Stars fade, or do they?

Some just take a little longer to shine brightly! The artform that is rock and roll is rife with remarkable records and artists who somehow slip under the radar – eluding the commercial success they so richly deserve.

A multi-instrumentalist, composer, singer, recording artist, and member of Ronnie Lane’s Slim Chance – the late, great Kevin Westlake waxed a gem of a slab in 1976. Produced by the legendary Tony Meehan and entitled “Stars Fade” – the album features Slim Chance members Steve Bingham (bass) and Jimmy Jewel (sax), along with Billy Livsey.

From Terminal Studios in beautiful downtown Bermondsey, London, Steve Bingham, nattily attired in his KYBP t-shirt, recalls his collaboration and friendship with Kevin, and we listen to the title track with Bingham working the trad country root/fifth pocket with the occasional flourish!

Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: Cinematographers. Mark Pollot: Editor. “Stars Fade” courtesy of Kevin Westlake Com. Thumbnail Photo Courtesy of Slim Chance Co UK. Back Row: Jimmy Jewel and Ronnie. Front row left to right: Steve Bingham, Bruce Rowland, Kevin Westlake and Billy Livsey. [www.KnowYourBassPlayer.com]

By Joe Gagliardo

For some reason, the sound of bass always resonated with Tom as a kid, especially after he heard the Booker T & The MGs groove classic “Green Onions,” and was further driven home when he saw The Beatles. When he asked his parents if he could get a bass guitar, his mom suggested he would be better off with a 6-string guitar so that he could play chords and accompany himself, so in 1966, that’s what he did!

Fast forward to 1980, and a geographic move to the far North Side of Chicago which landed him in the proximity of the legendary blues club Biddy Mulligan’s, and that all changed.  Inspired by the blues, Tom went immediately purchased a 1974 Fender Precision Bass with a maple neck and a Peavy bass amp, and in short order, was the bass player in the group that rehearsed at the club.

That fateful decision to buy the P-bass drove Tom’s music career. Tom got his biggest boost working with Glenn Davis and the Blues Commission at various clubs in the Midwest. He became a staple of the Chicago Blues clubs, at jam sessions held at Blues Etc. on Chicago’s North Side as a member of the house band (which was Glenn Davis and the Blues Commission).

Tom has played with many Chicago blues luminaries including Hubert Sumlin, Son Seals, Studebaker John and the Hawks, Shirley King (BB’s daughter), Eddie “The Chief” Clearwater, Jimmy Dawkins, Jimmy Johnson, Rockin’ “Johnny” Burgin, Joe Moss, Liz Mandeville, Byther Smith, Dave Weld, and Brewer Phillips and Ted Harvey from Hound Dog Taylor’s Band.

Tom also did a tour with Blue Watusis, a group made up of veterans of the Chicago music scene. That band had one release with Tom on bass – Welcome to the House of Blues (1992).  That release is available
at https://bit.ly/2LJ61iQ

In the years 2005-2010, Tom was a member of the rock band Beatnik Turtle- a six-piece band that played original material. With Beatnik Turtle, Tom added his bass to two major projects. The first major undertaking was “The Song of the Day” – wherein the band wrote, recorded and uploaded to the web an original tune for a total of 365 compositions.  The second project was “Song of the Week” – where 52 original tunes were crafted weekly. Beatnik Turtle also recorded 20 CDs of original material featuring many tunes from the aforementioned projects. Information is available at: http://blog.beatnikturtle.com/

Along with gigs in the Midwest, Tom has also worked at the 1995 Festival di Torino in Turin, Italy, 1995 Amsterdam Blues Festival, 1995-96 Tampa Bay Blues Festival, 1994 King Biscuit Blues Festival, and the 1995 Montreal Jazz Festival.

Tom’s bass influences start with Duck Dunn. Tom considers Duck Dunn the “Gold Standard” and the template for his style. Other influences include:  James Jamerson, Hutch Hutchinson (Bonnie Raitt), Jerry Jemmot, George Porter and Ray Brown.

