Tony Senatore: Self Portrait of Jaco

 

This past weekend, I watched the Robert Trujillo-produced documentary about the life of legendary bassist Jaco Pastorius entitled Jaco. Although the film was made in 2014, I finally got around to viewing it, and the timing was perfect. A steady diet of highly mediocre Instagram bass videos sent to me by my bass-playing friends featuring cute children, overplaying adults, and sexy, scantily-clad women who didn’t get the message that they should be working toward the fall of the patriarchy was draining my soul and spirit. The videos demoralized me because they depicted the art of music and bass playing as a cheap parlor trick that anyone could do.  People say that if you do something that you love for a living, you will never work a day in your life. I have never been a fan of aphorisms, but in my life, I have come to a different conclusion; Sometimes, doing what you love as a means of sustenance can make you despise what you once loved. As such, it is often necessary to find inspiration in any way possible. 

 

The Jaco documentary, available for viewing here, did not make me feel any better about my decision to pursue a career as a professional bassist for the last forty-three years but instead explained the motivation behind that decision. It is very impactful when someone profoundly influences your life, as Jaco influenced mine. Someday there might come a time when you realize that you should have emulated Bill Gates rather than Jaco Pastorius.  Often, it is impossible to deviate from the course you set out on once the passion takes hold. This is especially true for those pursuing careers in the arts.  Although it is not stated directly, what is implicit in the documentary is the idea that whatever your chosen instrument, all musicians must strive to develop a personal style and voice.

 

Jaco did this by transforming his life’s joy and chaos into art and settling on one specific bass to express himself; a 60’s fretless Fender Jazz Bass played through his beloved Acoustic 360 amplifier. This is a crucial lesson for those (like me) that feel the need to have a vast array of bass guitars. Know Your Bass Player “head honcho” Tom Semioli has often pointed this out to me to no avail. Sometimes too many equipment options are a detriment to finding your voice. After trying to break new ground on my six-string bass between the years of 1987 to 1995, an unexpected encounter with a Hamer 12-string electric bass guitar in a New Jersey music store changed my life. With that instrument, I could finally express myself like never before. I released an audio CD entitled Holyland in 2005 and my 12-string bass X-ploration DVD in 2007. From that point on, my career took off, and modest critical acclaim followed.

 

The themes of mental illness and family were the aspects of the documentary that resonated with me the most and shaped my life and Jaco’s. The birth of Jaco’s daughter Mary was the catalyst for him to get serious about his life and ultimately become a better bassist. As he looked at his newborn daughter, he turned to his brother and said, “Gregory, I have to do something on the electric bass that has never been done before.” Jaco was a working musician in Florida, but he instinctively knew that wasn’t enough to give her and his other children the life they deserved. Unfortunately, Jaco’s mental illness, undiagnosed until much later in his life, caused him to become estranged from his children and lose his career and, ultimately,  his life.

 

On the other hand, he achieved his goal of becoming arguably the most incredible electric bassist ever. Although I have no biological children, the birth of my niece Alexandra in 1993 radically altered the trajectory of my life. Moreover, I am no stranger to mental illness. My late sister suffered from schizophrenia and manic depression and could not raise her daughter. I relocated from Florida to raise my niece as my daughter with the help of my parents. By 2004, I was in the same place Jaco was when he told his brother Gregory that he needed to become the world’s greatest bassist. Unlike Jaco, I decided that getting a day job unrelated to music was a better plan than becoming a better bassist.

 

By 2008, I decided to get the college degree I abandoned in 1980. By 2017, I received my bachelor’s degree from Columbia University in the City of New York. During my nine-year journey in academia, I never stopped playing the bass. I played live sporadically and maintained a rigorous practice schedule. I wasn’t trying to break new ground but simply preserve what I had developed over the years.

 

After graduation, I got a better job and resumed my music career. By 2018, I realized that although reinventing myself as an academic was perhaps the most extraordinary period in my life, music and playing the bass were what I did best. After graduating college at age 55, I recorded some videos with friends, including a dual bass performance with Steve Swallow, which fills me with pride. The message is clear. There is no one size fits all solution to succeeding in life or the music business. My favorite scene in the documentary is when Jerry Jemmott showers Jaco with accolades regarding all the innovations he bestowed on the bass guitar’s history, lexicon, and development. Jaco turns to Jemmott and says, “ get me a gig!”

