By Joe Gagliardo

 

What do Canned Heat, Spirit, Jo Jo Gunne, Heart, Chris Hillman, Firefall, Dan Fogelberg, Stevie Nicks, Joe Walsh, Kelly Willis, Ian McLagan (and so many more bands and recording artists) have in common?  A secret weapon—bassist Mark Andes!

 

Mark Andes was born in Philadelphia and grew up in the San Fernando Valley.  Mark’s dad was Keith Andes, an film actor who co-starred with Marilyn Monroe, and Loretta Young, among others.  Though Mark grew up in the glow of Hollywood … he made his own way as an artist and musician.

 

Mark grew up surrounded by music in his house.  Both his parents were musical, as were their friends who would regularly visit the house.  Mark and his brother Matt, “Irish Twins”—not quite a year apart, took piano lessons early on, eventually dropping the piano for guitars. 

 

In addition to a family friend who helped out on lessons, Mark also had the benefit of older friends who were knowledgeable about rock and roll who shared their knowledge.  He especially loved the energy of early rock and roll—Ritchie Valens, Little Richard, Eddie Cochran, The Fireballs and doo wop.

 

Mark was ten years old in ‘58, the year Link Wray’s “Rumble” was released. It was an eye-opener for Mark.  The frenetic energy and ominous sound of Link Wray’s guitar captured his imagination.  The sound was powerful, menacing and it was easy to play – and it was the first song a young Mark Andes mastered.   

 

As time went on, Mark and Matt taught each other to play the songs of the day, focusing on surf instrumentals-Astronauts, Dick Dale, Surfaris, Chantays, and similar artists. By high school circa 1963-65 they worked in some of the most popular bands in the San Fernando Valley.  Mark switched to bass after a personnel change in one of the ensembles.  Andes’ influences include Willie Dixon, James Jamerson, Paul McCartney, Duck Dunn, and Jimmy Garrison.

 

The band’s first recording experience were in the legendary Gold Star Studios in Los Angeles, recording a song about the Berlin Wall.  The record was produced by Keith Andes, and was never released, however Mark was impressed with the sound of the band on the acetate.  It made him believe anything was possible musically.  That belief was further fueled by what he saw and heard with The Beatles, The Byrds, and all the groundbreaking music that was exploding around him in LA.

 

Mark and Matt also had some involvement with Bobby “Boris” Pickett of “Monster Mash” fame.  Bobby was an actor and Keith Andes was directing him in a play. Mark and Matt were grips, and they ended up playing with him under the name “The Rolling Bones.”

 

Mark and Jay Ferguson first met in junior high.  By the time of their graduation they made the commitment to work together. Jay had a brother, Tom, who was also playing music.  Tom Ferguson went off to a folk camp and returned raving about a young guitar player named Randy Wolfe.  Mark and Jay checked Randy out, and they decided to play together.  Randy recommended his stepdad, Ed Cassady (“Cass”), on drums, and the band was rounded out by Mike Fondelier.  By then, Matt Andes had gone off to art school.

 

Soon after, Cass, who was a jazz drummer, was offered an opportunity to play jazz in New York.  Taking the opportunity meant that he, Randy and the family had to move to New York, which they did.  It was while Randy was working at famed Manny’s Music that Jimi Hendrix, then Jimmy James, asked Randy to join his band, The Blue Flames.  Because there were two Randys in the band, Jimi christened Randy Wolfe-Randy California, and the name stuck.

 

Mark’s next stop was as the original bass player in Canned Heat. Barry Hansen, better known as Dr. Demento, got him that gig fresh out of high school when he was seventeen years old. Recalls Mark “Barry, Henry Vestine, and Bob Hite had extensive blues record collections and we played very traditional arrangements. I learned so much in a relatively short time, and got to play fun gigs at the Avalon Ballroom, Fillmore and be-ins.” 

 

With Canned Heat on the verge of being signed, Jay Ferguson told Mark that Randy was back in LA, and suggested that they play together again. “I thought we would form a powerhouse blues/rock group. Randy was playing with Cass and John Locke on keys in a jazz quartet when Jay and I caught up with him. He was agreeable to form a band with us, but was adamant about playing with John and Cass in our new project. The chance to play with Randy was so compelling, I was willing to let go of my desire of a blues/rock format and it opened up to what would be the eclectic sound of Spirit.  Randy was the catalyst.”