Tom’s “go-to” bass is a Fiesta Red Fender ’62 Precision bass American Reissue, with a Rosewood neck. He also has a 2017 Candy Apple Red Fender American Professional Precision bass, also with a Rosewood neck, a black-on-black Tony Franklin Fender Precision bass and a 2020 Fender American Professional Jazz bass. His amps of choice are Fender Rumble 500 or a Yorkville 200 Watt head run through a 1×15 and/or 4×10 cabinet – depending on the venue.

These days Tom is a part of the Blue Monday Band, and works on various projects in the Northern Illinois/Central-Southern Wisconsin area.

Check out Tom’s rock solid in the pocket bass playing:

Blue Watusis – “Chicago Breakdown” from “Welcome to the House of the Blues” https://www.youtube.com/watch?v=3jOn8jidO9Y

Beatnik Turtle – Live performance (June 9 2009 – Gallery Cabaret) of the song “Sick of Sandwiches” from the “All in a Day’s Work” CD https://www.youtube.com/watch?v=hXBRZWSC94U

With Li’l Davy Max (David Janke) live performance of Long Distance Call at the Indian Crossing Casino, Waupaca, WI – 10/06/2017 https://www.youtube.com/watch?v=9Flz86t4xI4

By Thomas Semioli – Photo Courtesy of Michael Anthony Com

 

Michael Anthony Sobolewski was Van Halen’s secret weapon – so much so that when he was “excused” from the band, samples of his backing vocals were piped in for their live shows and his replacement had to replicate his passages or else….

 

In fact, Anthony’s remarkable harmony vocals afforded his band a unique identity – much like The Beach Boys and other vocal groups of the classic pop era of the 1960s.

 

Akin to Eric Clapton, Jimi Hendrix, and Jimmy Page; Eddie Van Halen’s emergence was a rock and roll game changer. Guitarists of my generation will tell you exactly where they were when they first heard EVH.

 

An extraordinary performer, “Diamond” David Weave Roth, oft derided for his vocal chops or lack thereof, brought the “attitude” and humor that also set VH apart from the metal motley.  And Alex was among the most average hard rock drummers of his era who also had a knack for playing to the song.

 

Simultaneously supporting a guitar god and larger-than-life lead singer(s) is/was a daunting task. Michael outlined the changes as Eddie furthered the sonic scope of his instrument and DLR/SH entertained the masses. Dig deep into the VH catalog and focus on Anthony – his gritty tone, the subtle movement in his motifs ala Sir Paul, and the occasional note flourishes and riffage prove that he was the right man in the right place at the right time supplying the right grooves.

 

 

 

In keeping with the over-the-top modus operandi of his bandmates and the 80s, Anthony’s mid-concert bass solo was more of an exercise in cacophony than musical. However it was entertaining, and gave his mates a chance to leave the stage and engage in “extraneous” activities.

 

A barbecue sauce entrepreneur (“it’s so hot you’ll need two assholes”) and lefty who plays right-handed, among Anthony’s idols include the aforementioned Zep bassist, along with studio ace Harvey Brooks, and Jack Bruce: all of whom, it must be noted, were exemplary song players.

 

A collector of basses, among Anthony’s arsenal include his signature Schecter series, Yamaha, MusicMan Stingray, and his infamous Yamaha Jack Daniels custom bass which now resides in the Rock and Roll Hall of Fame.

 

Sadly, the demise and “rebirth” of Van Halen is the stuff of soap operas. In his post-VH projects with Sammy: Chickenfoot, The Circle – Anthony improves with age, he still hits the high notes, and he remains a master of the hard rock pocket.

