getting a little soft in his old age, with all this talking about SEO optimization this, algorithms that, and dumbing things down for a semi-literate audience. As philosopher Jimmy Conway once asserted, “what is this world coming to?”

 

Joe conveyed that having a five-string bass was mandatory for most of the work he did in California, and a Music Man Stingray was his primary bass guitar. These days when recording, Joe uses and endorses long-scale basses built by Pat Wilkins of Wilkins Guitars. He prefers short-scale basses in live performance situations; a 1970 EB3 and a Fender Mustang P/J reissue. Like many of my KYBP brethren, Joe has moved to light (40/95) strings. I am the sole holdout with my 55/110 flat wounds. The first reason is that I prefer the feeling and tone of heavy strings. The second reason is that Don Semioli always advocates using “manly” gauged strings. I don’t want Semioli to whack me, so I adhere to his wishes. Also, a 110-gauge E string can be a deadly weapon. Just ask Carlo Rizzi and Clemenza.

 

The most important part of my conversation with Joe was that by 1990, all of the sex, drugs, and rock and roll had wreaked havoc on his mental well-being. He was at an all-time low and decided to seek therapy. This wise decision enabled him to thrive as a musician ever since. He also agreed that after a lifetime of temporary day jobs, he could only be pleased if he was not a part of the 9 to 5 world. He credits his therapist for helping him realize this. He took a short time off, going out on what he refers to as stress leave, which was similar to disability. During this period, his bills were paid, which enabled him to focus on getting well.

 

Similarly, I am no stranger to how untreated or resilient mental issues can destroy lives. My sister had a traumatic experience at 16 that ruined her life. I would rather not publicize the event and relieve the pain, but it also affected me. In 1993, I had to raise my sister’s child with the help of my family when my sister was unable to do so because of her illness. When she passed in 2007, like Joe, I was at a crossroads in my life. During my career as a musician, I met some of the most unsavory and unethical people imaginable. They mistreated me, and I took it from them for fear of losing my gig. I was unhappy but felt that I did not need to seek therapy, as I instinctively knew what I had to do to reclaim my life. When one can do that, it is a blessing. I decided to retire from the music business in 2004 and get a government job. By 2008, my lack of a college education was the chip on my shoulder that I needed to deal with. It took time, but by 2017, I graduated magna cum laude from Columbia University at 55. The take-home message here is that if you are unhappy, you need to make the necessary changes in your life.

 

Most importantly, there is no one size fits all approach for success in life or mental well-being. You must do what is right for you, not for your friends or family. Telling individuals under extreme mental duress to “man up” is similarly unhelpful.

 

The final piece in the puzzle for Joe’s quest for happiness was his decision to play and teach music full time and relocate to Madison, Wisconsin, which the Iaquinto family did in 2017. Joe’s wife Kristine, to whom he’s been married since 1995, was born in Wisconsin, so it seemed like the right move, as they were both disillusioned with life in Los Angeles. As a young boy growing up in Sheepshead Bay, Brooklyn, Joe was surrounded by some of the best food available anywhere. His favorites were places such as L&B Spumoni Gardens on 86th Street and Randazzo’s on Emmons Avenue. He also used to load up on littlenecks and cherrystones at Lundy’s, but now it is all over. There’s not as much action or good food in Madison as in Los Angeles or Sheepshead Bay. Larry Storch Boulevard has supplanted the Belt Parkway and US 101. I wondered if when Joe ordered spaghetti with marinara sauce the first time he had dinner in Madison, the waiter gave him a bottle of ketchup and egg noodles. I promised to ask him that the next time I spoke with him. One thing I know for sure is that he is not an average nobody living the rest of his life like a schnook.

 

How Joe’s life took shape was not only the best for him, but for Kristine and his sons Kevin and Jordan, who are 23 and 19, respectively. I can say the same thing regarding how my life ultimately took shape. We concluded our conversation that there is no musical artist alive today who could convince us to alter the lives we have both built for ourselves. We are both making music on our terms. We also spend a lot of time with our families because, as Don Semioli famously asserted over dinner at John’s of 12th Street, a man who doesn’t spend time with his family can never be a real man. For more information about Joe, please visit his website at

 

http://joebass.squarespace.com/

 

Now go home and get your shinebox!