 

The new band was called Spirits Rebellious.  The band started playing what would have otherwise been dark Monday nights at the Ash Grove, a folk and blues coffee house in West Hollywood.  Within a matter of weeks, the band was attracting big crowds, which included an associate of Lou Adler. Soon after they were signed to Lou’s Ode record label.  The band name was changed to Spirit, and the first single was “Mechanical World,” written by Mark.

 

 

Spirit are among the first bands to meld jazz inflected rock with folk lyrics. According to Mark, the band’s influences included Bob Dylan, The Beatles, John Coltrane, Bill Evans, Mance Lipscomb, Muddy Waters, and the Jim Kweskin Jug Band.

 

In terms of Mark’s position within the band, he says “I was the resident rocker. I really had to apply myself to get comfortable with the jazz material. John and Cass helped me by introducing me to Coltrane, Miles, Sonny Rollins, and Bill Evans among others. I had to do my homework.  Spirit was and still is a life lesson for me.”  According to Mark, Spirit was the best band he was ever in–the most rewarding and the most fun.”

 

Spirit’s first four albums (Spirit, The Family That Plays Together, Clear, and The Twelve Dreams of Dr. Sardonicus released from 1967-1970) all are propelled by the dynamic rhythm section of Mark Andes and Cass.  Those records produced many radio favorites including “I Got A Line On You,” “Nature’s Way,” “Fresh Garbage,” “Mr. Skin,” and many other memorable songs.  Randy California hit his stride on Twelve Dreams… considered a classic from beginning to end. 

 

Based on the band’s success, Spirit played shows with top bands of the era including Led Zeppelin, Jimi Hendrix, The Rolling Stones, Jefferson Airplane, The Byrds, Steppenwolf, and Janis Joplin. 

 

Spirit began to unravel. On the night before a headlining tour of Japan, Randy decided he did not want to go.  Mark and Jay Ferguson decided to work on a rock project.   “We both wanted a rockin’, unpretentious band. We lobbied for my brother Matt to join us. He was attending the Chouinard Art Institute in LA and it took a lot of persuading to get him on board. Matt’s style of guitar determined the sound of Jo Jo Gunne. Fluent in acoustic, slide and electric blues guitar, he sent us in a musical direction. Matt had been hanging with members of Little Feat while at art school, and you can hear the slide guitar and piano influences of Little Feat in Jo Jo Gunne’s music.”  

 

Mark continues “the idea was to form a compact, energetic, and undeniable rock band. It took us almost a year to find Curly Smith, the perfect drummer. He moved out from Texas and lived at my house in Topanga. We rehearsed at my place and took our time putting it together.”

 

They were the first band to sign with David Geffen’s burgeoning Asylum records, and had a Top 40 smash right out of the box, with “Run, Run, Run.”  {Writer’s note: If you hear that song in the car, once the drum roll intro of that song hits it gives you the urge to turn the radio up full blast, open the windows and hit the highway so you can drive fast!)

 

In Firefall, Mark and drummer Michael Clarke (formerly of The Byrds and Flying Burrito Brothers) created a solid rhythm section, along with Joe LaLa (Blues Image) on percussion.  Michael’s straight-ahead drumming allowed Mark more space to play progressive and melodic bass lines.  Mark left Firefall in 1981, and rejoined the band in January 2014, where he is still an active member.

 

Recently Firefall recorded their own interpretation of “Nature’s Way.” “We perform that song in concert and it always receives a wonderful response. To make things more interesting, our dear friends Timothy B. Schmit, of Eagles fame (on vocals) and John McFee, of Doobie Brothers fame (pedal steel, twelve string and mandolin) are guesting. It winds up being a way to honor my friend, Randy California, and share his beautiful song at a time we all need to hear it.”

 

For Andes, Heart followed Firefall.  In 1982, Mark was back in LA in a studio when he saw someone wheeling a road case with the name of Howard Leese and the Heart logo.  Mark knew Howard from previous tours from the Spirit days, and, after confirming the gear did belong to Howard, he gave the fellow a note with his name and telephone number and asked that Howard give him a call.  A few months later, Howard called Mark and asked him if he was interested in playing with Heart.  When Mark agreed, Howard told him to grab a bass and come to a recording studio where Howard and Nancy Wilson were completing some tracks.    When Mark got there, rather than playing a song together, Nancy suggested that Mark just plug in. 

