By Joe Gagliardo

Derek W. Brand had been listening incessantly to Jimi Hendrix since early in his teens, in particular, side one of the iconic guitarist’s legendary performances as captured on the historic Monterey International Pop Festival LP.

One day, Derek flipped the record over to side two, and when he heard Otis Redding’s live version of “Try A Little Tenderness,” and Donald “Duck” Dunn, he decided to play the bass guitar.

Within a few years, after responding to an ad in a music store, Derek was playing professionally with older, more seasoned musicians. It was an experience that prompted a shift in his focus from soul / rhythm and blues music to roots and Americana music of The Band, and similar artists.

Looking to study music in depth, Derek enrolled in the Chicago Music College, however he was forced to study piano as the school did not yet have a curriculum for the electric bass.

A chance encounter with Chuck Rainey led Derek move to California where he became a student in the first class of the Bass Institute of Technology (BIT). Derek studied with Rainey, who served as BIT’s first director.  Note that BIT was among the first schools in the country to have a full-time curriculum dedicated to the bass guitar.

Returning to Chicago, Derek was playing with Jim Desmond, who was popular in local music circles. This choice gig afforded Derek the opportunity to share stages with U2, Captain Beefheart, John Cale, Nico, and other notable national and international acts.

After working with Desmond, Derek commenced did an eight-month run with a show band, playing four to six sets a night, six days a week.  Derek credits this time as a significant learning experience.

In 1983, as the show band was concluding their engagements, Derek and a high-school friend by the name of Nicholas Tremulis, began a collaboration which continues to this day, and spans about a dozen album releases, including two for Island Records, and scores of live performances.  Nicholas Tremulis remains among the most prolific and active songwriters and performers to come out of Chicago.

Although the band has gone through a few changes over the years, the NTO’s continuity of core of musicians still make them the among the premier ensembles on stage and in the studio.

Based on the strength of the band’s musicianship, the Nicholas Tremulis Band / Orchestra has performed a series of shows as the back-up band for a number of artists, including, Rick Danko (The Band, solo), Peter Wolf (J Geils Band, solo), Willie Nile, Blondie Chaplin (Beach Boys, Rolling Stones, solo), David Johansen (New York Dolls, Buster Poindexter, solo) Hubert Sumlin (Howlin’ Wolf), Maceo Parker (James Brown, solo), and Charlie Sexton – among many others.

As I, Joe Gagliardo, am witness, the term “back-up band” does not describe the experience!  Derek and the band absorb the artist’s music so deeply that they are at one with the performer.  If you didn’t know, you wouldn’t know!

Derek has also maintained a busy schedule with projects such as playing “house music” along with producing and playing bass with The West Sidewinders.

Derek’s playing style is influenced by Willie Dixon, Duck Dunn (Booker T & The MGs), and other players, most of whom started on upright.  Not surprisingly Derek’s sound is rooted in early Chicago soul / rhythm & blues / blues music, and Stax records. He plays to serve the song and recognizes that what he plays touches the other musicians in the band.

Brand’s brand of playing style has also been affected by the fact that he has worked as an engineer in recording studios and run stage monitors for live shows.  Over the years, Derek has played numerous instruments, including his 1966 Fender Jazz bass, and a 1962 Fender Jazz bass which he removed the frets and had the neck epoxied. Sound familiar? If not, refer to Jaco!

Derek’s go-to bass for the past fifteen years is a Lakland double-pick up hollow body, which he tried at the urging of fellow band member and multi-instrumentalist, John Pirucello, an owner of Lakland.

If you get the chance, catch Derek and the Nicholas Tremulis Band / Orchestra live.  It’s a show you don’t want to miss!!!

