If Know Your Bass Player employed a statistician, we’d discover that likely a billion people (and counting) have grooved in the past 50 years (and counting) to the Latin jazz fueled passages rendered by the late David Brown, founding member of Santana (1966-71, 1976).

 

As Carlos was a fervent practitioner of the multi-layered rhythmic modus operandi of electric Miles – and James Brown which utilized the art of repetition to the max, Brown intensely followed suite, digging deep in-the-pocket with hypnotic lines that grew more intense upon their reiteration with gradual harmonic embellishments.

 

David’s earthy tone was “pure” Fender Precision (though he occasionally used a Fender Jazz) – which he articulated by anchoring his thumb on the pick-up plate and either finger-picking by the bridge, or at the base of the neck– thereby eliciting the instrument’s signature “grrrrrowl” when he plied one of his rare and riveting fills.

 

Brown was a “feel’ player who was replaced on a few occasions in the Santana collective by more “accomplished” players, David passed in 2000, however not before he stood with his former bandmates at his Rock and Roll Hall of Fame induction. Carlos speaks very well of David in his must-read autobiography The Universal Tone: Bringing My Story to Light (2015 Back Bay Books).

 

David Brown Sound & Vision…

 

“Soul Sacrifice” from Woodstock  https://youtu.be/AqZceAQSJvc

 

“Evil Ways” https://youtu.be/HPmPFY9PcCs

 

“Incident at Neshabur” https://youtu.be/338TDhTN7HQ

 

“Everybody’s Everything” https://youtu.be/Qj9-jqOAikY

 

“Everything Is Coming Our Way” https://youtu.be/7iRDRgr40NE

 

“Dance Sister Dance”  https://youtu.be/lUwCUITkGwo

 

“Gitano” https://youtu.be/haiVzvjKKCU

 

 

 

The New York Times, in a rare display of accuracy, once noted that “his songs are better known than he is!”

 

Most revered as a composer and producer (Elvis Costello, Graham Parker, The Damned, his ex-wife Carlene Carter, and Dave Edmunds, among many others) Nicholas Drain Lowe is also an extraordinary bassist as evidenced by his stellar work in the pub rock super-groups Brinsley Schwarz, Rockpile, and Little Village, and on his impressive canon of solo releases.

 

Akin to Sir Paul, Lowe’s bass artistry stems from the fact that every note he plays serves the song.

 

Nick’s 1978 debut masterpiece – which arrived under the title of Jesus of Cool in the U.K. and Pure Pop for Now People for us provincial god-fearing Yanks in the USA – is his most recognized work. The album’s undeniable centerpiece featuring one of the great pop rock bass grooves of all time “I Love the Sound of Breaking Glass” – wherein Lowe afforded the bass duties to Andrew Bodnar! 

 

An all-time high for Lowe is his composition made famous by the former Declan McManus “(What’s So Funny ‘Bout” Peace, Love and Understanding” which Nick first waxed with Brinsley.

 

Among the most prolific cats of any era in popular music, the lowdown on Lowe is best found on his website: http://nicklowe.com/

 

Nick Lowe Sound & Vision…

 

“Music for Money” https://youtu.be/wLqw5PtWPjA

 

Rockpile “Cracking Up” https://youtu.be/_0moGRwhYxU

 

“And So It Goes” https://youtu.be/YEpr8kaczck

 

“Nutted By Reality” https://youtu.be/Lr5Q26E-Esw

 

“No Reason” https://youtu.be/tVAd1Qvuujg

 

“They Call It Rock” https://youtu.be/y-qxJYOJbgY

 

“Cruel to Be Kind” https://youtu.be/b0l3QWUXVho

 

Brinsley Schwarz:

 

“What’s So Funny ‘Bout Peace Love & Understanding)” https://youtu.be/N3r-TuIcK2k

 

“Surrender to the Ryhthm” https://youtu.be/lMYc5U_jIdc

 

 

“Watching the Detectives,” “Local Girls,” “I Love the Sound of Breaking Glass…”

 

Britain’s punk / pub-rock era of the late 70s – early 80s brought us three bona fide rock bass virtuoso / stylists: Norman Watt-Roy (Ian Dury and the Blockheads), Bruce Thomas (Elvis Costello and The Attractions) and our man here – Andrew Bodnar (Graham Parker and The Rumour).

 

A groove player with a decidedly busy yet supportive disposition, Bodnar was an early adopter of the MusicMan Stingray bass, though early in his career, and in his most recent years, Andrew opts for the classic Fender Jazz.

