Courtesy of Blue Note Com

He rendered one of the most recognizable bass motifs in jazz history “So What.”

“Mr. P.C.” was a player whose bass-lines danced as he bridged be-bop and modal jazz with uncanny flexibly. In a career which spanned a mere 15 years, Paul Chambers’ impact on modern jazz is incalculable. If it were only for his masterful work on Miles’ Kind of Blue (1959) Paul would be considered an icon nonetheless.

With influences ranging from Charlie Parker to Charles Mingus, Chambers boundlessly extended the role of the bass with harmonic forays which redefined the instrument beyond its function as a timekeeper. Chambers was a major catalyst in landmark recordings by Davis, John Coltrane – including Giant Steps (1960),  Cannonball Adderley, Kenny Burrell, Gil Evans, Wynton Kelly, Wes Montgomery, Red Garland, Lee Morgan, Art Pepper, and Bill Evans to cite a very few.

In addition to being one of the most in-demand jazz session players of his era, equally enthralling is Paul’s solo and collaborative canon on Blue Note, among other labels, wherein Chambers helmed recordings with many of his former bandleaders on the sessions.   Paul Chambers early passing at age 33 in 1969 left a tremendous void in the art-form that is American jazz.

Paul Chambers Sound & Vision…

Miles Davis “So What” https://youtu.be/ylXk1LBvIqU

John Coltrane “Giant Steps” https://youtu.be/KwIC6B_dvW4

Paul Chambers Quintet “Softly As In a Morning Sunrise” https://youtu.be/EzVy-Y0zaXY

They are a quintessential American band whose excellence as songwriters, instrumentalists, and recording artists was so profound that their generation took The Doobie Brothers for granted!

From the time he hooked up with the San Jose collective in 1972 until he departed the band shortly before they split in 1980, Tiran Porter’s bass artistry was a staple on FM and AM radio.

An accomplished backing vocalist greatly inspired by Sir Paul, Tiran rendered a unique, funky plectrum plied attack coupled with a penchant for purveying melodic motifs which defined several rock standards including “China Grove,” “Listen to the Music,” “Long Train Runnin,” “Minute By Minute,” and “Takin’ It to the Streets” among others.

Tiran, who waxed a solo album in 1995 entitled Playing to an Empty House, is still on the bandstand in the Bay Area. His weapons of choice included Alembic, Fender, and Gibson.

Dig some of Tiran’s classic performances….

“Takin” It To the Streets” https://youtu.be/5o_umKOTXIs

“Long Train Runnin’ https://youtu.be/m4tJSn0QtME

“Listen to the Music” https://youtu.be/DkytJLoxGmQ

Dig Tony Senatore’s redition of “It Keeps You Runnin’” https://youtu.be/XZsWolQbxp4

Dig Tony Senatore’s rendition of “For Someone Special” https://youtu.be/4KMr3jqoImE

My guess is that most folks assumed that The Doobie Brothers were already in the Rock ‘n’ Roll Hall of Fame until the “powers that be” granted them honors in 2020!

For all the hipster hosannas heaped upon the Velvet Underground – and deservedly so, one essential member who is oft overlooked is bassist / multi-instrumentalist / singer / composer Doug Yule. Yule joined the ranks upon John Cale’s dismissal in 1968 and played a major role in the Velvet’s evolution. Doug anchored two seminal slabs and several archival and live releases which have inspired generations of rockers.

Unlike Cale, who was somewhat indifferent to the instrument, Yule was a fluid player and vocalist who complimented Lou’s gravitation from the avant-garde towards the then burgeoning singer-songwriter movement.

Though The Velvet Underground & Nico (1967) and White Light/White Heat (1968) were critically acclaimed groundbreaking efforts; to my ears Velvet Underground (1969) and Loaded (1970) both with Yule, represent the band’s most enduring works.

When VU finally split following Lou’s departure and the recording of Squeeze (1973), which was essentially a Yule solo album under the VU moniker to fulfill contractual obligations / management shenanigans –  Doug founded American Flyer with Steve Katz (Blood, Sweat & Tears), Eric Kaz (Blues Magoos), and Craig Fuller (Pure Prairie League).