Listen to the Brand…  

Nicholas Tremulis Orchestra with Billy Corgan and Bun E. Carlos, playing Roxy Music’s “Out of the Blue” https://youtu.be/tIJKvhtWM4Q

“Give Me Tomorrow” by Willie Nile and The Nicholas Tremulis Orchestra https://youtu.be/RFASYU87xEs

The Nicholas Tremulis Orchestra with Charlie Sexton https://youtu.be/lMPyuJ8uyCI

The Nicholas Tremulis Orchestra with Alejandro Escovedo https://youtu.be/rYJWuykY9v0

A “short” list of Derek Brand’s Credits: Charlie Sexton, Lonnie Brooks, Sugar Blue, Ivan Neville, Rick Nielsen, Alejandro Escovedo, Billy Corgan, Blondie Chaplin, Sir Mack Rice, Bob Mould, Chris Whitley, David Amram, Jeff Tweedy, Jay Bennet, Bun E. Carlos, Liz Carroll, Marianne Faithful, Graham Parker, Steve Earle, Sonny Landreth, Ronnie Spector, Hubert Sumlin, David Johansen, Mavis Staples, Ian Hunter, Kurt Elling, Peter Wolf, River Phoenix, Maceo Parker, and Rick Danko, to cite a few!

Derek’s Weapons of Choice: Lakalnd Hollow-body bass, Ashdown ABM 500, SWR Goliath Cabinets (Various), Polytone Mini Brute III, Retrospec DI.

Derek’s Influential Albums List: Monterey Pop – the Otis Redding side Natty Dread – Bob Marley and The Wailers Graham Central Station – any record 88 Great Original Motown Hits Jazz Winds From A New
Direction – Hank Garland

Derek’s Favorite Bass Players: Duck Dunn, Aston “Family Man” Barrett, Larry Graham, James Jamerson and Jimmy Garrison.

By Joe Gagliardo

Chicago’s Cryan’ Shames have long been known for their incredible harmonies, but they’ve also had incredible bass players in their line-ups, including Dave Purple and Isaac Guillory.

And the stories behind those two bassists are equally incredible….

Unfortunately, Purple and Guillory are no longer here to tell their stories, however Tom Doody, The Shames’ lead singer is alive and well- and he has shared his insights.

Among the aspects that make Tom’s perspective so intriguing is that he firmly believes that the bass propels what the singer sings and is in tune with the melody of the song, to the extent that Tom can easily hum the bass line of every song the Shames ever played, original or cover!

Dave “Grape” Purple was a classical keyboardist. He first picked up his brother’s bass a day before his audition with the Shames.  With a melodic approach to the instrument, he nailed the audition and less than seven months later, Dave was recording songs with driving passages on his Hofner violin bass.

Check out the band’s first LP on Columbia Records entitled Sugar & Spice and the ascending and descending bass melodicism on tracks including “Sugar and Spice, “I Wanna Meet You,” and the driving grit of “Ben Franklin’s Almanac.”

“Sugar and Spice” https://youtu.be/Fe7RlzkVS3U

“I Wanna Meet You” https://youtu.be/dY7fJv4nMy4

“Ben Franklin’s Almanac” https://youtu.be/KBBuL3yeo3M

However the stress of touring was more than Dave wanted to endure, and he left the band following their debut release.

Yet Purple forged a successful career as a recording engineer with the Stax / Volt recording studios, working with numerous soul greats. Dave earned a Grammy Award for his engineering on Isaac Hayes’ legendary Shaft LP.

Needing a replacement fast, Tom thought Isaac Guillory would fit the bill!

Though Guillory is pictured here with a Fender Telecaster bass, check out Isaac’s lines which were rendered on a Guild hollow-body, propelling “A Carol for Lorelei,” “Mr. Unreliable” and the beauty of “I Was Lonely When.”

“A Carol for Lorelei” https://youtu.be/W-leTE-j_fw

“Mr. Unreliable” https://youtu.be/nb-tQbDYywE

“I Was Lonely When” https://youtu.be/tLP6Yn5gdQ8

According to Tom, in addition to being fine musicians “Grape” and Isaac were great people, and it was great to have them as part of the Shames’ family.

Coda: Big thanks to Tom Doody for sharing this information with us, and you can still catch the Cryan’ Shames as part of the Cornerstones of Rock show featuring many of the Chicago 60’s bands, as well as performing individual shows.

By Joe Gagliardo

Growing up in a musical family and playing the accordion starting at a young age, Bob had a head start in being able to read the bass cleff.  He had an extra bonus because his teacher was Harry Grebb (saxophonist with the Woody Herman Band, and father of Marty Grebb (The Exceptions, The Buckinghams, Bonnie Raitt, Leon Russell, and more), who inspired him to be a musician.