 

According to Mark, she said very sweetly, “Okay, play something,” so I did, auditioning, I guess.” Mark played some melodic chordal lines, and Nancy Wilson responded “wow, that was nice. You’re in.’ And that was it.” Mark anchored Heart from 1982-1992 and co-wrote their return-to-radio hit “How Can I Refuse” in 1983. 

 

In Heart, Mark, along with drummer Dennis Carmassi (Montrose, Sammy Hagar), provided a formidable platform for the band’s music.  After the band moved to Capitol Records in 1985, they made the album simply entitled Heart. That album reached Number One, sold five million copies and launched four Top Ten hit songs: “What About Love” (#10), “Never” (#4), “These Dreams” (#1) and “Nothin’ At All” (#10).  A fifth single, “If Looks Could Kill” also charted making five hit singles from the same album.  Mark’s ten-year stint with Heart was filled with multi-platinum albums, No. 1 chart topping hit singles, award winning videos and non-stop arena headlining tours worldwide. 

 

 Mark barely skipped a beat with his departure from Heart before he joined Stevie Nicks on the road in 1992. Not long after, when Timothy B. Schmit was leaving Peoria Illinois’ native son, Dan Fogelberg, to join the Eagles’ “Hell Freezes Over Tour,” Mark joined his Boulder buddy and he toured and recorded with Fogelberg over a ten-year period.

 

 

In the latter ‘90s, Mark moved to Austin, Texas which opened up many new opportunities. “What I really love about Austin is its sense of community. Austin gives me the chance to play with wonderful artists and that’s what I do best.”

 

 

Mark became the bass player of choice, collaborating with Eliza Gilkyson, Kelly Willis, Iain Matthews, Jon Dee Graham, Alejandro Escovedo, Jo Carol Pierce, and 3 Balls of Fire.  Mark spent six years with legendary former Small Faces/Faces keyboardist, Ian McLagan & The Bump Band.

 

After Austin, Mark moved to an area outside of Houston, where, in addition to working with Firefall, he has done a tremendous amount of studio work, including with Kenny Cordray who wrote ZZ Top’s “Francine.”

 

Although Mark does not consider himself a songwriter, he and Eliza Gilkyson co-wrote, “Beauty Way,” which was a turning point for Gilkyson’s career. His other songs include Spirit’s “Mechanical World,” Firefall’s “Anymore,” Heart’s “How Can I Refuse?” and “Take Your Place” on Alejandro Escovedo’s The Boxing Mirror.

 

As to Mark’s playing style, he says “the bass is the backdrop behind everything. I used to play guitar, and I still compose on the guitar, but I’ve always loved the bass. It’s the connecting bridge between the drums and the melodic instruments. The bass literally moves you. I’m not a virtuoso; I just like to keep it simple.  I really enjoy playing parts that happen to be accessible. I don’t like overplaying. I don’t like to take solos.”

 

 

Mark’s first bass was a St. George bass.  Mark notes “the first professional bass I got for myself was a ’64 Precision; I put a ’57 Precision neck on it when I was in Spirit, and that’s the instrument I used for years; I still have it. Originally it was a three-tone sunburst; at one point I stripped the finish off of it, then sometime later I got a guy in Nashville to put a two-tone finish on it, and I put a gold anodized pickguard on it as well; so these days it looks pretty much like a ’57.”  That bass was used on the Spirit and Jo Jo Gunne records.  His arsenal also includes a ’61 Fender Jazz bass, and a Fender five-string Precision.  While his rigs have varied over the years, his go to rig is an Ampeg 8×10 SVT.

 

 

Spirit “Nature’s Way” https://youtu.be/qvQa04JP73o

Spirit “When I Touch You” https:// youtu.be/KGtTFOUwQZ8

Spirit I Got A Line On You https://youtu.be/mzoQvuCfin4

Jo Jo Gunne “Academy Award” https://youtu.be/LZNfCL0VfIA

Jo Jo Gunne “Run Run Run” https://youtu.be/cOi0Iv5J45c

Heart “Never” https://youtu.be/zWzy5q_M5Ho

Mark live with Ian McLagan The Bump Band https://youtu.be/AeJqok1H_X4

Jon Dee Graham “One Moment” https://youtu.be/6BsW3s_uCV8

Firefall “Nature’s Way”  https://youtu.be/ivvQJoF54Kw

“Real World Magic” title track from Mark’s instrumental album: https://youtu.be/L9ZJkY0MA70

 

Will Lee: Huffington Post / Tom Semioli- Eleven Bass Players Who Belong in the Rock and Roll Hall of Fame  https://bit.ly/38WUMh2

 

As the work of late night talk show host David Letterman is now written into media history, we  cite the immeasurable contribution to American culture and the arts by Dave’s unwavering musical stalwarts for his entire thirty-three year career on late night television: bandleader Paul Shaffer and bassist Will Lee.