 

Jaco’s mental illness wreaked havoc on his personal and professional life. As Jemmott wisely pointed out, if you are a musician and your life doesn’t have stability, your art will suffer. Success in the music business always was, and always will be, about having the respect of those that you respect and having paid work and a full schedule of gigs. Everything else, including popularity on social media platforms, is an illusion and a distraction.

 

Although it might be a controversial statement, I believe Jaco Pastorius’s bass playing has not been surpassed. I agree with Flea, who asserted that “he’s the greatest bass player that ever played… there’s nothing else like it… am I missing something or someone… is there anything close to it on bass? Not to me, man!”

 

Robert Trujillo deserves much respect for his effort to document the life and legacy of Jaco Pastorius.

 

 

Lawrence Haber by Tony Senatore

 

 

Lawrence Haber is a new acquaintance who has been making a name for himself on the New Jersey music scene. Fads come and go, but if you are a musician, things like reading music, preparedness, and being on time never go out of style. In an age when young bassists aspire to become influencers on Instagram, Lawrence has decided to focus on becoming a respected working musician by satisfying the needs of his clients, whatever the situation. Know Your Bass Player has always been associated with world-class players deserving broader recognition. Still, in my view, the best aspect of KYBP is the stories about the working bass players of the tri-state area and what it takes to make a living in today’s challenging environment.  I am pleased to introduce Lawrence Haber to the readers of Know Your Bass Player.

 

Tony Senatore

 

When and where were you born?

 I was born in 1982 in Brooklyn, NY.

 

Did you study music in college? I am curious as to your educational background and specific teachers who guided you, not limited to only music teachers.

 

Although I took several music classes while studying Communication and Psychology at Rutgers University, my formal music education began in high school, studying privately with an incredible instructor named Joe Macaro. Joe studied Jazz at Berklee College of Music as well as Classical at New England Conservatory. Joe has played professional gigs on Electric Bass and Double Bass since the 1960s. We studied lesson plans from Charlie Banacos on both instruments, Charlie Parker solos from the Omnibook, classical repertoire with the bow from his time as a student of Bill Curtis, and many other formal methods. I learned ear training, functional piano, reading, improvisation, and many other core areas that made me the professional player I have been since 2003, when I began gigging full-time (the ultimate education). I also credit my father, Jeff, who introduced me to all kinds of music as a child, music appreciation is also critical to becoming a well-rounded player with a full musical bibliography. I have also studied privately with Gerald Veasley, John “JD” Di Servio, and most recently Evan Marien, helping me with an artistic concept beyond the bass.

 

 Did your family support your decision to study music at the college level?

My family supported my decision to pursue a music education with love and respect. My father suggested Joe as an instructor because he knew Joe would guide me both professionally and artistically. My father is a DJ and always encouraged me to listen to music with intent and curiosity. He also helped open doors for me to build my network.

 

Do you make your entire living playing music? What are the various types of gigs that you do?

Since 2003 I have played 50-200 professional gigs a year, but I also work for an incredible music program called Music Together as a Licensing Manager. I also do a good deal of professional recording and teach privately. Most of my professional live gigs come in the form of corporate events and private parties such as weddings, clubs, and restaurants. Bands in those settings mostly play Top 40, but I also play straight-ahead jazz gigs, original singer/songwriter gigs, and the occasional theater pit gig.

 

Who influenced you coming up regarding bassists that caught your ear? When you listen today, do your early bass influences measure up to your perceptions of them when you were young?

 

The first bassist that caught my interest was John Entwistle from The Who. His attitude and intent struck me, and he had a beautiful presence both sonically on recordings and live on-stage with the band. Louis Johnson’s tone and rhythmic approach excited me to dig in more, bringing me to Marcus Miller, one of my major heroes as a sideman bassist and composer/producer. Like many young players, I would sing along to Paul McCartney’s melodic lines. I loved Motown and R& B growing up, so James Jamerson and Anthony Jackson quickly became the standards I wanted to pursue once I understood their contributions to pivotal recordings. Joe introduced me to Jaco, who changed everything and made me want to understand jazz harmony, tone production, composition, and improvisation. On Upright, I was floored by Scott La Faro’s lyrical approach and Ron Carter’s command of time and sound. I appreciate my early bass influences more and more every year. I still transcribe them to gain insight into the details of their playing.

 

Are there any bass players or musicians in general that inspire you today?