Despite critical acclaim the Flyers’ two Americana flavored releases, produced by George Martin, failed reach a wide audience. In addition to a tour or two with Lou, Doug anchored the cut “Billy” from Reed’s only Top Ten album – Sally Can’t Dance (1974) and appears on the 30th Anniversary edition alternate takes from Coney Island Baby (1975). Doug also waxed tracks with Elliott Murphy which were released on his stellar platter Night Lights (1976).

When the Velvet’s reunited for a money grab tour and live twofer in 1993, Yule was not invited despite the insistence of Sterling Morrison.

And Doug’s omission from the Velvet Underground’s Rock ‘n’ Roll Hall of Fame induction is inexplicable – especially given the fact that the majority of the band’s signature tracks feature Yule on bass and vocals! 

Tom Semioli / Huffington Post 2015  Doug Yule “Eleven Bass Players Who Belong in the Rock and Roll Hall of Fame: Doug Yule” https://bit.ly/2VpzRyy

Doug Yule currently lives in Seattle, and plays, restores, and makes violins. Follow him at www.dougyule.com

Doug Yule Sound & Vision…

Velvet Underground:

“Candy Says” https://youtu.be/O4rbTBKRedE

“New Age” https://youtu.be/Z_-NAdntfqk

“Lonesome Cowboy Bill” https://youtu.be/MdqdietRww8

“Mean Old Man” (from Squeeze / 1973) https://youtu.be/0qh3rXu5cNY

Lou Reed: “Billy” https://youtu.be/U2WUlRDFmAI

American Flyer: “Lady Blue Eyes” https://youtu.be/0SzaJD5MhsU

Courtesy of Leo Lyons Com

Among the great success stories to emerge from the original Woodstock Festival in 1969, British blues barons Ten Years After were essentially a one-trick pony; however their singular stunt afforded the lads several hit albums, extensive FM radio play, and two unquestionable classic rock anthems: “I’m Going Home” and “I’d Love to Change the World.”

Leo Lyon’s battered Fender Jazz looked like a toy in the hands of this towering bassist. Though Leo gave the appearance that he was savagely attacking his instrument as his right hand visibly thumped the strings while his left hand flew up and down the neck – the Nottinghamshire native is quite the focused, articulate player.

Ssssh (1969) and Cricklewood Green (1970) are essential British blues rock albums. Highly influential on both sides of the pond, the late, great Alvin Lee and Ten Years After are deserving of Rock ‘n’ Roll Hall of Fame recognition.

A composer for various stage productions, cartoon and film soundtracks, and MTV videos, among Leo’s high-profile production credits include  UFO, Magnum, Waysted, Procol Harem, Frankie Miller, Richard and Linda Thompson, Brigitte St John, John Martin, Kevin Coyne, Sassafras, Motorhead, Hatfield and The North, The Bogie Boys, The Winkies, and Chris Farlowe, to cite a few.

After Ten Years After initially folded, Lyons migrated to Nashville to compose, produce, and play various sessions – then reformed TYA again with Lee, then with Joe Gooch in place of Alvin Lee. Leo currently anchors Leo Lyons & Hundred Seventy Split, wherein he also works his craft on the doghouse.

A Conversation with Leo Lyons: 

Leo Lyons Sound & Vision…

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

Dig Leo and TYA in rehearsal in ‘69 https://youtu.be/289AGcGogQI

Lyons soloing on “Good Bye Little School Girl” https://youtu.be/SlUAuM7oRTc

Leo Lyons & Hundred Seventy Split:  https://youtu.be/a23S-NEuSYc

His professional career commenced with The Sweet Inspirations as an opening act for Elvis Presley on The Strip in Las Vegas.

A left-handed player who utilizes a righty Fender P inverted, Johnson’s soulful pocket playing, warm resonant tone, and engaging stage presence earned him a position at the top of his profession as an in-demand session player, concert performance sideman, and vocalist. In addition to his stellar tenure with Miller (The Joker, Abracadabra, among others), you know Gerald from his timeless work with the Pointer Sisters (“Fire”); Dave Mason (Split Coconut, Let It Flow, Mariposa de Oro, among others); Crosby, Stills & Nash & Young (CSN, Looking Forward); Stephen Stills (Thoroughfare Gap, Man Alive!); Les Dudek (Ghost Town Parade, Say No More); Gregg Allman, and Carl Wilson, to cite a few.  

