Photo by Mark Polott

 

By Thomas Semioli

 

As I was witness, when Stanley Clarke emerged on the national music scene in the early 1970s the electric bass was not yet accepted by the jazz establishment. Perhaps it was because he also played the upright, perhaps it was due to the opened minded rock audiences of the day who gravitated towards electric Miles, Santana, and similar, or maybe the time was right for jazz to wake up to modern technology and young listeners….

 

Whatever the case, the jazz community paid attention to this Philadelphia whiz kid. Stanley applied the language of jazz to our instrument like no other before him. Note that Clarke was a product of his times – he was tuned in to Motown, the British Invasion, Philly soul, Muscle Shoals, and early electric jazz. He made no excuses for their influences in his music.  In fact, he celebrated the pomp and circumstance of pop music – both on record and on stage.  He was a star electric bassist – and remains so to this day.

 

In addition to his unparalleled technique and rhythmic and harmonic virtuosity as both an accompanist and soloist, and a prolific composer – Stanley fervently incorporated the languages of rhythm & blues, soul, funk, disco, and rock into to the jazz lexicon. By “legitimizing” those previously marginalized genres in a jazz context, Clarke profoundly changed American music – making it more inclusive, and more representative of the population.

 

Stanley’s canon, spanning his early days with Return to Forever to his extensive work in film soundtracks, to his innumerable collaborations are all worthy of exploration. He’s been cited by the Grammys, Bass Player, Downbeat, and various learning institutions with piles of achievement awards and honorary doctorates.  While we’re at it, Stanley Clarke is long overdue for Kennedy Center honors.

 

Stanley paved the way for Jaco, Victor Wooten, John Patitucci, Christian McBride, Marcus, Esperanza, Tal, and all the jazz lions and lionesses of the instrument who follow.  Rock bass icons including Chris Squire and Paul McCartney (who worked with Stanley) revere him.

 

As long as the electric bass exists on the bandstand and in the studio, players will debate who is the GOAT.  Fact: Stanley can carry the GOAT title in his back pocket!

 

He is the cat who kicked the door open to the evolution of instrument as we now know it. And he continues to celebrate the traditional role of the bass…

 

The most important electric bass player of all time? My vote goes to Stanley Clarke….

 

Stanley Clarke Electric Sound & Vision…

 

Solo Stanley:

“Journey to Love” https://youtu.be/w0QR-ZFs8FM

 

“Silly Putty” https://youtu.be/fVoGJ0FKttQ 

 

“Lopsy Lu” https://youtu.be/rF4Y3uWKxvo

 

“School Days” https://youtu.be/dDveBbJkVqo

 

“Hello Jeff” with Jeff Beck https://youtu.be/h8eQCNiGuaw

 

“The Dancer” https://youtu.be/-1fCBRc2DAs

 

“Pop Virgil” https://youtu.be/adHsJPzuHzQ

 

Return to Forever: “Space Circus” https://youtu.be/gdsK9YIf3U4

 

Paul McCartney: “Somebody Who Cares” https://youtu.be/miemM-xFqWw

 

George Duke: “Louie Louie” https://youtu.be/XVfp-9lopKY

 

SMV at Montreal Jazz Festival 2012 https://youtu.be/qrXmblp9EBo

 

Keith Richards & Ronnie Wood New Barbarians https://youtu.be/FW8oAtBotI8

Courtesy of Esperanza Spalding Com

By Thomas Semioli

Every generation begets a bassist who re-writes the book on what the instrument is, where it stands in the present, and where it can go in the future. Enter Esperanza Emily Spalding in the 21^st Century….

 

A child protégé at the age of five, she began performing with the Chamber Music Society of Oregon.  Spalding took up the double bass at Northwest Academy in her teens, and never looked back. By the age of 20 she was teaching at Berklee.

 

Championed by Gary Burton and Pat Metheny, Esperanza emerged as a solo recording artist in 2006 as she established herself as an in-demand collaborator, composer, educator, and session player. She has toured and recorded consistently since then, waxing albums which traverse classical, Latin Jazz, hip-hop, funk, pop, soul, art-rock, and permutations thereof.

 

A recipient of several high-profile awards (Grammys, Downbeat polls, Boston Music Awards, to cite a few…) Spalding’s crossover appeal echoes the aesthetic of Miles, Herbie Hancock, Metheny, Stanley Clarke, and Chick Corea (among others, primarily in the 1970s) who brought the art-form of jazz to a wide audience.  Perhaps as a child of the 1990s, an era wherein genres collided at the dawn of the digital age, the idea of “jazz” as stand-alone musical platform was obsolete. When I meet Esperanza, I’ll ask her!