 

Assuming the mantle created by Doc Severinsen’s legendary NBC Orchestra as heard on The Tonight Show Starring Johnny Carson – Paul and Will’s groundbreaking tenure in the World’s Most Dangerous Band (with guitarists Hiram Bullock and Sid McGinnis, drummers Anton Fig and Steve Jordan) and later, The CBS Orchestra (with additional members Felicia Collins, Bones Malone, and Frank Greene among others) brought the language of rock, blues, soul, folk, country, jazz fusion, and funk to the great American Songbook.

 

I’ve witnessed Will on scores of club dates since the 80s. Not only is he the consummate sideman – his stage demeanor and boundless enthusiasm – regardless of how many people are in the venue is a declaration of the reverence he has for his audience, his craft, and the music.

 

Will’s formal music education commenced at the University of Miami (his dad would later become Dean of the School of Music) wherein he switched from French horn to electric bass. Inspired by The Beatles, Motown, Will quickly developed a reputation as a first call session player in New York City during its studio golden era of the 1970s / 80s. He toured and/ or waxed sides with artists spanning B.J.Thomas, Horace Silver, Bette Midler, Barry Manilow, The Brecker Brothers, Herbie Mann, David Sanborn, Boz Scaggs Diane Schuur, Herbie Hancock, Lyle Lovett, Oz Noy, Tom Scott, Neil Sedaka, Carly Simon, Frank Sinatra, Phoebe Snow, Ronnie Spector, The Spinners, Spyro Gyra, Ringo Starr, Steely Dan, Cat Stevens and Barbra Streisand to cite a very, very select few.

 

In addition to his matchless work as a sideman (and vocalist), Will also waxes sides under his own name and you can catch him on the bandstand with The Blue Birds of Paradise and The Fab Faux.

 

Will Lee Sound & Vision…

Letterman Jam segment “Dance to the Music” https://youtu.be/NhjBDiMckwU

Keith Emerson with The World’s Most Dangerous Band https://youtu.be/mqC-Ne88gWA

Brecker Bros. “If You Want to Boogie” https://youtu.be/m0kZg5oV1mg 

24^th Street Band “Pocket Change” https://youtu.be/6sJioYef510

Will solo “Fooled Him” https://youtu.be/zSXwLv0vt3Q

 

He anchored one of the most successful ensembles in the history of popular music – and one which furthered the careers of several iconic songwriters including Elton John and Bernie Taupin, Laura Nyro, Paul Williams, Harry Nilsson, Hoyt Axton, and Randy Newman – to cite a very select few.

 

We all know Jeremiah was a bullfrog, however if you came within earshot of an AM radio in the late ‘60’s – early 70s you also know the work of late Joe Schermie by way of “One,” “Easy To Be Hard,” “Eli’s Comin” “Celebrate,” “Mama Told Me Not to Come,” “Joy to the World,” “Liar,” “Old Fashioned Love Song,” “Never Been To Spain,” and “Black & White” among others.

 

Three Dog Night was America’s premier pop singles band of the era, knocking out 21 Top 40 hits between ‘69 and ’75.

 

Founding bassist Joe Schermie (nee Shermeltzer) was their soul-inspired harmonic bedrock: always in the pocket, rendering all the right notes with a diversity of rhythmic variations, and allowing space within the songs for their remarkable triumvirate of singers to shine. Joe was a true finesse player with a rock ‘n’ roll edge. Schermie’s weapon of choice was the Fender Jazz, which he customized, and affixed a fuzzy Troll doll to the headstock which he never explained!