When Bob got his first bass around age 12, a black Supro, he was able to fill a spot where a local Chicago band needed a bass player.  His lessons with Harry Grebb continued, but not in the usual way.  Since Bob could
read music, Harry brought in a drummer, Harry played Piano, and they played The Real Book, which is a collection of jazz standards.

Bob was able to ultimately trade up for a Rickenbacker bass, like the one Peter Cetera (The Exceptions, Chicago, solo) was playing at the time in The Exceptions, one of the great 60’s Chicago-based bands, who did a show-stopping cover of The Beach Boys’ “Good Vibrations,” and inspired many bands and musicians in Chicago clubs.

An opening gig with Sha Na Na ultimately led to an association with renowned guitarist, Elliott Randall, and a four-year stint with Asylum recording artist, Tim Moore.  Returning to Chicago, Bob was a member of the band that was to be the next big thing—Scott Wilk and the Walls, which included Tommy Scheckel on drums (The Buckinghams, and currently, Paul Revere’s Raiders).  Though signed to Warner Brothers, and despite the positive hype, success eluded the band.

When one of the main studio bass players in Chicago went on tour with Pat Metheny, another spot opened up, and Bob performed on many major commercial jingles over a 20-year period, using his trusty 1959 Fender Precision bass.  The studio work gave him the ability to support his family, and he could still get involved with other musical projects at night, and in his spare time.

One of those projects was with violinist, Jerry Goodman (The Flock, Mahavishnu Orchestra, The Dregs, Solo and currently, Dinosaur Exhibit).  Another was with Joe Thomas who was producing Gospel records, in addition to producing some of Brian Wilson’s records.

Around 1998, Joe Thomas asked Bob if he would like to play on a few tracks that were being finished up for Brian Wilson’s next album, and Bob readily agreed.  That led to a tour in 1999, and a musical relationship that spans over 20 years, and continues today.

During Bob’s time with Brian Wilson, he has continued to work on additional projects, including with Wayne Healy from the Freddie Jones Band.

Dig Bob and Wayne Healy  https://youtu.be/FsftCKfaaQM

While Bob has a variety of basses, including multiple 5-string Laklands and Fenders, true to The Beach Boys’ sound and 60’s/70’s image, Bob’s touring basses are Fenders, and, like Carol Kaye, one of Bob’s bass heroes, Bob plays with a pick to create definition, because that is the sound Brian likes.

One can only imagine the depth of learning that was required, the challenges and the unbridled joy, when working with the genius of Brian Wilson, who has written an unbelievable catalog of songs, and has the layers of the music in these songs in his head.

Also, many of the bass lines in those Beach Boys’ songs are iconic,  and need to be played like the record.  Just a few examples, “Good Vibrations”, “California Girls,” “Wouldn’t It Be Nice,” “God Only Knows,” and “Help Me Rhonda,” to cite a few.

Dig Bob on…

Smile live https://youtu.be/8UbNwhm2EX8

“Don’t Worry Baby”—Billy Joel with the Brian Wilson Band https://youtu.be/1zSbHADm32o

“Good Vibrations” live on The Tonight Show with Jay Leno https://youtu.be/HPIP6K12wuk

“Sloop John B” live at Capitol Studios, with Al Jardine https://youtu.be/eDZgl7H-coQ

Catch Bob with Brian Wilson, on what seems like a continual tour, which we are thankful for!

By Chris Semal

I first got turned on to Riverside when Joe, a good friend and the drummer of my old band, Three Way Crash, brought them to my attention.

He loves to scour the internet for good new prog bands and every few rehearsals would hand me a couple of CDs. This dates back some fifteen years ago, as I don’t even have a CD player in the house anymore.

Anyway, the disc is called Out of Myself and I was transfixed from the get-go. This checks off all the categories in what I look for in a band: flowing songs, intriguing vocals & playing expertise. Rhythms accentuate and then lay back, leaving room for virtuosic solos.

Dig the title track from Out of Myself https://youtu.be/LXL_7s7T79w

Looking them up, I was surprised to find they hail from Warsaw, Poland. Many non-English European bands struggle to compose lyrics that don’t have either a stilted or overly simplistic vision, but not these guys.