 

 

Ashley Suppa… A Know Your Bass Player Q&A by Joe Gagliardo

 

Borne of a musically talented brood, and hailed as the “female version of Cliff Burton,” bassist Ashley Suppa caught the eyes and ears of Kiss guitarist Ace Frehley who recruited her to sing backing vocals on his Anomaly album, released in 2009.

 

Ashley anchors PLUSH, all-female rock collective on a mission to bring rock back to the forefront of the music industry. This female rock force is fronted by singer, songwriter and guitarist Moriah Formica with drummer Brooke Colucci, guitarist Bella Perron and bassist Ashley Suppa.

 

How/when/why did you start playing bass guitar? I started playing bass guitar at age 11. I attended a local music performance program as a guitarist, and they needed a bassist for one of the songs. The director of the program asked if I had a bass. I wasn’t entirely familiar with what a bass even looked like… so I said that I would check when I got home. Sure enough, my dad had one and the first song that I learned was Death or Glory by The Clash! 

 

Any formal training? I took lessons that were mandatory with the program, but I consider myself to be self-taught! 

 

Cite the bass players who influenced you. Paul McCartney, Bootsy Collins, Mike Inez, Mike Starr, Robert DeLeo, and Gail Ann Dorsey are some of my greatest influences.

 

Current musical activity/tours… In the past I have toured in Plush with Slash, Sevendust, Evanescence/Halestorm’s arena tour, Mammoth WVH and played festivals such as Rocklahoma and Welcome to Rockville. Our upcoming tours include Alice In Chains as well as the Kiss Kruise.

 

Your go-to bass(es) and rig…My latest favorite is my Fender Meteora bass, but I also play many Fender jazz basses and sometimes a Fender Vintera ‘50s Precision bass. I use a Fender 810 cabinet and a Fender TB 1200 head. 

A description of your playing style… When I write bass lines, I like to play what I think will best complement the song. I typically go for solid grooves and tasteful runs where I feel that they fit. I also feel that my backing vocals are an aspect of my overall playing and that my bass parts must be able to cooperate with my vocal parts!

 

Ashley Suppa Sound & Vision…with Plush

 

“Better Off Alone” https://youtu.be/YOCU5IcDbxQ

 

“Hate” https://youtu.be/5jx1cpNY6v0

 

Live At Rocklahoma 2021 https://youtu.be/vgo_UyuqvqQ

 

For All Things PLUSH https://plushrocks.net/

 

 

Ricardo Rodriguez by Tony Senatore

 

I first heard about Ricardo Rodriguez when I was hired to play bass on the Shrapnel Records release entitled Midnight Drive in 1991. At that time, Ricardo was making a name for himself as a fiery bassist in the tradition of Billy Sheehan, and we traveled in the same circles. In those days, I was known for performing 10-minute Bach inspired bass solos while clad in spandex and played on stages with smoke machines. By the mid 1990’s, I started to get some session work thanks to an introduction to the late, great engineer Jason Corsaro, and needed to radically alter my approach. Playing bass lines that were suited for the song in perfect time, with no fret rattle or buzz took precedence over trying to replicate Paganini on the electric bass. Around this time, Ricardo made similar changes to his bass style. We both made vast improvements in our bass playing, but it was not because of what we were playing, but rather what we were leaving out. Ricardo has built a career as a bassist on his own efforts. He’s not a member of the elite circle of NYC bassists that play on Broadway or do sessions at the top studios. Like me, he has built his career from the perimeter.