 

A powerhouse live ensemble, Three Dog Night’s album tracks where equally as engaging as their singles – dig their rendition of a Beatles track which was never officially released by the Fab Four “It’s For You” from Captured Live at the LA Forum https://youtu.be/PFaIwt6nfdU

 

Following his dismissal from the band in ‘73 – for reasons unknown, Joe later emerged in the ensemble S.S. Fools featuring Bobby Kimball who would go on to front Toto, along with former TDN members Mike Allsup and Floyd Sneed, who were also axed, again, for reasons unknown. They waxed one slab which sank in the marketplace which was now focused on punk, disco, and hard rock.

 

In his later years, Joe worked in various ensembles – some with Floyd Sneed, which featured his former band’s hits, and new material. Schermie passed at age 56 in 2002 shortly after the filming of the aforementioned television show.

 

Joe Schermie Sound & Vision….

 

 

 

Three Dog Night:

 

BBC In Concert  1972 https://youtu.be/6SBd9ZfzzMA

 

“My Impersonal Life” https://youtu.be/U6IjeTXHKU8

 

“Eli’s Coming” https://youtu.be/K8SRD0FK2EE

 

“Try a Little Tenderness” https://youtu.be/eyNRMkrfyFk

 

Tony Senatore’s rendition of “One” https://youtu.be/JIQWQlTfDok

 

S.S. Fools:

 

American Bandstand: https://youtu.be/xAovwsPiReQ

 

“Whatever Happened to America” https://youtu.be/BHhQfO7pz9Y

 

Dig Joe and Floyd cooking fried chicken on an independent TV program entitled Food Rules https://youtu.be/yf051qxnnZ4

 

Bassist Fran Festa with his Joe Schermie Tribute Bass.

Check out Fran’s Joe Schermie Fans Facebook Page!  (12) Joe Schermie Fans | Facebook

 

An award winning first-call session cat and among the most in-demand touring bassists on the planet, it would be easier to list the artists whom Nathan Harnell East has not played with on stage and on record!

East, who prefers (and endorses) extended range Yamaha bassists, grew up to the sounds of Philadelphia and has incorporated his reverence for jazz, rhythm and blues, soul, and rock into platinum records aplenty by Eric Clapton, Fourplay, Herbie Hancock, Kenny Loggins, Michael Jackson, Daft Punk, and Herbie Hancock to cite an extremely select few.

Dig Nathan with Whitney: https://youtu.be/YohL_QJhFaw

Dig Nathan with Slowhand: https://youtu.be/–ND7U44k_M

Dig Nathan with The Eurythmics https://youtu.be/Uhpu2N4rQZM

Dig Nathan’s “Daft Funk” https://youtu.be/07GgekHHud8

An accomplished singer, cellist, educator, composer, producer, in 2014 Nate waxed his debut solo album, which, of course, featured his famous friends Stevie Wonder, Slowhand, Ray Parker Jr….the list goes on and on and on…

Courtesy of Duck Dunn Remembered Com

“I listen to the first playback, then go back into the studio and play half of what I did!” Donald “Duck” Dunn

 

Along with James Jamerson Jr., Carol Kaye, and many of the Wrecking Crew players of the early 1960s, Duck established the electric bass as the bedrock of popular music by way of his work in Booker T. and the MG’s and as an in-demand A list studio player.

 

Dunn’s style is a master course in the use of rhythm and space. Play through his transcriptions and you discover not a superfluous fill, grace note, nor rapid-fire motif. Duck let the music breathe, and by doing so you can hear the song within his bass passages.

 

A player whose influence is incalculable, Duck’s legendary weapon of choice was the Fender Precision outfitted with heavy gauge LaBella’s akin to his peer Jamerson – which he amplified with various Ampeg rigs, most notably the B-15, again akin to the aforementioned Motown icon. 

 

So what Donald “Duck” Dunn done? Booker T. & the MGs, Ray Charles, The Blues Brothers, Roy Buchanan, Eric Clapton, Bob Dylan, Isaac Hayes, Albert King, Ritchie Havens, Wilson Pickett, Otis Redding, Elvis Presley, Diana Ross, Muddy Waters, Bill Withers, Neil Young, The Manhattan Transfer, The Staples Singers, Boz Scaggs, Tom Petty, Stevie Nicks, Freddie King, Crosby Stills Nash & Young, Jerry Lee Lewis…to name a scant few. 

 

Nick Rosaci’s transcription book Soul Fingers: The Music & Life of Legendary Bassist Donald “Duck” Dunn – is essential reading for all bassists who work in a pop, rhythm and blues, soul, funk, rock context.