 

 In addition to his tenure with GP, which has thrived on-and-off for nearly a half-century, Andrew was an in-demand session cat, working sides and stages with Garland Jeffreys, The Pretenders, Nick Lowe, and Carlene Carter among others.

 

 

Andrew Bodnar Sound & Vision…

 

Graham Parker and The Rumour:

 

“Watch the Moon Come Down” https://youtu.be/RYnY5IiLpns

 

(Fretless Bodnar) Get Started – Start a Fire” https://youtu.be/HUb_1rFWZag

 

“Protection” https://youtu.be/lSzJNQSkbi8

 

“Local Girls” https://youtu.be/taXvBivGcMo

 

Nick Lowe: “I Love the Sound of Breaking Glass” https://youtu.be/BDbUEydkuR8

 

Garland Jeffreys: “96 Tears” https://youtu.be/1kq7L0-P1Q8

 

Carlene Carter: “Between You and Me” https://youtu.be/4GeAZ_mNbC8

 

The Pretenders: “Line Between Love and Hate” https://youtu.be/k17CU1SAGVk

 

Elvis Costello sans The Attractions “Watching the Detectives” https://youtu.be/VxzC7G1_Ui8

 

Rare is the bass player whose passages and presence are so definitive on a recording– that to hear the song or the artist without them is inconceivable.

 

Enter Graham Maby of the Joe Jackson Band. Graham is among Britain’s eminent class of players who achieved prominence during the groundbreaking U.K. punk / new wave era – a distinguished motley which includes Bruce Foxton (The Jam), Andrew Bodnar (Graham Parker & The Rumour), Norman Watt-Roy (Ian Dury & The Blockheads), Bruce Thomas (Elvis Costello & the Attractions), and Harry Kakoulli and John Bentley (Squeeze).

 

A master of plying instantly recognizable motifs, Maby is most noted for his plectrum attack and sharp tone, but he’s equally adept at finger-style and slap – whatever the situation warrants. 

  

Most fans are familiar with Maby’s stellar work on Jackson’s hit albums Look Sharp (1979), I’m the Man (1979), Night and Day (1982).

 

Be sure to check out the lesser known Jumpin’ Jive (1981) and oft neglected Body and Soul (1984) collections wherein Graham brings his versatile jazz, soul, funk and show tune talents to the forefront.

 

Graham has also  anchored slabs and worked as a sideman to Ian Hunter, Darden Smith, Joan Baez, Dar Williams, Regina Spektor, Freedy Johnston, Natalie Merchant, and Marshall Crenshaw among others. 

 

Dig Graham Maby in Know Your Bass Player on Film Season One – New York 2016 https://bit.ly/3hA4QAA

 

 

What is hip?

 

The bass mastery of the great Francis Rocco Prestia and Tower of Power, that’s what’s hip! The incomparable Tower of Power of Prestia wrote the book on funky pop rhythm & blues with an incredible string of 1970s releases including the essential Tower of Power (1973) and Back to Oakland (1974).

 

Born “Francis Houghton” in Sonoma, California, Prestia started out as a guitarist during his teen years, then switched to electric bass at the behest of TOP founder Emilio Castillo.

 

Rocco augmented the language and scope of the electric bass with his patented melodic, staccato finger-style funk approach to the instrument – as rendered in TOP’s signature “What Is Hip” –which remains a rite of passage for all serious bassists. Francis mutes the strings with his left fingers, forging  a percussive sound – you can find several examples of Prestia explaining his technique on YouTube and other video platforms (see below).

 

In 1999 Francis waxed his lone solo slab Everybody on the Bus!  Prestia’s primary weapon of choice is the Fender Precision, however he has been known to endorse brands such as ESP.

 

Francis Rocco Prestia Sound & Vision  

 

“What Is Hip” https://youtu.be/Pfim3SKTNkw

 

“Soul Vaccination” https://youtu.be/46hd6DZS0ww

 

“So Very Hard to Go” https://youtu.be/cbyKxiVvpaE

 

Franciso Rocco Prestia Bass Clinic from GoDPS Music 2014 https://youtu.be/lWaB9nTgncY

 

 

 

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 listener

….

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, Tal, Esperanza 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

Said Tony Visconti to this writer “Steve was one of the best bassists I’ve ever worked with…”

Though he is indeed a rock deity, the former Marc Feld also stood on the shoulders of producer Tony Visconti (a fine bass player), and his rhythm section comprised of drummer Bill Legend and the late bassist Steve Currie for his most enduring work under the T. Rex banner.