 

For all of the talk about an alleged “bass brotherhood,” I have learned that if a fraternity of elite bass players truly exists, new members are only admitted if they have something to offer in the form of a tour or a Broadway show to gain access. To truly thrive, a musician must create their own opportunities.  Ricardo and I also have a similar view that there is much more to life than music. Financial security is important to us. As such, we both maintain day jobs that are unrelated to music and would not have it any other way. You can’t build a career with Instagram likes, by posing for pictures with famous bass players or “liking” their posts on Facebook. Getting hired and getting paid for your work is the only thing that matters. The rest of it is just a façade. Know Your Bass Player has always tried to convey the story of the working musician trying to navigate their way through a never-ending sea of obstacles, often in obscurity. As such, we are proud to present this feature on Ricardo Rodriguez, a true pragmatist who lives his life on his own terms.

 

When and where were you born?

 

I was born at Saint Joseph’s Hospital in Paterson New Jersey. When I was born the doctor looked at my hands and told my mom that I would either be a doctor or a musician. I was fortunate to be raised into a family full of Latin jazz musicians. Since our family functions were quite large, we would often rent a hall and my cousins and uncles would always bring the band to perform. As a kid I had no idea how good they were until I heard other bands that rarely sounded as good. They were all very well-educated schooled musicians at the top of their game. Now that I am older, I really appreciate having this influence very early on.  

 

I am curious about your educational background or specific teachers who guided you, not limited to only music teachers.

 

I was always fascinated with technology and studied electronics and computer science however my mind often drifted into music land. There came a time when I was getting busier musically and so I studied theory at William Paterson and took lessons from various local professional bass players. However, my cousin Frankie was my earliest bass player influence who I looked up to and guided me. He still plays Latin jazz to this day.  

 

Did your family support your decision to be a musician?

 

I put in as much time as I possibly can into my music endeavors while maintaining a day job. I’ve always been the responsible type, so my parents never gave me any arguments about my music activities. My family has always been supportive of my musical ventures. Not once has anyone given me any talk about moving in a different direction.

 

Who influenced you at the beginning of your career?  When you listen to their work today, do your early bass influences measure up to your perceptions of them when you were young? Are there any young bass players currently on the scene that inspire you?

 

As early as I can remember I was always humming the bass lines to songs. Not sure why I did that to be honest. But Silly Loves Songs by Paul McCartney as well as songs like “Sir Duke” by Steve Wonder were some of my earliest influences. I had no idea what a good musician was at that age. I just knew that I was drawn to it. As time went on, I realized their genius. As far as new young bass players on the scene that I admire, Henrik Linder from Dirty Loops, Sam Wilkes from Scary Pockets, Michael League from Snarky Puppy, Joe Dart from Vulfpeck and Jacob Collier come to mind.

 

I am a big fan of the Carol Kaye series of bass method books. Her method, combined with The Evolving Bassist by Rufus Reid, and Bach’s Six Suites for Violoncello Solo are the backbone of everything that I do on the bass guitar. Are there any books, or YouTube video channels that have inspired you?

 

Great question! I have Bass Guitar for Dummies by Patrick Pfeiffer. I bought a few from this series and I loved the cds that came with them. I tend to drive a lot and loved listening to these lesson books while on the road. It really helped me absorb many things I was trying to understand at the time. I later found Patrick in NYC and took lessons from him. As for YouTube channels Scott’s Bass Lessons is my go-to, however any session bass player that records a memorable line will grab my attention. I recently found the stems to Lady Antebellum’s hit song “I Need You Now”. I removed the bass track then recorded myself playing the entire track. Craig Young is the bassist on that track. In my book that is textbook perfect bass playing.

 

When I started playing live in 1976, I was lucky enough to acquire a vintage Ampeg SVT. During the ’80s, I got caught up in the sterile “divide and conquer” bi-amping approach to live bass tone. These days, I prefer the character that I believe is only attainable by plugging straight into an amplifier, and I have wisely decided to revert to my roots. How has your approach to getting a great live sound evolved over the years? What was important to you in the past, and what is important today? What is your current setup?

