Jim DeMont (The Insiders)

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By Joe Gagliardo

Jim’s story is a familiar one – albeit with a twist!

Like many of his generation, Jim was drawn to music and the instrument by The Beatles and Paul McCartney, the Rolling Stones with Bill Wyman, Cream’s Jack Bruce, and John Entwistle with The Who.

Yet whereas Paul was a lefty who played a left-handed instrument; Jim is a lefty who learned to pay bass right-handed!

In the mid-70s Jim was playing with an Erie based band named Pistol Whip, spreading their unique brand of glam rock throughout Pennsylvania, Ohio and the east coast.  By 1977 the band had made its way to Chicago and had shifted from punk to obscure garage cover songs.  They played a series of shows in Chicago and the Midwest, including opening slots for The Runaways at Danny Seraphine’s rock club B’Ginnings.

Upon returning to Erie, Pistol Whip underwent personnel changes, as well as a name change to The Swingers. Hitting Chicago again in late-’78, The Swingers released a punk version of “Leaving on a Jet Plane” that garnered significant air play in Chicago, thereby creating a buzz for the band.

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In 1979, Chicago became Jim’s permanent home.  When The Swingers ended their run, Jim was introduced to Gary Yerkins and John Siegle and played with Garrison, a pop/new wave band that released an LP, Big Dat, in 1981.

Following his stint Garrison, Jim played with B.B. Spin, which had moved away from their punky roots to establishing itself as a popular rhythm and blues dance band.

B.B. Spin released an LP in 1983, Try To Beat The Heat, which included Jim and Jay O’Rourke – a future member of The Insiders.  Both Garrison and B.B. Spin were bands that established large followings, and toured extensively with Iggy Pop, The Stranglers, and John Cale.

In the mid-80s, members of Garrison and B.B. Spin joined forces and formed The Insiders, who were signed to the Epic/CBS label, and their first release, Ghost on the Beach peaked at #167 on the Billboard 200.

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The title track “Ghost” reached #8 on Billboard’s Hot Mainstream Rock Tracks chart and was the first MTV Hip Clip of the Week. The band was a mainstay on the Chicago scene for eight years, and released three more albums, Fate in Action, Not For Sale, and Live at Fitzgerald’s.

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Since The Insiders, Jim has played in popular club bands; Vendooza, Razorhouse and Fun House.  The latter is, as you would expect, is a high-energy ensemble that deftly blasts out Iggy Pop songs, and is a hot ticket in Chicago!

Over the years, depending on the music, Jim has used many basses, including a Fender Mustang, Gibson EB3, Fender Precision Bass, Fender Jazz Basses, a Lakland 5 String Deluxe, a Lakland Decade with a 35 in. neck strung BEAD, and a late-60’s Hofner Club Bass, among others.

Check out Jim’s tight pocket playing, with melodic flourishes:

The Insiders “Ghost on the Beach” https://youtu.be/XAZ80hdBmBs

The Insiders “Gimme Some Lovin” from Iron Eagle II https://youtu.be/d59obhG4Mnk

The Insiders “13 Skirts” https://youtu.be/yHg0yaLhC9o

The Insiders “Scarlet Ribbons” https://youtu.be/PyAX_KDdoRQ

Fun House live https://youtu.be/PrpVRDNrg0I

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Rutger Gunnarsson (ABBA)

Courtesy of Abba Site Com Courtesy of Abba Site Com

Courtesy of Abba Site Com

You can dance, you can jive, having the time of your life, ooh, see that girl, watch that scene digging the dancing queen…

 

Though rockers of my generation (1970s) were mortified at their popularity, this Swedish pop supergroup were a bona-fide song / harmony driven hit-making machine worthy of their reverence.

 

Their bassist toiled in several rock bands in his native Linkoping before enrolling at Stockholm’s Royal College of Music. While there, a colleague suggested that apply for a road gig with The Hootenanny Singers – Benny Andersson and Bjorn Ulvaeus. That musical collective soon developed into ABBA, and the rest, as they say is history.

 

A melodic pocket player, the late Rutger Gunnarsson anchored all the ABBA slabs, he was their touring bassist on several treks, and also served as an arranger on their string of multi-platinum platters. 