 

Among Esperanza’s most visible weapon of choice is the Fender Fretless Jaco Pastorius Jazz bass.

 

Esperanza Spalding Sound & Vision…

 

“Move Many Joints” https://youtu.be/hirurODtA1k

 

“Black Gold” https://youtu.be/Nppb01xhfe0

 

“Endangered Species” https://youtu.be/aZ4uarjLsKg  

 

“I Can’t Help It” https://youtu.be/CNe2tdSeaec

 

“Lest We Forget” https://youtu.be/i21b35DtbIQ

 

“Ways Together” https://youtu.be/Z5a2scXYA6Y

 

“She Got To You” https://youtu.be/r4rl2IlMVYw

 

“Wild Is The Wind” https://youtu.be/S13ovac-eBk

 

“I felt like a band-aid…[Roger McGuinn] told me that being in The Byrds would look good on my resume…”

 

When John York replaced The Byrds’ founding bassist Chris Hillman in September 1968, the band’s commercial fortunes were on the downturn. Yet artistically the McGuinn and company were breaking ground, erasing the boundaries between country and rock, thereby inventing the genre “Americiana” as we know it.

 

A composer, vocalist, and versatile bassist, York honed his craft working sessions and gigs with The Bee Gees, Sir Douglas Quintet, Mamas & The Papas, and Johnny Rivers, among others.

 

As a member of The Byrds, York anchored two gems – Dr. Byrds & Mr. Hyde (1969) and Ballad of Easy Rider (1969) wherein he contributed lead and backing vocals, and songwriting.

 

Following his abrupt departure from the band less than a year after he was recruited, York collaborated with several artists, including ex-Byrd Gene Clark and Pat Robertson in an ensemble dubbed CRY which waxed a fine platter entitled After The Storm (2002).  York has also waxed several sides under his own name as a singer / guitarist. His prowess as a bassist can be heard extensively on The Byrds archival release Live at the Fillmore – February 1969.

 

John York was cited by this writer in Huffington Post as 11 More Bass Players Who Belong in the Rock and Roll Hall of Fame (2016). https://bit.ly/2RSP0Gd

 

John York Sound & Vision…

 

The Byrds (Studio)

 

“Candy” written with Roger McGuinn:  https://youtu.be/PitPbOGoJK8

 

“Fido” composed / sung by John: https://youtu.be/Tzt_f5GI4oE

 

“The Ballad of Easy Rider” https://youtu.be/ICe9zbyL9a4

 

“Jesus Is Just All Right” https://youtu.be/wdKrHYUZCwM

 

The Byrds (Live)

 

“Bad Night at The Whiskey” https://youtu.be/-zJli3yL6ZA

 

“So You Want To Be a Rock and Roll Star” https://youtu.be/-zJli3yL6ZA

 

CRY with Gene Clark “The Hurting Game” https://youtu.be/yF9hHj8frtY

 

Sir Douglas Quintet “She Digs My Love” https://youtu.be/mODxVPnAaR8

 

Solo John York “All In It Together” https://youtu.be/M4fROLwh3ag  

 

By Joe Gagliardo 

 

Anyone familiar with the Hee Haw TV show will remember comedian Junior Samples urging people to call BR5-49 to buy used cars.  Fast forward to the 90’s, and that became the name of a popular Nashville-based Americana band.

 

Jay saw the band and suggested that they add an upright bass player.  When the band could not find one, Jay bought an upright and joined the band.  While Jay had played guitar and some electric bass back home in Lafayette, Indiana, he had to become a quick study on the upright.  To get up to speed, Jay immersed himself in his record collection, listening to what was happening on records by Buddy Holly, Eddie Cochran, Gene Vincent, Little Richard, Elvis and Carl Perkins.  He also asked for tips from established bassists, including Dave Roe (Johnny Cash), Mark Winchester (Emmylou Harris), and Kevin Smith (Willie Nelson).  To his surprise, the message from each was the same—”I don’t know if this is right, but this is what I do.”   