KYBP Readers:

Tom Lawton: I saw Gerald with Steve Miller Joker tour, Dave Mason on the Certified Live Tour, once with Les Dudek and later with Dudek, Finnigan, and Krueger Band an all-time favorite.

Doc: I just watched Gerald on a DVD of Steve Miller Band’s “Rock Concert” from 1973 and he blew me away!

Gerald Johnson Sound & Vision…

Steve Miller:

“The Joker” https://youtu.be/tYTgtsCm0DA

“Sha-Ba-Ba-Du-Ma-Ma” https://youtu.be/adAW08eWfc4

Dave Mason: “Give Me Some Lovin” https://youtu.be/MAb2mHRBah4

Stephen Stills “Woman Lleva” https://youtu.be/YuoFOZTkuRM

Photo courtesy of Mo Foster Com

Among the most revered and versatile British session and touring bassists, Mo Foster’s talents as a composer, musician, educator, and author were equaled by his uncanny wit, hospitality, and sidesplitting sense of humor!You know Mo the bassist from his stellar work with a wide range of artists and ensembles including Affinity, Jeff Beck, Eric Clapton, Phil Collins, Luka Bloom, Howard Jones, Russ Ballard, Michael Schenker, Maggie Bell, Gerry Rafferty, Joan Armatrading, Kevin Ayres, Gary Moore, Scott Walker, and the London Symphony Orchestra, among scores of others.

Mo Foster Sound & Vision…

Affinity https://youtu.be/LVxTQZLVVYU

Jeff Beck https://youtu.be/P1vduurgxWQ

Mo Foster & Friends https://youtu.be/8VBu5E0WgRM

You’ve heard Mo’s bass artistry support James Bond in For Your Eyes Only (1981) and Octopussy (1983).

As a bandleader Mr. Foster has waxed a handful of brilliant jazz/fusion/ambient albums including Bel Assis (1988) and Southern Reunion (1991) featuring guitar icon Gary Moore and drummers Gary Husband and Simon Phillips.

Bravely venturing where no voltage enhanced bassist had gone before, Mo founded the first academic course in electric bass at the Goldsmiths College, University of London in 1975.

Mo’s two terrific tomes: 17 Watts? The First 20 Years of British Rock Guitar: The Musicians and Their Stories (2000) and British Rock Guitar: The First 50 Years (2013) – the latter of which I reviewed for Huffington Post and interviewed Mo are essential for musos and fans alike.

My interview with Mo on Huffington Post for History of British Rock Guitar https://bit.ly/2QVBxwm

My interview with Mo’s Affinity bandmate Linda Hoyle on Huffington Post talkin’ Mo https://bit.ly/35A8d3M

Watch Mo Foster on Know Your Bass Player on Film Season One – 2014, from Mo’s home in London https://bit.ly/2EBNPHH

Courtesy of MC 5 Com

“I wanna hear some revolution out there! Kick out the jams mother….” They were among the most incendiary forces in American rock ‘n’ roll. Before bands became brands, these five outcast visionaries from Michigan harnessed the anti-establishment fervor of the industrial heartland. 

With the stinging libretto of front-man Rob Tyner (originally a bassist), fortified by the blazing two-guitar attack of Wayne Kramer and Fred “Sonic” Smith – the MC5 blasted blue collar counter culture blooze into adolescent bedrooms throughout Nixon’s fractured America.

At the center of the storm were bassist Michael Davis and drummer Dennis Thompson who anchored the MC5 with an unforgiving back-beat. Davis’ bass playing was unswerving – quoting time tested motifs as the guitarists waged war. Associated with John Sinclair, participants in the anti-war movement (Chicago 1968), and inspired by the Black Panther Party; not even The Stooges, Velvet Underground, nor The Doors – three pariahs of the same era who were eventually accepted by the establishment – approached the perilous stance of the MC5.  

Michael Davis Sound & Vision

Dig Michael on this live clip of “Ramblin’ Rose, Kick Out The Jams, Looking At You” medley from 1970 https://youtu.be/74jS3dW0DtE