 

In addition to working with Bjorn and Benny following ABBA’s demise, Rutger also collaborated with Gemini, Celine Dion, Adam Ant, Ulf Lundell and Josefin Nilsson, among others. 

 

Gunnarsson was also involved the ABBA musical Mama Mia! and anchored the repertory ABBA Orchestra in Concert. 

 

 

Rutger Sound & Vision…

“Dancing Queen” https://youtu.be/B139-IqKcqg

 

Rutger rockin’ on “Summer Night City” https://youtu.be/SWj2vy7VS8Q  

 

Plonking down quarter note roots on “Take A Chance” https://youtu.be/-crgQGdpZR0

 

Dig Tony Senatore’s rendition of “Waterloo” https://youtu.be/4fQBaDHsGU4

 

Courtesy of Abba Site Com Courtesy of Abba Site Com

Courtesy of Abba Site Com

David Goldflies (Dickey Betts, Allman Bros.)

 

An extraordinary upright and electric player, David “Rook” Goldflies anchored the Allman Brothers Band from 1978-82 as the ensemble aimed for more of a commercial audience on record. Though the Brothers were not quite cut out for pop radio, David and the band soared on stage, and Goldflies’ work on three Allmans’ releases Enlightened Rogues (1979), Reach for the Sky (1980), and Brothers of the Road (1981) was exemplary.

 

Born into a family of classical musicians, David was a key member of Dickey Betts’ Great Southern. Nowadays David is a composer and bassist with the Panama City Pops Orchestra, and also helms an Allman Brothers repertory ensemble aptly named the Allman Goldflies Band.

 

As I was witness – when David Goldflies and Dan Toler joined the then-reunited ABB they brought with them a vibrant, fresh perspective on the blues rock blues rock format which, to my ears, was in a creative rut by the late 1970s.

 

Composed by Dickey Betts and David Goldflies, and featuring percussionist Joe Lala and vocalist Bonnie Bramlett – dig this pop oriented track “Try It One More Time” https://youtu.be/hS_rGgQpqUI featuring David’s soulful slap-and-pop, harmonic extensions, and sharp tone throughout.

 

Recordings such as this helped expand the language of the genre and introduced a new generation, myself included, to roots and blues music. Enlighted Rogues, Reach for the Sky, and Brothers of the Road, were gems of their era – hence their appeal to my age group. Then we went back and further explored the art-form.

 

A master groove and counter-melodic player, improviser   – keep up with David’s numerous projects by way of https://www.goldfliesmusic.com/

 

 David Goldflies Sound & Vision 

WSRE Pensacola Broadcast of the Allman Goldflies Band https://youtu.be/d7i42N2mnpE

David with BHLT – Betts, Hall, Leavell, Trucks at the Capitol Theater in Passaic NJ in 1983 https://youtu.be/k_Dn1YFkN_Q

David with the Allmans Live at the Capitol Theater in 1979 https://youtu.be/5Hb9aNgivdg

Read about David in Broadway World which references Know Your Bass Player: https://bit.ly/37mU8Zi

Eleven More Bass Players Who Belong in the Rock and Roll Hall of Fame: David Goldflies https://bit.ly/2IQTkl3

 

 

David Goldflies on Season Tres of Know Your Bass Player on Film, 2019 New York City, Euphoria Studios 

 

 

KYBP On Film Season Tres: David Goldflies & Dickey Betts


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Who’s Dickey Betts?” As soon as Tony Senatore heard that David Goldflies agreed to a KYBP on Film interview during a tour stop in New York in October 2019, Senny polished his cherished Alembic, which was among Goldflies go-to instruments as anchor of Dickey Betts’ Great Southern, and later, the Allman Brothers Band upon their first reunion in 1979 – and brought it to the studio for this extraordinary bassist.

David had a great time riffing on this vintage instrument as he recalled meeting the iconic guitarist during a Top 40 gig, along with his role in the classic rock track “Black Betty” and a few lessons he learned as a young player in Part One of “A Conversation with David Goldflies.”

Tom Semioli: Interviewer / Writer. Mark Preston: Producer /
Director. Drew Taylor: Cinematographer. Mark Polott: Editor.

Joe Cetner (The B’zz)

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By Joe Gagliardo

In 1977 or thereabouts, Joe Cetner attended a Cheap Trick gig at the Brat Stop, a venue just over the Wisconsin border, and he was blown away by Tom Petersson’s bass playing.