 

Every track Duck cut is worthy of exploration – so rather than choose one of his more popular passages, dig this somewhat obscure Slowhand recording “The Shape You’re In” https://youtu.be/yFVXxxvkFiU

 

Tony Senatore’s Booker T. medley with some of Duck’s classic passages: https://youtu.be/6KdK2KyZlAg

 

Kenny Aaronson, Tom Semioli in the Duck Dunn shed!

 

Courtesy of Thin Lizzy Co UK

There is no Rock ‘n’ Roll Hall of Fame vast enough to accommodate the legacy of the late, great Philip Parris Lynott. The creative genius behind Thin Lizzy and one of the most influential rock artists of all time, Phil is beloved, revered, and emulated by indie and alternative rockers, punks, folkies, and metal heads alike.  

 

Pounding out root note passages on top of the beat with his instrument positioned ergonomically chest high, this Dublin by-way-of Birmingham working-class poet bared his restless romantic soul in compositions and performances that were reflective, cocksure, cavalier … and jubilant – all in the span of a five minute pop song.

 

Detailing the blue-collar blues (and triumphs) of the proletariat and its fringe characters, Phil’s artistry evokes comparison to such acknowledged poets including Bob Dylan, Bruce Springsteen, Van Morrison, Patti Smith, Leonard Cohen, and Joni Mitchell. His unique style of conversational vocal phrasing – half sung / half spoken – afforded his witty libretto a cinematic quality.

 

Phil’s weapons of choice included his signature black Fender Precision bass, Rickenbacker, and in his later years, an Ibanez Roadster.

 

Phil Lynott Sound & Vision …

 

 “Sarah” https://youtu.be/sEmkIxOolxc

 

“The Boys Are Back in Town” https://youtu.be/SGZqDzb__bw

 

“Whisky In the Jar” https://youtu.be/6WDSY8Kaf6o

 

“Bad Reputation” https://youtu.be/gqSzDJGFCgI

 

“Jailbreak” https://youtu.be/dMko8DlY9IA

 

“Cowboy Song” https://youtu.be/fMdmjoAB-5Q

 

“Old Town” https://youtu.be/d2OcIqwmSaY

 

 

By Thomas Semioli

 

“I’m not a star. I’ll never be a Frank Sinatra or Elvis Presley or a Ray Charles. I’m just an imitator, man. I’m doing a very bad imitation on the bass of Jerry Jemmott, Bernard Odum, Jim Fielder, Jimmy Blanton, Igor Stravinsky, Jimi Hendrix, John Coltrane, James Brown, Charlie Parker… the cats, man. I’m just backing up the cats…” Jaco Pastorius

 

You can divide the history of the bass into two categories: Before Jaco. After Jaco. As a student at the University of Miami in the late 1970s – a time when the electric bass was not considered a legitimate instrument by the jazz establishment (aka “the jazz police”), in the many instances when we were confronted by such ignorance –  we simple responded to the misbegotten taunts with one word, one name: Jaco!  

 

Jaco’s influence is, in a word, incalculable. Drawing on his deep reference for Cuban music (especially percussionists), jazz, rhythm & blues, Frank Sinatra, big-band, funk, rock, pop, soul, and every permutation thereof, Jaco brought an exciting, fresh voice to the instrument akin to his artistic peers Jimi Hendrix and Charlie Parker, to reference two.

 

On the technical side, Jaco’s virtuoso application of harmonics, chords, advanced harmonies, and lyrical improvisations all coaxed from a battered fretless Fender Jazz – known as the “Bass of Doom,” shook the foundation of popular music. His unique tone shattered the long-held tenets of what a bass should sound like. The full possibilities of the electric bass which Jaco pioneered are still being explored today by players of all generations. On stage, he was a master showman.

 

Jaco’s work with Weather Report, Joni Mitchell, Ian Hunter, and as a solo artist and collaborator  remains watershed, and continues to inspire scores of players.   

 

Kudos to film makers Paul Marchand, Stephen Kijak and Metallica bassist Robert Trujillo for telling Jaco’s story with the grace, dignity, and respect he so richly deserves: Jaco  – Passion Pictures / 2014.    