 

When Jay joined the band, the thought was to play for two- three weeks to see if it worked out.  The band took off the first night it played with Jay, and BR5-49 quickly established itself as the house band at Robert’s, where it recorded its first live album.  Large crowds were drawn by the band’s ability to mix its rock and roll, country, swing and gospel influences to come up with a fresh and energetic sound.  Champions of the band included Gary W. Tallent, bassist with the E Street Band.

 

In terms of Jay’s playing style, he believes less is more.  He loves locking in with the drummer and playing a Ray Price-like shuffle.  He focuses on how he and the drummer tie in with the rest of the band to move the song along, without getting in the way.  When it is a fit, he also goes for the percussive playing of Dorsey Burnette of The Rock and Roll Trio.  Other music heroes include Chet Atkins, Joe Ely, Nick Lowe, Johnnie Johnson, and Chas Chandler.

 

Jay left the band in 2002, and since then has focused on studio work, and post-production in the music video world.  His video work has led him to become the Multimedia Curator at The Musicians Hall of Fame and Museum in Nashville. 

 

If you haven’t seen it, the Museum is a must see, paying homage to the musicians and songwriters, you have probably heard, but not seen, of every genre of music, not just country.  https://www.musicianshalloffame.com/ 

 

Some of the highlights of Jay’s career include:

 

Playing the gritty clubs on Lower Broadway before it became a tourist attraction, and living on tips.  This required musical versatility in terms of song selection and playing requests, as well as dedication and stamina.  The band’s song “One Long Saturday Night” reflects this time period, when every night seemed like a Saturday night.  https://youtu.be/d-WlaIRwGF4

 

Travelling the world, and playing in music halls where The Beatles played.

 

Appearing on many late-night television shows, including Late Night with David Letterman, Later with… Jools Holland, Late Night with Conan O’Brien and The Arsenio Hall Show.

 

The opportunity to meet musical heroes such as John Fogerty and Scotty Moore.

 

Becoming the Multimedia Curator at the Musicians Hall of Fame and Museum.  As a student of music, it is a perfect gig.  Plus, he gets to meet his record collection.

 

Jay’s first upright was an Engelhardt plywood bass that was great for touring.  His current go-to is a 1961 Kay upright.  For studio work, he also uses a Danelectro strung with flats, and a Gretsch hollow-body.

 

Jay McDowell Sound & Vision with commentary…

 

Our version of “Crazy Arms”

We were young and stupid to think that we could improve on Ray Price’s version.  I look back now and laugh about that.  But we had such a ball playing that one, that we put it on the phone album.  I mentioned in our chat that my wheelhouse was this kind of shuffle.  Our drummer and I could really lock in together on this stuff.

https://youtu.be/CPYyI-6YZuU 

 

“Me ‘n’ Opie””

This was our most popular song when we played for tips at Robert’s.  We got so many requests for it that we eventually had to just play it once a night.  We started the ritual of playing “Opie” at midnight every night.  The crowd ate it up.  Don’t tell Andy…

https://youtu.be/8ezSWQcxCQs 

 

“Even If It’s Wrong”-  https://youtu.be/nKJeB03TrJg

 

“Six Days On The Road” https://youtu.be/lDvSoDyX388

 

 

Courtesy of Motorhead Com

 

By Thomas Semioli 

 

“We want to be the band that if we moved in next door to you, your lawn would die.” Lemmy

 

He is a bona fide rock and roll deity.  The Rock and Roll Hall of Fame is not worthy of him, nor his band Motorhead!

 

Though celebrated more for his persona (not even Hollywood could have scripted him), the late, truly great Ian Fraser Kilmister was a brilliant, one-of-kind, inventive bassist.

 

Resplendent in military garb, heavy mutton chops, sand-and-broken glass voice, and weather-beaten mole laden mug – the Stoke-On-Trent born Lemmy personified heavy metal to his very fiber.  He drank and drugged heavily and lived above Sunset Strip in Los Angeles.

 

With his signature Rickenbacker 4001, 4003, and customized 4004 basses, Lemmy approached the instrument akin to a guitar player gone nutters. Rapidly strumming the bass strings with a heavy  plectrum which must have been made of stone to absorb such pressure, Lemmy created unique sustained chords – which were further enhanced by his reverence and deft command of ear-splitting massive levels of volume.

 

Note that Mr. Kilmister named his most beloved amplifiers “No Remorse,” “Killer,” and “Murder One” – among other rather accurate descriptives.