 

 

Michael Anthony Sound & Vision…

 

Van Halen

 

“Beautiful Girls” https://youtu.be/bJ9h2m06sFQ

 

“Light Up the Sky” https://youtu.be/bJ9h2m06sFQ

 

“Dirty Movies” https://youtu.be/NjVbokE_cFA

 

“Poundcake” https://youtu.be/GcABbx_pUCo

 

“Bass Solo” https://youtu.be/fgNzyyvPG20

 

Van Senatore – Tony Senatore’s VH Bass Renditions and Tutorials…. 

 

“Feel Your Love Tonight” https://youtu.be/4L6N_qnlIJ0

 

“Light Up the Sky” https://youtu.be/fZM7XKMxcss

 

“Love Comes Walking In” https://youtu.be/CVtzsrMPP-4

 

“Dead or Alive” https://youtu.be/hsGwlcfgHzI

 

“Dreams” https://youtu.be/akgzyosNzXQ

 

“You’re No Good” https://youtu.be/G-QisRzXSSo

 

Bass Intro “You’re No Good” https://youtu.be/0HfyJ5XCqzA

 

Michael with Chickenfoot: 

 

“Highway Star” https://youtu.be/GQVTtpE9J7s

 

“Oh Yeah” https://youtu.be/oy04wm_bj3Q

 

“Soap on a Rope” https://youtu.be/pHqA6HtVU70

 

 

Three extraordinary bass players were the catalysts behind Colin Blunstone’s sophomore slab “Ennismore” – a timeless gem worthy of rediscovery: bassists Steve Bingham, Jim Rodford, and producer/bassist Chris White. From Terminal Studios in beautiful downtown Bermondsey, London, bassist Steve Bingham, nattily attired in his KYBP t-shirt, recalls two standout tracks, working with Chris, and his relationship with the late, genuinely great Jim Rodford! Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: Cinematographers. Mark Pollot: Editor.

Dig Steve Bingham’s magnificent passage on Colin Blunstone’s “Pay Me Later” track from Ennismore (1972). Inspired by Ray Brown’s instructional BASS METHOD book, Bingham stretches out, working the pocket whilst punctuating Colin’s croon with groovin’ upper register countermelodies! https://youtu.be/erp18TDXIYQ

 Colin Blunstone “A Song From Me to You.” Great songs, great singers make for great basslines! Our man Steve Bingham makes his entrance on the second verse moving from the root to harmony notes – creating drama – then proceeding to a double time passage – creating movement. For the chorus Bingham lays in the pocket half time, anchoring the chords with melody once again ala Sir Paul, Brian. Bingham’s bassline is a song within the song. And the arranger nicked the bass passage for the string chart! Bravo “orchestral” Bingham! https://youtu.be/NcoNDX1wnVc

Steve Bingham & Colin Blunstone “Ennismore” https://youtu.be/0HI73Isa5gk

By Joe Gagliardo

While many of us were inspired to pick up a bass or guitar after seeing The Beatles on Ed Sullivan, Phil Orsi was already cutting 45s, long before that fateful Sunday. Growing up not far from Chess Records and Record Row on Michigan Avenue in Chicago, Phil was inspired by some of his blues and soul musical heroes, including Muddy Waters and Willie Dixon, who would visit his parents’ Italian store on the South Side of Chicago.

Phil was also inspired by the Rock and Roll and Doo Wop of the late ‘50’s that he was hearing on the radio that his Grandmother gave him.  By the late 50’s, Phil was playing guitar, however due to a serious accident which affected his fretting hand, he switched to bass.

Phil’s first bass was a gold and white Danelectro Longhorn, but in November 1960, he went to the Chicago Music Cooperative, and bought a 1960 Fender Jazz Bass with a hard-shell case for $227.00, which he still owns.

During the early 60’s, Phil played with the Don Caron Orchestra, backing various national recording artists who came through Chicago, including Dion and The Marvelettes.  He also had a band, The Uni-Beats, and their first record, “Someone New”, was released in 1961.  True to his love of Doo Wop, he had The Sheppards, a Chicago vocal group, as background singers.