In addition to my teachers, Hadrien Feraud and Janek Gwizdala are two of the most important living bass players. Both have incredible facilities but use their technique to create gorgeous musical landscapes. Pino Palladino and John Patitucci constantly push boundaries and have beautiful things to say about the bass. Every time I hear them play, I smile and want to pick up the instrument. I want to use this opportunity to shout out some local musicians whose playing influences me whenever I can perform with them or initiate a conversation. Guitarist Michael Vanderweerd is one of my closest musical associates and friends. Mike plays guitar like Stevie

Ray Vaughan and sings like Ray Charles. He is the most soulful person I know. He has given me countless opportunities to play paying gigs with great players. Richie Monica is a world-class drummer who taught me a lot about how to conduct myself early in my career and how to listen. He never held back the truth about my playing and schools me to this day when I’m not on my game. Stephen Bard is a multi-instrumentalist, vocalist, and songwriter who knows more about delivering a clear musical statement than anyone I have ever met. He is a prolific musical creator who consistently produces fantastic original music and is a blast to play with on live gigs. I am blessed.

 

When I went back to school from 2008 to 2017, I aimed to teach history or social studies at either a public or a charter school. This changed when I consulted with some of my friends who have been educators for many years. They informed me that changes in the education system and the advent of Common Core standards pushed them into early retirement, and if I had any ideas about teaching with my own style in my effort to change the world one student at a time, I should reconsider teaching.

 

Similarly, I feel the same obligation to be honest when young musicians ask for my advice regarding a music career. It is more challenging to survive playing music today than in past eras. Reality is not negativity; I am obligated to young musicians to clarify this. If you could offer one piece of advice to aspiring bassists, what would you tell them?

  

Always go back to the fundamentals while remaining curious about where your tastes can lead you. This combination will continuously inspire you to grow as a bass player, musician, and human. Also, play upright, write your own music, and sing!

 

 

Lawrence Haber: Electric/Upright Bass Player, Music Educator/Clinician, GHS Strings Endorsing Artist, Genzler Endorsing Artist, Bartolini Emerging Artist, Master Strap Artist https://www.lawrencehabermusic.com/

Horace Panter (The Specials)

 

“Sir Horace Gentleman” anchored one of Ol’ Blighty’s most influential ‘70s ensembles: The Specials.

 

A master of the 2-tone groove which fused trad Jamaican ska with stripped down new wave rock, Panter and his pals – oft bedecked in ‘60s style rude boy attire (pork pie lids, loafers, mohair suits), scored several UK hits during their golden era which spanned roughly 1979-81.

 

Panter is also a painter. The Croydon native studied at Lanchester Polytechnic, served as an art educator, and has hosted several exhibits throughout his career.

 

His autobiography Ska’d for Life is essential reading for rockers beholden to the said genre. Panter’s primary tools of the trade were trad Fender basses – Precision, Telecaster, and Jazz.

 

Horace Panter Sound & Vision…

 

“Rudy A Message to You” https://youtu.be/cntvEDbagAw

 

“Stereotype” https://youtu.be/fxQ5ooPT4Gw

 

“The Gangsters” https://youtu.be/lgCZN1rU5co

 

“Rat Race” https://youtu.be/AmkMEoVb6rA

 

“Ghost Town” https://youtu.be/RZ2oXzrnti4

 

Charles Nagtzaam (Bassist / Educator)

The Know Your Bass Player Interview by Tony Senatore

 

Recently, one of my Facebook friends, who happens to be a fine bassist, posted that although he started his days with great optimism, after checking out his Facebook feed, he realized that either he was a substandard musician, had made bad decisions, or had any combination thereof. My reaction to his words was quite the opposite. My daily social media habits have reinforced my view that the world is more vapid, vacuous, and morally bereft than I ever imagined. Whether I searched for quality journalism, music, or depictions of humankind at its best, it seemed as if there was none to be found. When creative people are faced with such obstacles, they have choices. They can go with the crowd and follow trends rather than set them or try to uphold all they hold sacred in everything they do, no matter what the cost.