 

Lemmy’s chord voicing technique coupled with his gargantuan sonic resonance produced harmonic overtones that afforded Motorhead their singular musical identity: no other heavy metal band sounded like them. Kilmister was also a philosophical bloke who spoke truth to power, as evidenced in the must-see documentary which bears his nickname.  

 

Inspired by The Beatles, whom he witnessed at The Cavern in Liverpool before their massive fame, Kilmister picked up a guitar to “impress chicks.” His early bands included The Rockin’ Vicars and Sam Gopal with whom he toured and waxed a few slabs which failed in the marketplace.

 

He eventually shared a flat with Jimi Hendrix Experience bassist Noel Redding, which led to a job as a roadie for the iconic guitarist. In 1971 Lemmy joined Hawkwind as a bassist despite the fact that he never played the instrument. After he was kicked out of Hawkwind for his “behavior” following five years of incessant recording and touring Kilmister formed Bastard which switched to a more user-friendly moniker Motorhead…and the rest as they say, is history.

 

“Death is God’s way of telling you to slow down!” When Lemmy passed in 2015, he may have taken rock and roll with him….

 

KYBP Chief Cinematographer Derek Hanlon produced Motorhead’s 10th Anniversary Concert Video at Hammersmith in 1985 https://youtu.be/GeXGW1yXgDg

 

Lemmy Sound & Vision:

 

“Ace of Spades” https://youtu.be/pWB5JZRGl0U

 

“Whorehouse Blues” https://youtu.be/d5F7uhCIBco

 

“Overkill” https://youtu.be/MlzTET_8SQg

 

“Get Back in Line” https://youtu.be/O02Gnzn5JDY

 

“Hell Raiser” https://youtu.be/1M4FG1UXH5w

 

“The Chase is Better Than the Catch” https://youtu.be/PktB0bxo2oQ

 

“Killed by Death” https://youtu.be/LZ5fIKmn1ok

 

 

 

L.A. Guns waxed a gem of a slab entitled Vicious Circle which unfortunately vanished upon its 1994 release.  A raucous mélange of metal, punk, psychedelic pop, and classic rock – including a simmering remake / remodel of Alvin Lee’s “I’d Love to Change the World,” the final foray of the classic line-up was their finest. Bassist Kelly Nickels takes a rare lead vocal on “Nothing Better to Do” as he anchors the band with strong pocket passages which ably supported guitar hero Traci Gunns. Essentially doomed to extinction by grunge, LAG could have been contenders had they tempered their over-the-top glam trappings.

 

A transplanted New Yorker whose career commenced the underground hard rock scene in a city that was decidedly unfriendly to the genre Kelly’s style draws from trad hard rock and punk – which was a perfect fit for Guns.

 

Among Nickel’s weapons of choice included Fender Precision, Gibson T-Bird, and Stingray MusicMan basses.

 

Kelly Nickels & LA Guns Vicious Circle

 

“I’d Love to Change the World” https://youtu.be/TSog8WmD6uQ

 

“Nothing Better To Do” https://youtu.be/-lsnTx_JASg

 

“Chasin’ the Dragon” https://youtu.be/pyyp83YeUic

 

 

By Robert Jenkins 

 

Chip Boaz is the happiest bass player on the planet.

 

Like many musicians, he grew up listening to the rock & roll of his era, with dreams of hitting the big stage and playing for throngs of fans. And, like many musicians, this did not happen for Chip. In the world of music, only a very small percentage of performers achieve stardom. Some musicians will abandon their dreams and move on to do other things. But there are some musicians who will continue on and play small gigs, weddings, parties, and other gatherings where music is needed but the host can’t quite pay the massive sums of money for the big name acts (unless you’re best friends with Billie Eilish good luck getting her to play your party… can we get a shout out for cover bands?!). There are still some musicians who just realize the joy of music and continue to play for their own enjoyment. 

 

Chip Boaz did not give up when the realities of achieving stardom became clear. And one could easily argue that this is the most important musician of all. The world needs musicians who can educate not only themselves, but others. Because music needs to thrive and she needs her guardians of the realm, as it were.

 

After high school Chip went on to study music at San Jose State University in California. It was during this time that he began to get exposed to Latin music. An acutely attentive ear allowed Chip to draw a parallel between the intensity of rock & roll and the intensity of the Latin and Afro-Cuban rhythms (..this was not a connection I had made until my conversation with Chip, and now it makes perfect sense; thanks, Chip!). Thus began his love with all things Latin, including the bass lines. Since this time Chip has immersed himself in the history and continuation of Latin music. He eventually even had the opportunity to play with many of his favorite musicians he was discovering at the time.