After the Uni-Beats, his next band was Phil Orsi and the Little Kings. The band had a run from 1961-1964; playing all of the hot clubs in Chicago including The Peppermint Lounge, Whisky A Go-Go, The Scene, and others.

Phil and the Little Kings released many records and his love for the music he grew up on, never left him.  Some of the band’s early to mid-60’s releases were great covers: “Sorry” I Ran All the Way Home,” (The Impalas), “Stay” (Maurice Williams and the Zodiacs), “Don’t You Just Know It” (Huey Piano Smith and the Clowns), “California Sun” (The Rivieras) and “C’mon Everybody” (Eddie Cochran).

Phil also wrote some of the songs released as 45s, including “Someone New,” “Oh My Darling” and “Whoever He May Be.”  Stay, Sorry and Whoever He May Be” were released on the USA record label, which gained notoriety a few years later when The Buckinghams had a No. 1 national hit with “Kind of a Drag” on that label. By the mid-60’s Phil was part of The Thunderbirds.

That collective was an in-demand act, and they regularly opened for many of the British Invasion groups, including the Rolling Stones, Yardbirds, Dave Clark 5, Moody Blues and Chad and Jeremy.  They also worked with the Beach Boys and Tommy James and the Shondells.  Like the Little Kings, the Thunderbirds also released a string of 45s on local Chicago labels.  At this point, the band had that classic mid-60’s Garage Band sound.  Check out “Your Ma Said You Cried.”

After The Thunderbirds, Phil reformed the Little Kings and they had a run until 1970, and released a 45, “Loving on Borrowed Time”, which became a “Northern Soul” classic.

From 1970-1985, Phil was part of a horn band, Happiness Is, which released another “Northern Soul” classic, “Love is Slipping Away,” which was a rearranged remake of the 45 previously released with The
Little Kings.  Phil continued playing regularly until 1992, a music career spanning over 30 years.

Phil Orsi & The Little Kings “Loving on Borrowed Time” https://youtu.be/1tO6hp1S0ms

Phil Orsi & The Little Kings “Love Is Slipping Away” https://youtu.be/RFiiH47ccx4

Thunderbirds “Your Ma Said You Cried (In Your Sleep Last Night)” https://youtu.be/O5mdUgyXNT8

Happiness Is “Love Is Slipping Away-Love Is Slipping Away” https://youtu.be/5U_ssR70vXY

He was ready for his close-up! 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, recalls “busking” on the telly with one of the greatest recording artists and composers in the history of pop music – Paul Simon!

Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: Cinematographers. Mark Pollot: Editor.

Dave Swift Buskin’ with Rhymin’ Simon https://youtu.be/sIpUkDzYyD4

By Robert Jenkins

The music of Barry Manilow has made a massive impact on contemporary pop music. However, Barry’s records were often unfairly criticized in their time for their high commercial production values, love themes, and overall MOR appeal. Yet Barry Manilow hit the scene like an asteroid and redefined the genre.  His early hits, including “Mandy,” “Copacabana,” “I Write the Songs,” and “Even Now”, to cite a few, have endured as pop standards.

Note that Manilow did not compose many of his biggest hits. Using outside writers, as well as co-writing, Barry’s arrangements on these songs (and others) were the key ingredient that have stood the test of time.

Case in point, in the mid-70s Barry took a Bruce Johnstone composition “I Write the Songs” – which failed to chart for Captain & Tennille and David Cassidy – and he nailed a #1 hit on the Billboard charts and Grammy Award for Song of the Year. Everything about the Manilow version shines, from his instrumentation and orchestration, arranging, to his vocal phrasing. He simply took the bare elements of the song, like so many others, and sent it over the top. His work was nothing short of genius.