Currie, who possessed a plucky penchant for plying soulful passages, forged many a memorable groove on the album cuts as evidenced on “Mystic Lady,” “Till Dawn,” and “Ride My Wheels” to cite three.

Currie’s main weapon of choice was a maple neck Fender Precision.

Steve Currie Sound & Vision…

“Mystic Lady”  https://youtu.be/T7XCzOdUoVk

“Till Dawn” https://youtu.be/SMm9lJ0-JLY 

“Ride My Wheels” https://youtu.be/ARaI1XKE-vs 

By Thomas Semioli

Shining star indeed! 

 

He anchors the ensemble named for the elements of our worldly existence. A showman, guru of the groove, Earth Wind & Fire bassist Verdine White incorporates his mastery of funk, soul, pop, rock, Gospel, rhythm & blues, disco and permutations thereof into an astonishing body of work.

 

Akin to Elvis, Miles, The Beatles, Frank Sinatra, Tony Bennett, Babs Streisand, Lena Horne, Ella Fitzgerald, Aretha Franklin, Prince, and Michael Jackson; EWF were among the rare class of artists who were not only the best of their generation, but also the most commercially successful. 

 

A bassist who has inspired generations of players, White cites his heroes as session ace and EWF horn player Louis Satterfield (who was also his electric bass teacher), Sir Paul, and James Jamerson. Verdine studied upright with Radi Velah of the Chicago Symphony Orchestra.  

 

A producer and composer, in addition to his tenure in EWF, White guested on slabs by Ramsey Lewis, Eumir Deodato, Jennifer Lopez, Kelly Clarkson, Flo Rida, Denice Williams, Gene Harris, and Solange to cite a select few. 

 

White also created a foundation which bears his name to provide instruments and education to underserved youth. 

 

Verdine was recognized by Bass Player magazine with a Lifetime Achievement Award and is listed among the 100 Greatest Bass Players of All Time.  White’s primary weapon of choice during EWF’s glory years was the Fender Jazz bass. Nowadays Verdine works a Sadowsky Jazz, among other instruments.

 

Verdine White Sound & Vision…

 

“Serpentine Fire” https://youtu.be/XoI1XPqXQ90

 

“Keep Your Head to the Sky” https://youtu.be/qpD4siBSUOE

 

“September” https://youtu.be/Gs069dndIYk

 

“Reasons” Live https://youtu.be/0Qz_b1di3i8

 

“Mighty Mighty” https://youtu.be/NKljHXYTRy0

 

“Evil” https://youtu.be/CQ2AsBQCPeI

 

White’s legendary solo from California Jam 1974 https://youtu.be/sJbZht9Jp94

 

Verdine’s “floating” bass solo: https://youtu.be/-iymKkfhL0E

 

Rare clip of Verdine working the Fender Precision “Fantasy” https://youtu.be/gL2MsEbrtgI

 

Tony Senatore Renders Verdine White:

 

“Yearnin’ Learnin’ https://youtu.be/H1Yn8i-d1dY

 

“Shinin’ Star” https://youtu.be/LKIb67U6-gA

 

Thomas Semioli

Among the world’s most “known” bassists, the musician / composer / playwriter / actor / activist who named himself for a small sharp-pointed organ on a bee’s abdomen is a giant of the instrument, though his actual playing is oft overlooked as his presence as a performer and writer is, in a word, overpowering.

Strictly speaking of his role as bassist, Sting’s body of work anchoring The Police with Andy Sumner and Stewart Copland is an exemplary study in rhythm and harmony. Sting adroitly deviated from the customary root note voice leading, and his phrasing – borne of deep reggae, jazz, and funk influences – along with his colorful counterpoint and harmonic extensions – created a genre unto his own.

His bass artistry is instantly identifiable – as was the sound of the ensemble whom he led. I compare The Police to such iconic “small groups” led by Miles Davis, Bill Evans, and John Coltrane along with their rock counterparts Cream, Rush, and the Jimi Hendrix Experience.