 

San Francisco in the 1990’s had a bustling jazz scene. It was during this time that Chip really began to hone his skills as a sideman. At his peak he was working actively in almost twenty-five different bands on the scene. And, as life has its way, Chip started to move away from active gigging to look for a more consistent and stable means of shaping his musical career.

 

Continuing his education, Chip attended Wesleyan University to earn his Masters degree in Ethnomusicology. Starting a family led to a career in music education and now Chip teaches music at Sir Francis Drake High School where he also leads the jazz big band. And through a busy teaching schedule, Chip still finds time to actively gig, though not quite as much as he used to. 

 

While I didn’t ask who his favorite bassist is, it is clear that Chip has great admiration for Israel ‘Cachao’ Lopez and John Patitucci. Following in their footsteps, after years of being a solid sideman for countless bands and ensembles, Chip wanted to explore being a bandleader as a bassist.

 

Though Chip has several recordings, he now fronts his own trio and has released a new EP, New Chapter (available on all major streaming services). Chip also maintains a powerful social media presence that is brilliantly crafted and curated to identify him as a solo voice, bandleader, educator, and composer. 

 

Chip is a musician the world needs, now more than ever. As a tireless educator, he influences literally hundreds of students with important music and, perhaps even more importantly, with an infectious happiness that leaves you smiling after watching and hearing him play. 

 

Chip’s Rig Rundown

Basses:

1996 Yamaha TRB 6 String

1973 Fender Precision 

Tobias 5 String Fretless

Shen Double Bass

Amp:

Aguilar Tone Hammer 500

Aguilar 1×12 Cabinet

Radial Bass Bone Preamp Pedal

 

Chip’s Music

https://www.youtube.com/channel/UCA4s3iA-UzruaTsDeldUYxQ/featured

https://open.spotify.com/album/29vPtR3CokLgRqNVrnq7GG?si=WPYhTZDzReqVFZj_WL0tkQ

 

Chip’s Social Media

Instagram: Chip Boaz Music (@chipboaz)

Twitter: @chipboaz

Facebook: Chip Boaz Music

By Robert Jenkins 

 

Laura Sterner is an accidental bassist. As a young girl she developed a deep love of singing and would work with her sister to create harmonies in the songs they would sing. And, like many budding young musicians, this set her trajectory to be a lifelong musician, for better or worse. 

 

At the young age of nineteen Laura began to play bass. And, like many bass players, she began out of necessity, because who really wants to play bass, anyway? So she got her hands on a Gibson EB-0 bass and…absolutely hated it (the pickups in the old Gibson basses are famously referred to as  ‘mudbuckers’ because of their intense low frequency and lack of definition; it can be difficult to draw a pleasing or cooperative tone from them).

 

Nevertheless, she persisted. Laura continued to play in bands as a teenager and young adult. Being around the 1970’s and 1980’s Washington, DC club scene allowed her to develop a reputation as a reliable sideman(woman), and having the ability to sing and play at the same time helped her land enough gigs to stay busy in cover bands and original groups, too. 

 

All that singing she did as a child also gave Laura a well-developed ear that allows her to easily adapt to many different styles of music. This paid off when she started to book sessions as a background vocalist, eventually landing a spot on Gayle Adams’s hit single “Love Fever” (landing at #24 on the Billboard Black Singles Chart and #7 on the Billboard Dance Chart). In turn, gigs like this allowed Laura to showcase her vocal abilities so that she could diversify her skills and work with a variety of groups in both live and studio settings, on both bass and vocal sessions.

 

After a couple of decades working in the business and seeing enough of the frantic sides of gigging and touring, Laura decided to call it quits around 1990. She left the Washington, DC area and moved to Philadelphia. But like any musician who has grown up singing, playing, and working in the scene, Laura became bored and chose to begin writing her own music. Any musician also knows that once you have the bug it is really hard to stop. Having such a diverse background in singing and playing, Laura was able to land a gig as a lead vocalist with a progressive fusion rock band called Finneus Gauge. Working with such a different sound really opened a lot of doors for Laura, not only in her singing and playing, but also her own songwriting.