The following night, he went to see Chicago legends, D’ Thumbs (Cliff Johnson’s band immediately before Off Broadway, which also included drummer Tommy Aldridge following his tenure in Black Oak Arkansas, and shortly before he would wax platinum albums and traverse arenas with Pat Travers, Whitesnake and Ozzy Osbourne).

Once again Joe was blown away by a bassist with a Cheap Trick connection: Jon Brandt, who would go on to replace Pete Comita – who took over the bass chair from Petersson. Brandt anchored the Rockford, Illinois Rock and Roll Hall of Famers from 1981-88.

Driven by those live club experiences, and influenced by Paul McCartney and John Entwistle, Joe made the decision to play the bass guitar!

Equipped with a 1972 Sunburst Gibson Thunderbird, Joe quickly became a regular on the Chicago club scene, including gigs anchoring Pin Ups, who were among the hot, local late 70’s club bands.

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In the 80’s Joe played with Tommy Holland in a latter-day configuration of The B’zz.  As that band wound down, Joe became part of Tommy Holland’s next project, Holland, which was signed to Atlantic records, and also featured drummer Brad Rohrssen and guitarist Michael Angelo Batio.  Holland’s LP, entitled Little Monsters, produced by Tom Werman, rocks hard and fast!

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At that time Joe switched to one of his 1963 Fender Jazz basses as his go-to instrument.

Check out Holland’s “Wake Up The Neighborhood,” a song that was featured in the 1985 movie, Girls Just Want to Have Fun   https://youtu.be/hkw0r3Hf2ZQ

… and “High Life” https://youtu.be/z0RuuAqL1Ng

In the early 90’s Joe and Kevin Lee were in California and formed Kevin Lee and the Lonesome City Kings.  Inked to the MCA imprint, the band released one LP, Restless, co-produced by Don Dixon.

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 Check out these two tracks:

 “Standing in the Line of Fire” https://youtu.be/X6v3e_SuGXY

“One Little Promise” from the Kill the Power Show  https://youtu.be/z0RuuAqL1Ng.

Weary of Chicago winters, Joe packed up and moved to Florida in the mid-1990s.  In addition to playing music on the beach and for various charities, for the past twenty-five years Joe has been living his dream of being a boat captain: an endeavor which takes him back to his childhood – racing home from school to watch Where The Action Is—sun, sand, beaches, waves and music!

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Tony Curatola (Billy Panic)

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By Tony Senatore

Tony’s study of the bass guitar began in 1977, under the tutelage of Al Faraldi, who, interestingly enough, was not a bassist. Faraldi was primarily a jazz guitarist that played classical guitar. The core of Mr. Faraldi’s teaching was his emphasis on reading, the Carol Kaye Bass Method, as well as Bach’s Six Suites for Violincello Solo and the Charlie Parker Omnibook.

After three years with Faraldi, and a brief stint with Jeremy Steig in 1979, Tony left New Jersey for the Berklee College of Music, where he spent a semester, but soon realized that he could forge a more personal style on his own.

Although Tony reunited with Faraldi from 1983 to 1984, he came to the realization that what he was looking for could only be found through real world experience. Thus, the streets and bars of New York became his college campus, and his professors were his heroes, ranging variously from Jaco Pastorius, Gary Willis, to Ray Brown and Ron Carter.

Photo by Alan Goldberg - Courtesy Tony Curatola Facebook Photo by Alan Goldberg - Courtesy Tony Curatola Facebook

Photo by Alan Goldberg – Courtesy Tony Curatola Facebook

These days, Tony enjoys playing live with his band Billy Panic, whose 2015 release entitled ISH is a musical tour de force of all that Tony holds sacred: melody, harmony and the groove. He also is the house bassist at the weekly jam session with his band The Dogs at The Peddler Jam in Cresskill, New Jersey.

He enjoys the challenge of the endless array of styles he is confronted with each week, and he particularly enjoys mentoring and nurturing younger players. Tony also maintains a rigorous daily practice schedule on his upright and electric basses and has learned a lot from Rufus Philpot’s bass instruction videos.

Tony feels that Rufus is one of the best players and educators available anywhere.