In terms of musical style, the band I would put in the same ballpark is Porcupine Tree, but that’s only because I can’t think of anything closer.

Mariusz Duda is the bassist and vocalist for this four piece ensemble, and handles both duties exceptionally. His ability to play complex rhythmic lines while singing is in Geddy Lee territory.

His vocals at first made me think of what Justin Heyward of the Moody Blues would sound like if he was a hard rock singer. His Nexus basses are made by Polish luthier Jacek Kobylski and have a unique tone, gritty and yet silky.

They rarely tour the US, focusing mostly in Europe, but played a few gigs in 2013, one of which I attended at a roadhouse in Dunellen, NJ.

I have to say I was kind of surprised they didn’t play in NYC and that this venue, though packed, was the kind of hinterland place that you’d expect some local band to play. They were terrific and sounded heavier than on record.

In particular, keyboardist Mikal Lapaj made me think of Jon Lord’s Hammond playing.

They came back around to Brooklyn last year to promote their new release and seventh CD, Wasteland and the new material sounds as strong as the rest of their work.

Dig Riverside and Mariuz “Vale of Tears” https://youtu.be/Dh_vgwlYX_4

By Allen Fields

Their debut album, Out of Myself is the first of the Reality Dream Trilogy which includes the albums Out of Myself, Second Life Syndrome and Rapid Eye Movement. It is available now in a box set.

Wasteland comes from a very deep, personal place for Duda and the band. When Piotr Grudziński, co-founder and lead guitarist died suddenly on February 21, 2016, the future of the band was in question. Grudziński was returning to his Warsaw home after seeing a concert by The Winery Dogs (Mike Portnoy, Billy Sheehan, and Ritchie Kotzen) when he collapsed and dead from an apparent heart attack just before his 41st birthday.

The band cancelled all the concerts planned for that year and dedicated the album Eye of the Soundscape, released in September 2016, to their late friend.

Riverside began recording again in December 2017 with Duda assuming the role of both bass player and guitarist. Maciej Meller became their touring guitarist, and just a month ago he was announced as an official member.

Here is one of the greatest live shows of Riverside playing the Reality Dream Trilogy. https://youtu.be/0HWv7YJtYCA

This is Duda’s solo project, Lunatic Soul. Check out this amazing song. The sax is beautiful https://youtu.be/SyX2JZ0fFn0

A multi-instrumentalist, producer, Tony Award / Drama Desk nominated composer (Boy George’s Taboo ) who was drawn to the bass by the work of Marcus Miller, Mark King, and Larry Graham… from Terminal Studios in beautiful downtown Bermondsey, London, Kevan Frost discusses his  role as the former George O’Dowd’s anchor and musical director, and more!

 

 

By Thomas Semioli

As a founding member of Alice in Chains, the late Michael Christopher Starr played a major role in the alternative rock revolution aka “gunge.”

A heavy-handed plectrum player with roots firmly steeped in classic heavy metal and hard rock, Starr held the harmonic fort amid the vocal and instrumental harmonies rendered by his bandmates Jerry Cantrell and Layne Staley.

Mike’s main weapons of choice were Spector NS-2 basses, and Ampeg SVT and speaker cabinets.

Following his departure from AIC due to drug issues, Starr briefly anchored Sun Red Sun with Ray Gillen and Bobby Rondinelli, however the project collapsed following Gillen’s death.

Dig Mike on “Would?” https://youtu.be/Nco_kh8xJDs

Dig Mike on “Man In The Box” https://youtu.be/TAqZb52sgpU

 

You’ve heard Van Morrison, Tina Turner, David Gilmour, Kevin Ayers, Willy DeVille, Ben E. King, Chaz Jankel, Alan Merrill, Alvin Lee, Mark Knopfler, and Mick Ralphs. Then you’ve heard Mickey Feat: the bass player who anchored their seminal sides. From Terminal Studios in beautiful downtown Bermondsey, London – Mickey stopped by to chat with us – then he had to split for a session. All in a day’s work!