 

Moreover, they could either remain aloof and unsupportive for fear of losing whatever notoriety they have or be nurturing and try to align themselves with like-minded people who toil away in relative obscurity, unwilling to lower their standards.  In my life, when faced with such choices, I have decided on the latter. When I learned of Charles Nagtzaam via my friend Tony Renaud, I was pleased to see that many individuals are still willing to uphold the time-tested tenets of music while resisting the latest fads, and I wanted to be acquainted with him. Charles is the type of bass player that I admire. He doesn’t live in the past. Charles is constantly trying to break new ground on his instrument. What I like most is that, like me, he always tries to move forward while tipping his hat to the great bassists like Anthony Jackson, that inspired him.

 

Things ranging variously from technology to guns are decidedly non-moral. Whether they are used for good or nefarious purposes is ultimately in the hands of the user. While I have come to despise social media, without it, I would never have learned about the brilliant playing of Charles Nagtzaam. Moreover, if it wasn’t for my friend Tony, there is a good chance that I might never cross paths with him. The lesson is clear. We must stop thinking about ourselves and instead put some effort into others. Social media should not be a place to question your worth. On the contrary, it should be a place to confirm what we are doing right and to help people that we are in a position to help. That said, I would like to introduce Charles to the KYBP family. – Tony Senatore 

 

 

When and where were you born?

 

I was born in June 10, 1967 in a small town called Cuijk, near Nijmegen, which is in the Netherlands

 

Did you study music in college? I am curious as to your educational background, and/or specific teachers who guided you, not limited to only music teachers.

 

From where I grew up, there was not much of music in Elementary School. My parents discovered I had affinity with music and made me play the wooden flute (recorder?) at the local music school, thinking that learning how to read notes was the most important base. After two years of this (I was around 9 years old), I wanted to play drums or electric guitar, but my parents decided to put me on classical guitar lessons first, most likely to prevent complaints of our neighbors.

 

In 1979 when I was twelve my dad died, and I was tired of classical etudes and wanted to be able to just play a song. Preferably songs I heard on the radio or on those records which my four-year older brother had. By then I was heavily into all kinds of music. The first time I briefly picked up the bass, it felt like home to me. Due to my classical guitar training, my left hand was already a bit familiar to a wider neck and where the notes were. I didn’t own a bass yet and started playing along with songs on the lower strings of my classical guitar. A year or two later, my mom got me a cheap bass guitar (Kumika P-bass clone) and I started playing with friends from school. That’s when it all started.

 

After high school I wanted to study at the conservatory and wanted to play (preferably) jazz funk. However, in order to get admitted, I had to play upright bass. After some upright bass lessons with Ruud Hendriks I got admitted to the conservatory of Arnhem to study upright bass with Henk Haverhoek (http://www.henkhaverhoek.nl) a great musician and teacher who has played with many famous jazz musicians. 

 

Two years later the school contracted Lené te Voortwis as the main subject electric bass teacher, and I finally got my first real electric bass guitar lessons. Both Lené and Henk had a huge part in my development. After my graduation I got a lot of wisdom from artists which whom I’ve worked with.

 

If you studied music in college, did your family support your decision to study music at the college level? Are there any musicians in your family?

 

My dad used to sing in the church choir. My mom (85) was a housewife and used to sing all the time. When I was in college she was already a widow and did everything she could to make ends meet. She somehow found the strength to carry on, take a part time job and found a way to give us everything we needed. She came from a large single parent family too and, just after WWII, only her brothers could study due to financial reasons. So, she never got the chance to study and was determined to give her children the chance to be able to become anything they wanted. She was very supportive in my decision to make a living from music. I only had to get my high school diploma first, which was kind of a struggle for me after I took up the bass guitar. She had to lock it away in a closet at times in order to make me finish high school first.

 

My brother plays drums but isn’t a professional musician. My older cousin taught me the first barre chords on guitar but is also not a professional musician.

 

 Do you make your entire living playing music, either live or in the studio, or do you have an alternate source of income?

 

I make my entire living with music. I’m still playing a lot live, and get the occasional calls for a studio gig. I’m also teaching bass and band-coaching at the conservatory in Arnhem (https://www.artez.nl/en/courses/bachelor/jazz-pop-arnhem) and at Rockacademie in Tilburg (https://rockacademie.nl). This mixed practice is enough to make the ends meet. I have two daughters of 18 and 17 years old and they’re somewhat at the start of their college education.

 

Who influenced you coming up, regarding bassists that caught your ear?