 

Jaco Pastorius Sound & Vision…

 

Jaco and Joni: “Shadows & Light”  https://youtu.be/bLKb9Ms68ME

 

Ian Hunter “All American Alien Boy” https://youtu.be/i9y7IIjS3Kk

 

From Rock ‘n’ Roll Sweepstakes: Ian Hunter – The Authorized Biography Volume Two by Campbell Devine (Omnibus Press). Tom Semioli, who runs the US website KNOW YOUR BASS PLAYER describes the record that introduced (Jaco) Pastorius to rock audiences as “…an overlooked masterpiece. Jaco’s bold motifs beautified Hunter’s intense, introspective, observational verses and melodies. Unlike his time with Joni, Jaco didn’t dare outmaneuver Hunter. An undeniably captivating marriage of jazz, rock and poetry, no album (All American Alien Boy / 1976 / Columbia Records) sounded like this before, and no album has sounded like it since….”

 

 

Weather Report:

 

“Teen Town” https://youtu.be/a3113eNj4IA

 

“Birdland”  https://youtu.be/SvhmaNlLgRM

 

Jaco:

 

“Donna Lee”  https://youtu.be/dGbCxcuNjBU

 

“Portrait of Tracy” https://youtu.be/IqndXUPBjIo

 

 

 

Courtesy Paul Jackson Com

 

By Thomas Semioli

A giant of the instrument, Paul Jackson’s tenure as anchor of Herbie Hancock’s groundbreaking Headhunters ensembles brought jazz fusion and funk to the masses, and continues to influence generations of bass players and hip-hop artists who have endlessly sampled his work.

 

A master of rhythm and space, Jackson’s “economic” approach was founded on repetitive lower-register motifs punctuated with tuneful upper-register fills which complimented Herbie’s melodies and the grooves forged by drummers Harvey Mason and Mike Clark.

 

A Grammy Award nominated composer, solo recording artist, and in-demand session player/collaborator with artists including Santana, Stanley Turrentine, George Benson, Al Di Meola, the Oakland Symphony, and the Pointer Sisters – to cite a very select few – Paul Jackson was also an acclaimed educator and founder of Jazz for Kids.

 

Paul Jackson Sound & Vision…

 

Herbie Hancock “Palm Grease” https://youtu.be/sRn7WlikdUA     

 

Paul on the tracks he composed with Herbie:

 

“Chameleon” https://youtu.be/WYRrIBqKsJ4

 

“Hang Up Your Hang-Ups” https://youtu.be/d7kRlufrZJo

 

“Spider” https://youtu.be/HQPdVhYZgR0

 

Mike Clark / Paul Jackson Funk Tutorial Part One: https://youtu.be/i-3v0NN3FNo

 

Paul Jackson Trio “Everything” https://youtu.be/grQBpNRIAY0

 

Santana: “Give Me Love”  https://youtu.be/0MGBQffSVSY

 

Pointer Sisters “Chainey Do” https://youtu.be/xhmp3J79CNI

 

By Thomas Semioli

I find that the best bass players are as supportive when we’re off duty as when we’re in the studio and/or on the bandstand. Witness the life of Charlie Haden. A master soloist, accompanist, and composer who drew his inspiration from country to classical to world music (which he helped create), Charlie Haden’s historic tenure with Ornette Coleman, and genre defying collaborations with artists ranging from Keith Jarrett, Pat Metheny, Art Pepper, Beck, Abbey Lincoln, Alice Coltrane, John Scofield, Yoko Ono, Michael Brecker, and Paul Motian to cite a very few, continue to expand the language of jazz and improvised music.

The Liberation Music Orchestra, under the direction Charlie Haden and Carla Bley provided a musical platform to challenge militarism, apartheid, conflicts against military dictatorships funded by hegemonic governments, oppression of indigenous peoples, racism, sexism, violations of civil rights, environmental irresponsibility, and economic injustice, among many other issues that do not have a strong voice in a mainstream American culture obsessed with celebrity.

A musical giant who spoke truth to power through his artistry regardless of the consequences- Mr. Haden said of his Liberation Music Orchestra “I always dreamed of a world without cruelty and greed, of a humanity with the same creative brilliance of our solar system, of an America worthy of the dreams of Martin Luther King, and the majesty of the Statue of Liberty. This music is dedicated to those who still dream of a society with compassion, deep creative intelligence, and a respect for the preciousness of life for our children, and for our future.”

Dig Charlie Haden and Keith Jarrett https://youtu.be/m9B24FrCOaQ