 

The gig with Finneus Gauge was sweet but short. Cue another break in playing and singing. Laura made the trek west to California and landed a steady job at UC Davis as a research assistant and grant writer; about as far removed from music as one can get. But in her desire to compose, be it out of sheer boredom or a subconscious need to keep herself immersed in music somehow, Laura kept at writing songs and just playing around on her bass, but nothing nearly as serious as she had been doing in the past.

 

When 2014 rolled around Laura decided to start writing again, putting a focus on that skill with a toolkit of abilities she had gained through years of playing, singing, and writing with so many varied groups and through learning countless covers. She also decided to start getting out and playing bass again. The adage rings true in Laura’s case, that if you can play bass you always have a gig.

 

Laura has now been gigging steadily in the Sacramento, CA area (until COVID, at least) with no signs of slowing down. She plays with Empty Wagon and Almost Blue. She continues to write songs and put a lot of emphasis on that aspect of her skillset. Indeed, Laura really wants to be considered a songwriter. Playing bass was purely an accident. Oh, and she learns and plays everything, vocal and bass, by ear. Laura has a damn good ear. 

 

In her own words: “bass, for me, has been a utilitarian thing. I started playing because it was needed and I kept playing because people wanted me to do it. But the creative aspect is pretty key for me. Bass is my main performance instrument and it always will be. I just love how it feels, I love the role it plays, I love the power it has. It gets me in the door to perform with an authority I don’t have as a singer and I love that. I love to perform and I love to write.”

 

Who is Laura’s favorite bassist? Chuck Rainey gets those honors for his chops, sensibility, and creativity. Tony Levin gets an honorable mention. (Not a bad pair of influences.)

 

Laura’s Rig Rundown:

Fender American Elite Jazz Bass

(Laura also is really getting into Sire Marcus Miller Signature basses.)

Mesa Boogie D800 Amp

Revsound RS210T Cabinet

(She also runs a High Pass Filter.)

 

Vocal Sessions:

Backing vocals with Gayle Adams

https://www.youtube.com/watch?v=M_ZqjR7yBTs

Lead Vocals with Finneus Gauge

https://www.youtube.com/watch?v=DhCnyRSZ2PY&t=136s

 

Laura Sterner Solo :

https://youtu.be/caitCpJCCWg

“I Don’t Want To Go”

https://www.youtube.com/watch?v=JKBx1LEopsI

“I Just Want Some Good News”

https://www.youtube.com/watch?v=VlIO9-yQYBE

 

Laura Sterner with Empty Wagon :

“Your People” https://soundcloud.com/laura-sterner-529078007/your-people

“Danger” https://soundcloud.com/laura-sterner-529078007/danger

 

UK based professional gigging and recording musician, Lou is currently bassist and vocalist in her psychedelic outfit Loudhailer Electric Company. Making waves with three album releases Lou has had a continually active live schedule since she first made the charts as bassist in prophetic Indie band from the north of England, Red Guitars where she was known for her fretless Music Man Stingray.

 

Back in the early 80’s Red Guitars first single Good Technology was championed by the late, great John Peel. It made number 1 in the Indie chart and number 11 in his Festive Fifty. Two albums, a handful of Peel sessions and top ten Indie hits later the band had toured with The Smiths and appeared on numerous UK and European TV shows. They were fiercely independent and played hundreds of gigs but eventually signed to Virgin Records.

 

After that Lou made NME and Sounds’ records of the week with The Planet Wilson. Described by Sounds’ David Cavanagh as ‘pycho aphrodelic’: “Crazy-James-Chance-meets-Holger-Czukay…Lou’s bass playing is unbelievable – not just the tunes she invents, but the actual sound of her fingers hitting the strings, Mike Watt of Firehose is probably the only person who could match this.” (Taken For A Ride by The Planet Wilson). Although they were highly acclaimed in the music press and released two albums they didn’t break through into the mainstream, but Lou continued to play as a session musician and in bands since then.

 

Currently as well as playing in her own Loudhailer Electric Company Lou can still be seen playing her recognizable style of dub n slide bass on her vintage Stingray with medieval-with-attitude fusion collective festival band Celtarabia.