In summary, unlike many of his contemporaries, Tony Curatola’s strength as a musician is realizing what he doesn’t know and having the humility to learn it.

Dig Tony with Billy Panic:

“Work Shoes” https://youtu.be/YSyAEtoPcu4

“Hudson River Walk”  https://youtu.be/dGVnZ1gEKkw

“Running with the Bulls” https://youtu.be/8ymhQzYhJ2s

Tony Curatola in his own words…

How do I judge me…” Let me count the ways.  

Two-five-one that’s right, for many years I not only studied jazz,  but I used it as a barometer to judge myself not only as a bassist but as a musician overall. 

Although I am relatively learned and fluid in the style and admittedly it has taught me much in terms of theory, composition and the like, in all honesty I have to admit two things. First and foremost, I don’t enjoy it, I never did and second I’m not much more than proficient at it. 

It wasn’t until recently when I had a conversation with pro bassist and confidant Tony Senatore who quite literally told me “its okay,” yes okay to openly admit that I don’t care to play jazz anymore.

It wasn’t the music of my time. I grew up in the seventies listening to Joni Mitchell, James Taylor and the all the super bands of the time (none of which played jazz). Since then I’ve come to happily emulate the music I grew up on and really enjoy playing. I no longer judge myself by two-five-one, but I do count to four at the start of most tunes.    

Nowadays I mostly play on a stage not a “bandstand…”

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Know Your Bass Player Tool Talk: Steve Swallow EB2-D

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In this first edition of KYBP Tool Talk, KYBP Adjunct Professor, Bergen County New Jersey Bureau Chief Tony Senatore discusses the Gibson EB2-D with Steve Swallow.

Courtesy of Gibson Com Courtesy of Gibson Com

Courtesy of Gibson Com

Earlier in the week (March 2020), I posted some live Gary Burton videos ranging from 1968 to 1972. This garnered a lot of attention from my Know Your Bass Player cohorts Joe Gagliardo and Charles Lambiase. The videos featured Steve Swallow, one of the very first jazz bassists to play electric bass in an era when there was much hostility towards it, on electric and acoustic bass guitars. In the videos from 1968, Steve was playing the electric bass with his fingers, and by the 70’s had transitioned to playing with a pick, which helped him to forge his signature sound.

 

Gary Burton Molde 1974 https://youtu.be/i_TIVHp0epM

 

Gary Burton in Copenhagen 1968 https://youtu.be/CL6CcAbDSBQ

 

Charles, Joe and I marveled at Steve’s style and tone, and the three of us started guessing as to the what went into it, from the pickup configuration he used, to his strings and amplification. His choice of the Gibson EB2-D was key. Joe just added a dual pickup EB2-D that was stolen from him when he first started out, and Charles and I both own the single pickup EB2.

 

Charles noted that the silk winding on Steve’s bass strings was light blue, thus, we were able to deduce that they were Rotosound Jazz Bass flatwound strings. Rather than guess, I decided to send Steve a message to see if he could remember some of the things we were hoping to find out.

 

As it turns out, he was able to remember more than I imagined he would:

 

Tony,

 

I wish I could tell you more about my use of the EB2, but the truth is I’ve forgotten a lot.  At the time I was playing that instrument I knew next to nothing about electric bass, and I cringe a little when I hear my playing from that time.  But I must say Roy Haynes sounds incredible in the video you linked me to.

 

I have no idea what pickup, or combination of pickups, I was using.  The instrument was completely un-modified.  It was the first electric instrument I ever picked up, at the precursor to the NAMM show, in Chicago in 1969.  The strings were, I’m pretty sure, flat wound – they were whatever came with the instrument, and I subsequently ordered replacements from Gibson and just assumed that they were best for the instrument.  Initially, I played through a Gibson amp as well, but I soon figured out that it was terrible, and got an Ampeg B15, the classic flip-top.  I think that’s what drove me to play with a pick: the Gibson bass had a fat, dark sound and so did the Ampeg, and I was searching for brightness.

 

At some point – I’m not sure of the year but it was after I’d played with Eberhard Weber – I bought another EB2, this one in sunburst finish, and gave it to Peter Coura, the luthier who made Eberhard’s classic hybrid instrument, who put his pickups and electronics into it.  I’ve still got my original red EB2, but I sold the second one for a song a few years ago.  Big mistake.