 

Verdine White, Bernard Edwards and Leon F Sylvers III were a huge influence. I’ve always loved soul music! When I picked up the bass, Mark King was conquering the charts with Level 42. So that was a huge influence at first. My brother pointed out Stanley Clarke and bought his first two albums. And I got more and more into jazz rock and serious about music. Marcus Miler, Anthony Jackson and Jaco Pastorius were the main influences during the time before I got admitted into the conservatory.

 

 But also so many other great bass players like Nathan East, Louis Johnson and Will Lee caught my attention. Marcus, Anthony and Jaco however would really “make my jaw drop” more than a few times whenever I heard something “new” of them. And I never stopped listening to them ever since. There was no Spotify neither CD’s, so discovering new music was really a thing you couldn’t do by surfing on the internet. You were relying on good friends who bought a lot of records. And you had to buy some yourself. And of course, we had Maxwell and TDK, which made it a little cheaper for a music freak like me.

 

During my study James Jamerson, John Patitucci, Pino Palladino and Francis Rocco Prestia were very much of influence, and of course upright bass players Ray Brown, Niels Henning Ørsted Pedersen, Paul Chambers, Scott LaFaro. And I have to mention Gary Willis and Jeff Andrews.

 

When you listen today, do your early bass influences measure up to your perceptions of them when you were young?

 

I think my perception of how to experience those early influences changed. At a young age one is full of questions like “how do they do it,” “how do they get that sound,” “what’s happening harmonically/rhythmically” etc. As you grow older and understand that there are no real secrets in music, and that it’s also hard work and understanding of theory, analyzing, studying and more, a lot of those early questions might have been answered. But each one of those early influences are very authentic players with a signature sound. Something one only gets out of that unique individual person in combination with a certain instrument. And that still holds up to me with each and every one of them, while in the meantime I’m still searching for my own signature sound. That might be a downside of transcribing and analyzing too much of almost everything.

 

Are there any bass players or musicians in general that inspire you today?

 

 For sure! It’s amazing to see how some newer players still grow into “their thing” which appears to be another new way of approaching the instrument. Like Victor Wooten, MonoNeon is a second to none authentic player, as is Thundercat. I also like bassists Michael League and Joe Dart who are influenced by stuff from the era I grew up in (mid 70’s), giving it a fresh new formula. Also Hadrien Feraud and Dario Deidda are very inspiring bassists. And, of course, Pino Palladino.

 

I am sure that like me, you have many basses. I have about forty, but I could exist with only my 1973 P bass if I had to. What bass that you currently own is your main instrument that you would never part?

 

I have enough basses, although not forty. I have to say my STENBACK FIVE will probably be that bass. Amazing response, great tone. A five string that feels like a four string somehow. Well balanced. When I bought it, it probably hadn’t been played that much, and the bass really had to come alive through playing. After two months it definitely did, a day and night difference.

 

If it wasn’t for the need of a five string, I could exist with only my 1972 Fender Jazz Bass, too.

 

Your YouTube channel has a vast array of very accurate transcriptions of some of the greatest bass lines ever recorded. Of all of the transcriptions that you have done, which was the most difficult?

 

Thanks for the compliment. I try to be as accurate as possible. There are a few of those videos which I had to do in more than one take. “Voice” by Hiromi was three takes, “M&M studio” had a cut right before the solo, which I still can’t play as accurate as the original. “You Got It!”, “Some Sharks” and “Island Magic” were all a one straight take eventually, but that doesn’t mean that those were less difficult. It has to do with focus, staying relaxed and, of course preparation.

 

 Also, “difficult” evolves to “getting a little bit more comfortable” every day with a good practice routine. I wasn’t able to feel odd meters in an even flow yet, for instance. After transcribing and practicing it, it just gets more fluid because it starts to feel natural and balanced. You just have to put in the hours of practice, which are harder to find at a later age. But I’ve still managed to put in the work to do it, so far. Difficulties come in all areas. Even a “simple” 4/4 groove has its difficulties if you don’t understand the feel or the pocket. So it’s not only a matter of a lot of notes or odd meters. Switching from pick to fingerstyle playing could easily call for hours of practice. So Leon Sylvers’s bassline of “Here I Am” by Dynasty also took some time to get a little more comfortable with.

 

Can you recommend any specific method books that have helped you to become the bassist that you are today?