 

Lou explains: “The fretless Stingray is a brilliant bass.  I bought it from a little shop in Camden Town in 1982. I saw it and although I’d never played a fretless until then I thought wow that’s the bass for me. It was about £200… after I bought it the guy in the shop said ‘You just bought Boz Burrell’s bass’ – so I didn’t know until I’d paid for it.  I was a fan of Bad Company so I was happy with that! I’ve played it ever since. I read somewhere that Boz didn’t get on with it which is why he sold it. But I love it. It’s got an early serial number and plays and sounds amazing. Basses have come and gone, but that’s been my work horse throughout.  I needed a fretted bass to go with it so later on I had a WAL made by UK luthier Ian Waller and then bought a new Music Man Cutlass with a carbon graphite neck. I played that until about 3 years ago when I replaced it with a Music Man Caprice. Up until then I’d always played a black bass, but I went for a change, it’s ivory white with a pearl pickguard. It’s just been featured in a surreal painting by artist G E Saunt for our latest Loudhailer Electric Company project Dreamscape.  We’re playing a live partially improvised soundtrack to accompany a film of G E Saunt’s digital paintings.”

 

 

Lou Duffy-Howard Sound & Vision by….Lou! 

Website: https://loudhailer.net/

 

Spotify playlist of the bands/songs mentioned https://open.spotify.com/playlist/3wzefSP4HpNyMJCa70qA7B?si=IXP4hxnwTtuyTMTBb5FDHA

 

Dreamscape trailer featuring Caprice bass painting. The launch is a live stream on August 21^st. https://www.youtube.com/watch?v=XZ4e_SLJzCA

 

There’s plenty of Red Guitars videos on Youtube but this has just turned up, a HD version of the Stingray on BBC TV Old Grey Whistle Test from January 1984. https://www.youtube.com/watch?v=yo2KLdHQQfI

 

Loudhailer Electric Company Live Show Reel 2022 Loudhailer Electric Company, four piece original psychedelic band featuring members of prophetic cult bands Red Guitars, Dead Fingers Talk and The Planet Wilson. Expect original psychedelic sounds and songs telling stories of road trips, myths & legends and sci fi. https://loudhailer.net/ Recorded live at O’Riley’s Space Port Hull by Admiral Darren Bunting. Mixed by Lou Loudhailer, all live audio, no overdubs. Video by JWA Creations Show Reel Clips: Out to Sea 00:00 The Messenger 01:26 My Ancestors 03:00 Underneath the Underground 04:38

 

 

By Joe Gagliardo

Jack Daley grew up in Troy, New York, an area renowned for its diverse musical community. His uncle was a drummer. Jack’s brother was a guitarist and avid record collector who brought home influential albums by the Allman Brothers, Johnny Winter and Edgar Winter’s White Trash.

 

Initially, Jack thought he would be a drummer. However, he became bored with the practice pad, snare and cymbals he had. That jaded stance quickly evaporated when he was leaning against the home stereo with its 15-inch speaker blasting Chicago’s “25 or 6 to 4.” Young Jack was blown away by Peter Cetera’s bass lines, which inspired him to pick up the instrument.

 

Jack started out with a few lessons and learning from records and playing live. By his late teens he was studying with accomplished teachers and woodshedding twelve hours a day. From his teens to his late 20’s Jack played, composed, and recorded in multiple bands. He moved to New York City at the age of twenty-nine and within a year was playing in thirteen different bands.

 

 

A chance conversation with a bandmate led to a nearly fifteen-year run with Lenny Kravitz on world tours, multiple TV appearances, videos, albums, and DVDs.

 

Jack casually mention to that friend -on a Thursday- that he would be interested in playing with Lenny if he ever needed a bass player. The following Tuesday, Jack received a call saying that he had an audition in New York City with Lenny’s engineer Henry Hirsch. It was a cattle call, with about twenty players. Jack and one other bassist were flown to Los Angeles for another audition. Unbeknownst to Jack, the bass opening was advertised on the radio, and 250 bassists auditioned for the gig in LA—Jack nailed the gig!

 

Post-Lenny Kravitz, Jack stayed busy with session work, playing live, and producing other artists. He toured with Boz Scagg; recorded with David Bowie’s rhythm section; recorded and toured with Gedeon Luke and the People, coproduced and mixed that band’s LP, and appeared on the TV show Later… With Jools Holland with that band; toured with Dana Fuchs; toured Spain with Manola Garcia; and toured Germany with Marius Westernhagen. When Jack got back to the US, he toured with Darlene Love, whose record had been produced by Steven Van Zandt, and that led to him playing with Little Steven.