Ditto rocker Ian Hunter, who revealed to KYBP founder Tom Semioli that he was in awe of Barry’s rendition of his song “Ships” – which became yet another huge hit – #9 in 1980 – thanks to Manilow’s magic touch.

Akin to many of the greats, Barry Manilow worked with the best players. And that list includes bassist Steven Donaghey.

Born and raised in Detroit, Michigan, Steven was deeply influenced by the Kingston Trio. He started playing guitar at an early age, working in several midwestern bands. In 1973 Steve switched to bass and merely a year and a half later, he got a call to do a four-week tour with an up and coming artist named Barry Manilow.

That short trek turned into four years plus of steady studio and touring work – making him the primary bassist for Manilow’s City Rhythm Band.

Manilow often employed studio players on his sessions as well, and while the credits for the individual players are sketchy – names were not always documented in liner notes or cover art – we know
that Donaghey anchored Trying To Get The Feeling, This One’s
For You, and Barry Manilow Live. Steven’s work on those two
aforementioned studio albums puts him on at least nine of Manilow’s biggest hits during the 1970s!

One of my favorite Donaghey bass passages is the studio version of “Weekend In New England” from This One’s For You.

To me, it is a perfect example of how a musician plays to the song and how a bass player does their job well. The line has a wonderful sense of motion without being too busy in a ballad setting. Steven structures this line to perfectly support the melody, harmony, and rhythm. Conversely, his live bass line on “Beautiful Music (Part III)” from the Barry Manilow Live album simply rips; he plays disco style octaves up and down the entire length of the fretboard, ending with a pentatonic lick that puts a perfect showcase flourish at the end of the entire set.

After leaving the City Rhythm Band – details on Steven Donaghey’s career are unclear. It is known that he stayed in Brooklyn, continuing to play in bands around the scene, sitting in as a call player, and working with young, up-and-coming bands. He worked with members of the Kingston Trio at their fantasy camps in Arizona and continued to teach and inspire musicians. Steven also performed regularly with John Stewart of the Kingston Trio. In his later years he played in an ensemble named Stretch Cunningham, leaving a scant bit of video evidence of his playing on YouTube.

Steven Donaghey passed away on 11 December 2015, leaving behind a legacy of bass playing. His work worthy of study, and undoubtedly contributed to shaping of pop music in the 1970’s. In all my research I found people consistently calling him a great friend, great bass player, and great cat lover. Steven Donaghey is a bass player you should know.

And if anyone in the KYBP community or beyond has any other information on the career of Steven Donaghey please share it with us. 

Dig Steve and Barry:

“Weekend In New England”  https://youtu.be/IqUTWVuUC8E 

Beautiful Music (Part III)- Live https://youtu.be/d8mi6QyJrCc

By Joe Gagliardo

After moving from the Humboldt Park neighborhood in Chicago – yes, the very same hometown of rock legend Patti Smith – to the suburb of Northlake, Bill made some new friends who were musicians and he started playing bass on a guitar with the B and E strings removed!

Shortly thereafter, Bill purchased a Hofner Beatle bass and was off on his journey as a player.  First with a prog rock band entitled Mother Country, then he moved on to a Montreal based show band named Fancy Colors. Bill tells of having to fly to Montreal for the audition and is grateful he got the gig, because he only had enough money for a one-way ticket.

Ahhhhhhh to be young and confident!!!!! 

Returning to Chicago, his career kicked into high gear when his band Skylady, which he founded and also served as a songwriter – morphed into Tantrum.

There was nothing like them! Picture walking into a club in the late 70’s, and witnessing the visual impact of three energetic and strong female singers; Pam Bradley, Sandy Caulfield and Barb Erber, backed by a hard-rocking band, Bill, Phil Balsano (keyboards), Ray Sapko (guitar) and Vern Wennerstrom (drums).

The band performed at major venues including the Arie Crown Theatre, Chicago Amphitheatre, Aragon Ballroom, Park West, ChicagoFest and toured extensively across the United States.