Courtesy of Dave Swift FB

Opines acclaimed author / editor / journalist / bassist Joel McIver “Dave Swift is one of the most, if not the most, recognizable bassists in England…”

From Terminal Studios in beautiful downtown Bermondsey, London, Dave Swift, known in his native land as the anchor of Later….with Jools Holland discusses his career and approach to the “craft” or is it “art” of playing bass! https://bit.ly/2YMv5fK

 

 

 

By Joe Gagliardo 

 

Bassist Ted Ansani and singer/songwriter/guitarist Jim Ellison met at Chicago’s Columbia College in 1986 while pursuing music / entertainment related studies.  Mike Zelenko was added on drums …. and Material Issue was born!

 

A power pop powerhouse that was so influential, it prompted David Bash to create the International Pop Overthrow Festival, taking the name of Material Issue’s first LP release on Mercury records.

 

Long before Material Issue, Ted rented, and eventually purchased a 1984 black MusicMan StingRay bass Guitar with a maple neck so that he could play in the High School Jazz Band.

 

That instrument remains his main bass today, along with a late 70’s MusicMan Sabre bass, and can be heard on many Material Issue tracks.  Check out the bass on the MTV show where the band played “Diane” live.

 

“Diane” https://youtu.be/Lv5ovTVSAYg

 

Ted has had a significant collection of cool basses, as can be seen in the video for the song, “What Girls Want.”

 

“What Girls Want” https://youtu.be/JhIBh_L9RXk

 

Ted’s bass inspirations are many, including;  Carol Kaye, The Beach Boys, Paul McCartney, James Jamerson, Duck Dunn (Booker T and the MGs), Pete Farndon (The Pretenders) and the avalanche of 60’s music he heard growing up.

 

Those influences served him well, whether he was playing with a pick, his fingers or his thumb—with his objective being to find the best way to serve the music and serve the song.

 

Being a trio, Ted’s style provided that “bass bottom,” whether it was playing rhythmic chords, the descending melody of “Renee Remains The Same,” “The Problem With Jill,” or the staccato playing in “Valerie Loves Me.”

 

“The Problem with Jill”     https://youtu.be/qF4mbRimaHk

 

“Valerie Loves Me” https://youtu.be/YcRtlj8KXT4

 

Material Issue released three studio LPs for Mercury, and a live LP recorded at the Metro, where they are joined by Cheap Trick’s Rick Nielsen for a scorching cover of Sweet’s “Ballroom Blitz.”

 

“Ballroom Blitz” https://youtu.be/eAejTHBdpMY

 

Ted and Mike also collaborated on the issuing of Telecommando Americano, the final Material Issue release after the untimely passing of Jim Ellison.

 

Ted kept busy in the post-Material Issue days, releasing a solo album, Throttles and Pistons, in the early 2000’s, and you can catch Ted and Mike Zelenko these days with their Material Reissue Project. 

 

 

By Thomas Semioli

A giant of the instrument and among the most innovative, identifiable, and creative electric jazz bassists, the player born Rudy McDaniel in Hempstead Long Island, and raised in Philadelphia hardly garners recognition outside the free jazz / free funk / fusion / avant-garde / experimental circles.

Tacuma made his name as the anchor of Ornette Coleman’s Prime Time collective as a 19-year-old in 1975 on three watershed slabs: Dancing In Your Head, Body Meta, and Of Human Feelings.   

In the 80s Jamaaladeen commenced to recording under his own name, waxing several sides which erased the boundaries of funk, pop, jazz, world, and every permutation thereof.

Among Tacuma’s impressive sideman credits include Nona Hendryx, The Golden Palominos, Wolfgang Pusching, Linda Sharrock, Marc Ribot, and James Blood Ulmer to cite a select few.

A multi-instrumentalist, producer, arranger, educator, composer, collaborator – Tacuma has been recognized by his peers with several prestigious awards and hosts the annual Outsiders Improvised Musical Festival.

Citing Val Burke and James Jamerson as, Jamaaladeen’s more recognizable weapons of choice include the Rickenbacker 4001, Fender Jazz, Steinberger XL, WAV Radius, and WAV Radius Upright.

Dig Jamaaladeen with Max Roach and Carlos Santana https://youtu.be/oWIe6Benbu0

Dig Jamaaladeen with The Last Poets https://youtu.be/oWIe6Benbu0

Dig Jamaaladeen with Ornette and Prime Time https://youtu.be/hSzC3ICoOds