 

For the past 4 years, Jack has recorded and toured with Little Steven And The Disciples Of Soul, and he appears on the Soulfire and Summer of Sorcery releases, as well as the live CDs and DVDs. The band is a tour de force, consisting of multiple guitars and keyboards, along with three female background singers and a five-piece horn section. Jack has his work cut out for him in sonically providing a bottom and groove for the music, while being mindful of the music created by the rest of the band. Jack’s goal is to create bass lines that help make the song and the other players stand out and sound great.

 

With an extensive background as a first call session musician and having contributed to dozens of gold and platinum albums with many of the top artists and record producers, Jack has learned from the best of the best. It is a natural progression for him to work in production with his own studio.  

 

Jack has produced artists from all over the world working with multiple styles of music: soul and rhythm and blues (Leona Berlin, Gedeon Luke, The Dumonts, Aurea, Paulo Gonzo); Rock (Super 400, Billy Lewis Jr., Db Sugar); Boy Band Pop (The Kix); Rap (Ironic); Euro Pop (The Bang Bang Club); and Singer-songwriters (Emily Grove).

 

For information about Jack’s production studio, and the extensive list of artists he has worked with as a musician or producer, go to https://www.jackdaleybassist.com  

 

Jack’s basses: his first bass was a St. George copy of the Beatle bass, paired with a Fender Bantam bass amp. Next up was a Fender Mustang bass with the racing stripe, modified with a humbucker pickup, played through a bass cabinet Jack made with his Dad. He has accumulated several basses over the years, including a 1966 black Fender Jazz bass with matching headstock (flatwounds); a 1965 candy apple red Fender Precision bass (roundwounds); a 1997 black Fender Custom Shop P/J bass with matching headstock (rounds) that has custom artwork by Jona Cerwinske; a Music Man BFR Old Smoothie; a black fretless Music Man; a 1971 Rickenbacker 4001 sunburst (flats and rounds); a 1968 Hagstrom 8 string; a Hofner Club Bass with a custom black finish; and a Guild B50 acoustic bass. While Jack has often used a Fender Precision bass to record, he usually prefers his 1966 Fender Jazz bass or Music Man Old Smoothie for live shows.

 

His main bass rigs on the road have been the Ashdown ABM 900 810 stack, or the Ampeg SVT VR 810 stack.

 

A few highlights from many in Jack’s career, include:

 

Playing Radio City Music Hall with Lenny Kravitz about a week after he joined the band, with Robert Plant stage left, Joey Ramone, and other musicians Jack respects in the audience.

 

Playing H.O.R.D.E. Festivals with Lenny Kravitz, where the band did the whole tour on motorcycles, including riding them up to the stage.

 

Little Steven And The Disciples Of Souls’ last show of the “Summer of Sorcery” tour in October, 2019, before a sold-out crowd at The Beacon Theatre in New York City. I happened to catch that show, and words cannot describe the energy, power and ferocity of the band and music.

 

 

Jack Daley Sound & Vision….

 

Beyonce-“End of Time”

https://www.youtube.com/watch?v=Ke2yoLWtylc 

Jack worked this bass part out with Beyonce on a 5 string bass, and Beyonce said it was influenced by Fela Kuti.

 

Joss Stone-“Super Duper Love”

https://www.youtube.com/watch?v=vCKAnJOoiOk 

This track has Jack capturing the vibe and doing some old school soul bass playing.

 

Sara Bareilles – “She Used To Be Mine”

https://www.youtube.com/watch?v=53GIADHxVzM 

Here Jack plays a simple, but effective, bass line that fits Sara’s vocal and the beautiful song.

 

Jason Mraz-“Wordplay”

https://www.youtube.com/watch?v=ABFtbYKW-QY 

Jack’s lines stand out and help move the melody, while supporting Jason’s vocals.

 

Alana Davis-“32 Flavors”

https://www.youtube.com/watch?v=TEfbL53jhN4 

On this song, the tape started rolling, and Jack started playing. This was recorded in a spontaneous first-take.

 

Gedeon Luke and The People – Standing On Top Of The World

 https://www.youtube.com/watch?v=He79H8pJcMkd 

Great soulful funk band and bass playing.

 

Little Steven And The Disciples Of Soul-“Summer of Sorcery”

https://www.youtube.com/watch?v=ZdImZgUs7dg 

This song is reminiscent of the E Street Band and Van Morrison. Interestingly, Little Steven muted the drums during one of the verses, and Jack’s bass continues carrying the song, and provides the platform for the drums coming back into the song.