A concert and radio favorite, Tantrum produced three albums on the Ovation label: Tantrum, Rather Be Rockin’, and Breaking Away.

Following Tantrum, Bill joined Alan Hewitt & 88; an ensemble which played original pop music composed Hewitt – who later worked with the Moody Blues as their touring keyboardist – and toured throughout the Midwest and made two appearances on the nationally syndicated, highly rated TV show, Star Search, during its premier season.

From 1988-1993 Bill toured with Survivor throughout the United States and parts of Europe, with numerous appearances on German television. He toured with both Dave Bickler, the original singer of Survivor, as
well as Jimi Jamison. Bill appears on the band’s Too Hot to Sleep and Greatest Hits LPs.

Bill and Davie Bickler also had a band, Radio City, which included former Trillion and Jinx guitar player Frank Barbalace.

In addition to live performances, Bill was busy playing numerous sessions, including with renowned guitarist Jennifer Batten – noted for her work with Michael Jackson and Jeff Bec,), Marc Scherer on his releases Battle Zone, White Cross, and High Gear; Kelly Keagy (Night Ranger) I’m Alive and Time Passes; Scott May (Ides of March)  Outside the Inside; Harry Nilsson’s Lost & Found;  and Jim Peterik (Survivor, Ides of March) Pride of Lions and World Stage discs.

As a songwriter, Bill has co-written several songs, often with Jim Peterik for various projects, including “Under the Spell” recorded by the Doobie Brothers. He co-wrote much of the music with Joe Vana for his Mecca 3 album, which was recorded in Nashville with David Hungate (Toto).  He currently writes the majority of Classical Blast’s original music.

Bill’s songwriting has given him a different perspective on his bass lines, prompting him to listen more intently to all the players, to provide support, but also to supply melodic fills in open spaces to keep the song moving forward.  Bill’s bass influences include Jack Bruce, Geddy Lee, Chris Squire, and Jaco Pastorius.

Currently Bill’s go-to basses include: a ’72 four string Fender Jazz bass, a ’91five string Fender Jazz bass, and a five string Sire Marcus Miller Bass.  He runs his bass through a Hartke 1×15 Combo Amp with a Hartke 2×10 extension cabinet.

These days, you can catch Bill with R-Gang, a band that specializes in Motown/Soul/R&B music, and which he has been co-leading since 1988.

Bill is also with Classical Blast, a band that features mashups of famed classical pieces with contemporary rock music, along with originals.  The band has released three albums, two of which can be found on the Toucan Cove label (Seattle), and have received regional acclaim and airplay.

His concert shows include Bach to Rock: A Musical Metamorphosis, Dark Side of the Yule, a holiday concert show; and Classical Blast in Kilts, a Celtic rock revue.

They’ve performed an instrumental rock version of the National Anthem at Wrigley Field three times and opened for numerous national acts, including Joan Jett, Michael McDonald, The Orchestra/ELO, among others.

While Bill has many accomplishments, he is a gracious performer, and plays guitar and performs weekly for cancer patients, caregivers, and families as part of the Caring Arts Program.  The Caring Arts
Foundation is a non-profit organization dedicated to providing emotional
support to Chicago-area cancer patients and their families.  Its mission is to facilitate and encourage expression and healing through music, fine art, journaling, photography and other creative disciplines.

Learn more about Caring Arts Foundation at: http://www.caringarts.com/

Check out these tracks and videos from Bill’s remarkable career:

Tantrum (album track montage) https://youtu.be/U8ExN1zBiKc

Tantrum live at Haymaker’s Reunion (“Rock n Roll Waltz”) 2012 https://youtu.be/N8XwwcdUuBw

R-Gang on WGN-TV, 2010 https://youtu.be/-0bB3rIZnNc

Survivor “Didn’t Know it was Love” (music video, 1988), From Too Hot to Sleep https://youtu.be/AJJSej2ru0c