 

The switch to pick was difficult.  I simply couldn’t hold onto the damn thing, would get about halfway through a song and watch it fly from my hand across the bandstand.  I took to lining up half a dozen picks on top of the amplifier and grabbing them one by one, until I finally developed that muscle between the thumb and index finger.

 

Sorry I can’t be more helpful.  Write if any questions come up.  Wash your hands.

 

Best, Steve

 

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Alan Mair (The Beatstalkers, The Only Ones)

In four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses his career with The Beatstalkers, as a haberdasher, and bassist with The Only Ones, among other endeavors!

 

Special thanks to Amanda Thorpe, Sal Maida, and Edward Rogers for their editorial inspiration.

 

Alan Mair Know Your Bass Player on Film Season Tres https://bit.ly/2QAk64A

 

Alan Mair Part 1 

In the first of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses his tenure in The Beatstalkers who were considered the “Scottish Beatles.” Among the band’s notable collaborators included a young singer songwriter David Jones, later known to the world as David Bowie – who composed and sang back-up for the group.

Alan Mair Part 2

In the second of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses his transition from Beatstalker to boot-maker at Kensington Market, wherein he employed the former Farrokh Bulsara – later to be known to the world as Freddie Mercury.

Alan Mair Part 3 

In the third of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses tenure in The Only Ones.

 

Alan Mair Part 4

“I want some of that!”

In the fourth and final interview segment with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher recalls the unlikely reunions of both The Beatstalkers and The Only Ones.

Alan Mair: Season Tres Behind-the-Scenes: Rockers ‘n’ Schmatas!

Beatstalkers / The Only Ones bassist Alan Mair, who employed Freddy Mercury as a salesman in his Kensington Market boot shop, discusses fashion with Mark, who has familial ties to the garment industry. Derek reminisces about The Who with Alan.

 

Andre Howard (Lonnie Brooks, Magic Slim)

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By Joe Gagliardo

When Andre Howard was growing up, he had an uncle who would regularly visit his home and play blues guitar and sing.

Andre’s dad had a house full of instruments too, and Andre would sometimes join in with his with his uncle, playing trumpet or drums.  Then one day his uncle arrived with a friend who brought along his bass guitar, and everything changed for Andre!  With minimal instruction that day, Andre learned to play a basic blues pattern, and he never looked back.

With his Teisco bass, Andre began soaking up the plentiful blues, soul and rhythm and blues music being played on Chicago radio.  While still in high school, Andrew was gigging five nights a week in the clubs.

Eventually Andre’s pursuit of music took him to Nashville, where he did studio work, and performed regularly with Victor Wooten’s talented Family at 3rd and Lindsley, one of the great authentic blues bars outside of Chicago.

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Since returning to Chicago in 2000, Andre has been a mainstay at the top Chicago blues clubs, including the Kingston Mines, B.L.U.E.S., Blue Chicago, and Buddy Guy’s Legends, often playing 5 nights a week.

He has played with a virtual who’s who of blues royalty, including, Lonnie Brooks, Magic Slim and the Teardrops, Eddie “The Chief” Clearwater, Liz Mandeville, and Big Time Sarah.

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These days, Andre’s basses of choice are a 7-string Ibanez, a 5- string Schack, or a 4 string Steinberger.

If you have been in a Chicago blues club in the last twenty years, there is a good chance that you have seen and heard Andre perform.

You can catch him supporting a blues legend, playing with Frank Bang and the Cook County Kings, or with his critically acclaimed Andre Howard Band.

Check out Andre’s soulful grooves with Frank Bang & The Cook County Kings, and it’s is readily apparent why he has become known as “Da Funky One!”

The Blues Don’t Care LP  https://youtu.be/t3KCYVa18s4

Live at “The Funky Biscuit”  https://youtu.be/qyHY8hnRhA0

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KYBP On Film Season Tres: Alan Mair and The Only Ones


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In the third of four extraordinary interview segments with Alan Mair filmed at Terminal Studios in beautiful downtown Bermondsey, the bassist / composer / recording artist / producer / haberdasher discusses tenure in The Only Ones.

Special thanks to Amanda Thorpe, Sal Maida, and Edward Rogers for their editorial inspiration. Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: cinematographers. Mark Polott: Editor.