 

My early influences were Steve Wonder, Parliament, and other r&b artists. I would often confuse synth bass parts for real bass parts, and I wanted synth like lows to be a part of my sound. My first serious bass cabinet had dual 18’s. In those days bigger was better. I remember an older bassist telling me I could do so much more with less and that I would let all that big stuff go one day. My first thought was no way. How boring! I lugged that beast for about five years then down sized to 15’s. I lugged the 15’s for a few years then down sized to 12’s. The 12’s, in my opinion, are the sweet spot size wise and still have those around. I held onto the 15’s thinking I would go back to them someday but never did. What I have learned is having booming bass on stage can get messy at times. Most of the time I must trim the bass down and get a more focused sound so I can hear the pitch of my notes. It’s better to let the front of house get that boomy sound and just let your stage amp be your focused monitor.

 

Back in 2019 a friend asked for my opinion on great combo amps. The one I had was an Ampeg Portaflex 2×8 which for its size had a great sound however they were discontinued. I told my friend I would go to a few stores and see what new amps were out there that met my approval. I hit all the stores I could find within an hour drive from my house. I was at Alto Music in Middletown. They had a bunch of Phil Jones bass amps. I tried them all including the Fender, Peavy, Ampeg, Blackstar and other brands. To my surprise the PJB BG400 kept coming out on top. I went to a few other stores that had Phil Jones amps to compare it to other manufacturers and once again the BG400 for its size kept coming out on top. The last test I did was to compare it to my Ampeg combo and the BG400 blew it out of the water. I sold my Ampeg’s and bought the BG400. Since 2019 the only amp I have gigged with is the BG400 with its extension cab. I never thought in a million years that a 5” speaker could cut it but to my surprise so far it has. So, I guess that guy who was trying to educate me in my teens was right all along.  Setup, outside of the Phil Jones amps I just carry a few pedals to my live events. Nothing fancy. Just a few basic Boss pedals. Tuner, Limiter, Octave, EQ and Chorus. I love Boss pedals because I have been using them since I first started, and they never have failed me. If someone invites me to a session, I have a few boutique pedals that I will bring with me. Origin Effects Cali76 Compressor and a Noble DI. In my studio I use a Neve 1028 Preamp. It would be nice if someone would make a pedal version of this but the closest I have gotten to that is the JHS Colour Box. My travel session chain is always evolving so ask me next month what I am using.

 

To answer your question of what was important to me in the past and important today. That all ties into my first real recording session experience. I was only 20 years old and completely green to the process. But what I do remember was how amazing my bass not only sounded but felt under my hands. I asked the engineer a lot of questions. He explained the importance of a great preamp and compressor. All recorded bass is compressed to some degree. I like my bass to have that studio sound live, so I always add a touch of compression. Prior to knowing what a compressor was or did, the only time I experienced such a pleasant sound was with a tube amp with what is known as tube sag. A compressor mimics this sound. However not all compressors sound the same. I have a ton of them, and one will sound good with one bass and another sounds good with a different bass. So, your mileage will vary. But when you find the right combo its heaven. So, a good preamp DI, and compressor is everything these days.

 

Your decision to assemble a home studio to track bass parts for clients was a wise one. When asked to add bass to a project, I have yet to do the same and rely on area studios. Tell us a bit about your studio. Can you recommend a basic setup that would enable novice and veteran bass players to get started?

 

As much as the pandemic wreaked havoc for many it forced me into putting the studio together. I always had it in my mind of wanting to have my own recording setup, but I was always too busy and feared the learning curve. It was much easier to just show up and let someone else deal with all the technology. I just wanted to focus on playing and that’s it. I was already purchasing pieces for my studio and was already about 70% there with the gear I needed. Once we were forced to stay home and the only people that were still working musically were the ones with home studios, the rush to complete my studio went from hardly a focus to priority number one. The only problem was the whole world was in the same panic because the gear you needed was hard to come by. I ran around for a few months and spent whatever I had to get what I needed before someone one else took the opportunity away from me. What a crazy time that was. 