 

When I studied, I probably checked out anything I could get my hands on. “Standing in the Shadows of Motown”, “The Funkmasters”, “What Duck Done”, “Sitting in with Tower of Power”, “Modern Electric Bass” & Oscar Stagnaro’s “Latin Bass Bible” of the more style-method books. As for improvisation, David Baker’s “Bebop Era”, Adelhard Roidinger’s “Jazz improvisation & pentatonics”, “Charlie Parker Omnibook”, “John Coltrane Omnibook”, Hein van de Geyn’s “Comprehensive Bass Method” were all great books to discover and get ideas from. And there’s so many more of which I probably took a few excerpts from in my daily study routine.

 

 As a recommendation to upcoming players I would say: explore the stuff that moves you yourself first. Whenever I hear a great melody with a great chord sequence, I want to know what that is. And not by ONLY looking up a YouTube tutorial or (maybe even worse) a quickly written TAB sheet. The same with basslines, drum rudiments or odd time signatures. When I hear something great, I’ll bury myself between the speakers or headphone until I exactly know what it is that moves me. Train your ears and carefully listen to what you really hear, not taken all of those videos and websites as an instant truth. The blessing of having all the acces to all the material with just one click can also set you on a detour when watching an incorrect explanation.

 

When I went back to school from 2008 to 2017, my goal was to teach history or social studies at either a public or a charter school. This changed when I consulted with some of my friends who have been educators for many years. They informed me that changes in the education system, and the advent of Common Core standards pushed them into early retirement, and that if I had any ideas about teaching with my own style in my effort to change the world one student at a time, I should reconsider teaching.

 

In a similar way, I feel the same obligation to be honest which young musicians that often ask for my advice regarding a career in music. It is more difficult to survive playing music today than in past eras. Reality is not negativity, and I feel an obligation to young musicians to make this clear. If you could offer one piece of advice to aspiring bassists, what would you tell them?

 

 At Rockacademie, where I also teach, each student is forced to choose a learning path from the perspective of a mixed professional practice. So, next to a skill (main subject) (vocals, bass, guitar etc) one has to choose for either “session musician”, “artist”, “audio engineer”, “skills- & band coach (education)” and “business manager”.

 

At Artez Jazz & Pop, we stimulate all students to be as artistic and authentic as possible (more like the “artist” direction), which makes it probably harder to get instant work that pays the bills once a student graduates. Some students rather do a different profession alongside their career so they can carry on with their own intrinsic creativity without any concession to commercial succes.

 

Both schools have alumni who are really successful, so I would advise a student to really look around, check out each school’s curriculum to know what appears to be the best thing for your own growth. And by this I most certainly don’t mean “the easiest path to making money”. One should know that, if you’re in it for the money, it will never pay off. I believe Wynton Marsalis said something like: “You really have to be obsessed with making music, otherwise it’s barely impossible to put in the amount of work you need to make it a successful path”. Or Woody Shaw: “So you’ve tried to play the trumpet but didn’t have the talent? Really? Well, start practicing three hours a day for one year, come back, and then we’ll talk about talent again”.


Since you really have to love what you do, it’s probably a good idea to have a wider palette of options, but only if those options are almost equally joyful as playing your instrument. And with some of these options you might just want to try it first.

 

 Keep an open mind and if a different direction doesn’t get in the way of your development as a musician: do it. It’s better to quit after trying than wondering how it could have worked out a few years later when that ship has already sailed and chances have passed. You’ll probably never have the same amount of time to explore other options. If you still want to make a living only through making music, though: be ready to sacrifice and put in the hours. And remember that success should always be measured by the things you have had to give up for it.

 

Charles Nagtzaam Renders Anthony Jackson’s classic Chaka Khan bass passage “Sleep On It” 

 

Charles Nagtzaam Website : https://charlesnagtzaam.wordpress.com/

 

 Charles Nagtzaam YouTube https://youtube.com/channel/UCZ-rbZYrz45_WgbqAaosV7w

 Photos by Frank Boeigen, Kathie Danneels 

 

Jon Rogers

 

Know Your Bass Player Q&A With Jon Rogers, By Joe Gagliardo

 

How/when/why did you start playing bass guitar?