Akin to those aforementioned ensembles, every Police track is essential. Among my choice cuts include:

“Walking On the Moon” https://youtu.be/zPwMdZOlPo8

“Re-Humanize Yourself https://youtu.be/zPwMdZOlPo8

“Every Little Thing She Does Is Magic” https://youtu.be/aENX1Sf3fgQ

“I Can’t Stand Losing You” https://youtu.be/nH0vjLwMyc4

Dig Tony Senatore’s renditions of…

“Bed’s Too Big Without You” https://youtu.be/fMOVU1ot2cc

“It’s Alright for You” https://youtu.be/iE2Yz3Bw72c

“Message in a Bottle” https://youtu.be/wLuBWoC_Xlk

“Synchronicity”  https://youtu.be/UQ2-__qNqn4

Note that Sting is also a master technician – muting, finger-picking, and plectrum playing – whatever the situation warrants.

Among Sting’s many weapons of choice with The Police include fretted and fretless Fender Precisions, Ibanez, Steinberger XL and L2, Spector, an 8-string Hamer, and an upright Van Zalinge, to cite a select few. Nowadays Gordon prefers a 1950s Fender Precision with much wear and tear. No matter what bass he uses – Sting is living proof that the artistry is in the player, not the bass.

With reference to Mr. Sumner’s outstanding solo career, I dug that for his much heralded debut The Dream of the Blue Turtles (1985) – he surrendered the bass chair to young-lion Darryl Jones fresh out of Miles Davis’ amazing crossover jazz fusion ensemble – to enhance the jazz component of his new direction. Though his bass playing is not as pronounced as it was in the Police trio format, Sting has evolved as more of a compositional player, much like Sir Paul.

 

By Thomas Semioli

Beat is gettin’ stronger, beat is gettin’ longer too, music’s soundin’ good to me, but I want to, said I want to, I want to take you higher…

Not only did he propel he instrument higher and higher as the anchor of Sly & The Family Stone and their crossover hits and album tracks – his creation of the slap technique afforded the electric bass its most potent identity. No longer was the electric bass perceived as the bastard child of the upright and /or electric guitar! As did Jamerson before him, and Jaco following him, Larry Graham Jr. forged a music (and cultural) revolution through our instrument. His influence on funk, disco, soul, dance, rock, contemporary pop, rap, jazz fusion, hip-hop and every permutation thereof is incalculable.

Bass icons Stanley Clarke, Prince, Marcus Miller, Bootsy, Flea, Verdine White, Mark King, Bernard Edwards, and Victor Wooten, to cite a few, all owe their watershed careers to Larry. And consider that Graham is among the “Godfathers of Funk” even metal prog gods such as Geddy Lee slap / pop given the opportunity!

Ironically, necessity was the mother of all popping – or as Larry says “thumpin’ and pluckin’. In brief, the ensemble that young Larry was working in with his mom, Dell Graham, lacked a proper percussionist, hence his thumb became a de-facto kick drum and his index finger assumed the role of the snare. Pop goes the bass string – it was that simple!

Graham is also a master finger-style player who employed a wide range of effects (flange, fuzz, wah-pedal, octave dividers, phase etc.) to further enhance his artistry. His pedal tones combined with his intuitive rhythmic variations afforded his bandleader’s vamp – single chord compositions a signature flavor.

Larry’s weapons of choice are the Fender Jazz, his Warwick Signature bass, along with a Vox Sidewinder, and a custom Moon Larry Graham bass, among others.

A gifted songwriter, vocalist, showman, and recording artist, Larry’s approach serves the song first and foremost. Unlike bassists who employ his slap technique as a platform for dexterity and flash, every note Larry thumps has a musical purpose. His lines sing and dance – as do the generations who have heard him since A Whole New Thing appeared in the magical year of 1967.

After his tenure with Sly, Larry kept the funk flag flying with his ensemble that continues to this day – Graham Central Station.

Dig Larry on these Sly anthems….

“Higher” https://youtu.be/BqWQzOzK3kw

“Thank You…” https://youtu.be/wj5VODa-eTY

“Everyday People” https://youtu.be/JJt-C6I6EDs

“Dance to the Music” https://youtu.be/N_LwJCxR7F4

Dig Larry with Graham Central Station:

“Can You Handle It” https://youtu.be/ck4AlFfu5pM

“The Jam” https://youtu.be/Is665CtmBUc

“Feel the Need” https://youtu.be/B10-z3dXDCg

Dig Larry and Prince:

“The Christ” https://youtu.be/NfqO-rt0BDI

North Sea Jazz Festival 2013 https://youtu.be/vweqb8xilWI

BB King’s New York City 2010 https://youtu.be/NfqO-rt0BDI