Survivor “Eye of the Tiger” on German TV, 1993 https://youtu.be/NsbXE8A9Rtg

Classical Blast Live Stream at Arcada Theater (“Let’s Pretend” song written by Bill Syniar & Barbara Weigand), March 2020 https://youtu.be/vniZjUYHjL8

Bill performing at Children’s Hospital for Caring Arts (2015) https://youtu.be/pTaV08WE_Yg

By Thomas Semioli

John McKenzie, bass player; Seal, The Pretenders, The Eurythmics, Dr. John, Everything But The Girl, James Ingram, David Bowie, Bob Dylan, Damien Rice Lionel Richie, Tina Turner, Alison Moyet, Renato Zero, Karl Jenkins, Bond, Moya Brennan, Eternal, Shakira, Graham Lyle, Charles Aznavour, Andrea Corr, Dexy’s Midnight Runners, Jim Diamond, Tom Scott, Paul Brady, Johnny Mathis, Wham, Andy Newmark, Blair Cunningham Leon Ware, Mudbone, The Breakfast Band, Kokomo,  Royal Philharmonic Orchestra, Maksim Wild, Sinead O’Connor, Reel People Steve Hillage, Man, Leo Sayer, Eric Burdon, Annette Peacock, Davy Spillane, Mirage, Global Village Trucking Company, Albert Lee, Tim Finn….to cite a select few.

A remarkably prolific genre-traversing, versatile UK session ace, sideman, collaborator, composer, bandmember, and educator, among other endeavors: John Michael McKenzie’s resume of credits was astounding.

A supportive soulful player who worked the trad four, fretless, and extended range…dig John with…

Everything But The Girl “Five Fathoms” https://youtu.be/x67EEIBuwIw

The Pretenders “Let’s Make a Pact” https://youtu.be/Lteg_r9alSU

Seal “ Future Love Paradise” https://youtu.be/cj21h504wKU

Bond Live at the Royal Albert Hall https://youtu.be/6OLEnJj5Y80

Steve Hillage “Live at Canterbury” https://youtu.be/MExLFl2g688

“John McKenzie Rocks That Bass” https://vimeo.com/196673711

Mastering any genre requires more than just playing the notes and outlining the changes! The groove, aka “feel” is equally essential! Andrea Mina shares a quick tutorial on the basics of Afro-Cuban tumbao and clave rhythms – which can be applied to pop music formats aplenty.   

About Andrea Mina: From the Italian village of Armeno in the province of Novara – Andrea cites his influences as rock icons Steve Harris, Roger Glover, Steve DiGiorgio, and jazz / stuio masters Anthony Jackson, Gary Wills, Skuli Sverisson, and Hadrien Feraud

Proficient in many styles spanning metal, jazz, big band, rop, Celtic, and pop, Andrea has  studied with Riccardo Fioravanti, Ramberto Ciammarughi, Mauro Negri, Andrea Pozza, and Mirko Puglisi, among others.

Among his current gigs include the progressive rock/metal band File System [https://filesystem.bandcamp.com] and with the jazz trio Bookhouse Boys.

Since its inception in 2014, the manifest function of Tom Semioli’s Know Your Bass Player has been to provide bass guitar centric content that transcends established norms and typical legacy media style coverage. The linchpin of the KYBP philosophy has been to bring attention to bassists who are deserving of wider recognition who are profiled alongside some of the biggest stars in the industry via video interviews. The latent function of the establishment of KYBP has been the need for a forum that deviates from the standard video profile interview, and instead focuses on the mechanics of playing the bass guitar. As such, Know Your Bass Player has established the Two Minute Lesson. It is a place where the KYBP community is invited to share their ideas regarding their daily practice regimens. Ear training, hand positioning, technique building, learning difficult music are just a few examples of topics that can be conveyed via concise video presentations meant to serve as a jumping off point for broader based discussion. Mark Polott: Editor