 

As for setup recommendations. This topic requires a lot of discussion; however, I will try to keep it basic for now. You need a computer with lots of RAM. At least 32Gigs. Most people use Pro Tools on a MAC however I am a Windows guy and since I work in  IT, I managed to put a system together that cost me 1/3rd of what an equivalent MAC would cost. So, it depends on your budget which system you want to go with. You want a good sounding interface. Apollo series of interfaces is the standard these days. Warm Audio is a decent brand that makes clones of much more expensive gear. I would check them out for a good recording DI, compressor, preamp, and microphone. As for nearfield studio monitors, Yamaha is a decent brand and would shoot for those. Lastly you can operate Pro Tools with your computers keyboard and mouse, but a control surface makes life easier. I like Icon series control surfaces. I think this covers it.

 

Do you make your entire living playing music? If not, why have you decided to work an unrelated day job?

My first love will always be music however personally I prefer a steady income with medical benefits. I admire the few hundred musicians that have managed to make a steady living, but I just don’t see a return to the days of the Wrecking Crew session musician life. If that were to ever happen again, I would entertain the idea of giving up my day job. Until then I just do not see paying a mortgage and car payment with on and off cash streams unfortunately.

 

My decision to release a solo CD in 2005, and an instructional DVD in 2007 was the catalyst for much of the session work that I am doing now. I am curious as to whether you have thought about deviating from your current path of playing on other people’s music and have considered releasing something of your own. Perhaps you have done this already, and I am unaware of it.

 

When I first hit the scene in the ’90’s I was only doing the New Jersey cover scene circuit. In 1999 I started working with a singer in NYC which opened a new door to session work with various singer songwriters. I was so busy that at one point I had 20 bands on rotation. Those were crazy fun times. I never gave the solo idea any thought because up until March of 2020 I was too busy working on everyone else’s projects. My mind set was always study and emulate the great session players like Pino Palladino and Nathan East.

 

In 2010 a Jazz band by the of Rubber Skunk hired me and for that year we had a lot of fun stretching out and I thought this might be a good band to showcase my talents but the band disbanded before we got to go into the studio. I still may one day go down that solo path but at this time I find it rewarding working with singer songwriters and bringing their ideas to life. 

 

I have a large collection of over 40 bass guitars. If forced to get rid of all of them except for one, I would keep my 1973 Fender Precision bass. Which of the basses that you own is the instrument that you would never part with?

 

If forced, I would keep my Sadowsky NYC Series Chambered 5 String Bass. That bass records well and has a great neck for live playing.

 

It is more challenging to survive playing music today than in past eras. Reality is not negativity, and I feel an obligation to young musicians to clarify this. What would you tell them if you could offer one piece of advice to aspiring bassists?

 

Give music as much as you can give it but keep an eye on reality. Think about your future. One thing I try hard to do is to not get into a day job that sucks the life out of me. If you come home every day drained to the point where all you want to do is sit on your couch, then you must make some important life decisions. These types of jobs shorten your life span. Music increases it. So, find a job that will allow you to balance your creative life with your professional life. This has worked well for me so far.

 

Ricardo’s YouTube Channel: https://www.youtube.com/c/RicardoRodriguezBass

 

Ricardo’s SoundCloud page: Stream ricardobass | Listen to Studio, Live and Demo Recordings playlist online for free on SoundCloud

 

Ricardo’s Instagram page: https://www.instagram.com/alotabass/

 

By Philip Huizer

 

Dutch bassist Ton Temming anchored several bands including Phoenix, The Caverns, and Batfinger and founded the repertory ensemble Witness. Temming, who passed in 2022, performed extensively in the Netherlands, Belgium, and Germany. Active on the jam session scene for nearly 60 years, Ton was a “real musician” who loved to play the bass guitar.

 

Ton Temming Sound & Vision…

 

The Caverns “No Matter” https://youtu.be/w5KfpHXM9po

 

The Caverns “It’s All Over Now” https://youtu.be/-xWO-_WvSAE