 

I grew up in a house with a lot of live music.  My dad and his brother (my original guitar heroes) played and wrote folk music, and there were always guitars to play in the house.  I started learning how to play at about 8 yrs old, and joined the school band at North Main Street School in Spring Valley, New York when I was 11.  Bill Withers’ sister was the special ed teacher there and arranged to have Bill’s full band play in the little gym/ auditorium.  That was my first live concert and a real music lesson about what a rhythm section can do.  After the show, as the band was packing up, Melvin Dunlap came over to where I was standing with my elbows on the stage, and said he saw me checking him out, and asked if I liked the bass (I’m sure I was staring at him!).  I told him I did, and that I was learning guitar.  Melvin grinned and said “this is the bass; bass is where it’s at!”

 

When I was 13, my best friend Andy Rossi (now senior vice pres. at Korg) who also played guitar, suggested we start a band, but insisted that I play bass.  I immediately thought of Melvin Dunlap and said yes!  No looking back!

 

 Any formal training?

 

That was my dad’s condition on my buying a bass.   When I was 14, I found a teacher through the original Alto Music in Spring Valley.  I can’t remember the guy’s name, but he had an old full-size upright and an Alembic electric bass that lit up!  He was very relaxed and promised that he wouldn’t make me read out of the Simandl studies if I practiced my exercises, and learned my theory!  I stayed with him until I was 16 or so, and then started commuting into Manhattan on weekends to study with different bass teachers-anyone I could find really.  When I was 17 I got a job teaching bass at Alto Music, and had the realization that you can also learn from your students!

 

In 1981 spent my first semester of College at Berklee in Boston.  Berklee was a great experience, but I heard that Ron Carter was going to start teaching at the City College of New York in Harlem; a very short train ride from my apartment.  So I came home, auditioned with Ed Summerlin at City College (played a Jaco-inspired version of Charlie Parker’s “Donna Lee”), and was accepted into the program.  I showed up early for the commencement faculty performance and sat in the audience right next to where Professor Carter’s bass was lying on the ground.  He showed up almost 45 minutes late due to a snag at a prior recording session, not in the best mood.  He uncased, picked up and tuned his bass, and then launched into the first notes with the faculty jazz orchestra with such volume and power that I literally almost fell off my chair.  First lesson.  I learned so much from him- a real master, and a very nice man.  He made me defend every note choice I made.  Ron and I split up after my first year over my preference for electric bass.  I then studied with Blood Sweat and Tears bassist Ron McClure-a great bassist and guy, again through the City College, and then privately with Homer Mensch, from the “Jaws” soundtrack/ NBC Orchestra/ New York Philharmonic.  

 

Bass players who influenced you:

 

First from my parents’ records; Dee Murray, Paul McCartney, Bill Wyman, Billy Cox, Harvey Brooks, Rick Danko…

 

Then from my High school days; John Paul Jones, John Entwistle, Geddy Lee, Chris Squire, Glenn Cornick…

 

 Post High school and later; Jaco, Stanley Clarke; Ralphe Armstrong, James Jamerson, Paul Jackson, Pino Palladino, Tony Levin…

 

 Summary of bands/years, recordings, and current music activity.

 

In 1982 I got a job teaching and playing bass at Talent Unlimited, a NYC high school program for the performing arts, where my brother attended.  TU was a NYC entity with connections to a lot of cultural organizations, so we got to play for the gospel choir at the Abyssinian Baptist Church in Harlem, and regularly performed at civic events for the City and Board of Ed.  The program had an astounding array of young performers, including Cory Glover of Living Colour.  Keith Jarrett and Joanne Brackeen sent their kids there. 

 

I also joined the act “Mike Quashie, King the Limbo,” a glam rock-Calypso band.  Mike Quashie was famous for his friendships with Jimi Hendrix, Lou Reed and Led Zeppelin, and was a fixture in New York’s West Village.  We played a lot of dance clubs.  Quashie really focused on theatrics as well as the music, and I learned a lot about presenting on stage from him.  You can see him doing his fire act, setting John Bonham’s gong ablaze on the opening reel of the Led Zeppelin DVD. 

 

My brother (a drummer) and I also hired ourselves out in the mid-80s as a rhythm section, and worked as a band in Manhattan with some of the talent from Talent Unlimited.  We called ourselves “The Worx” and did studio work, supported other acts, and performed our own original music in local venues.  In 1985, we cut a demo “Invisible Man” for Sony, but turned down the deal offered.  My brother continued to court Sony, and wrote for them, ultimately focusing on songwriting, engineering and production.  Dee Lite’s “Groove is in the Heart” is a good example of his early skills behind the console.  He’s still making it happen, big time.

 

I also played bass for several independent New York bands during the mid 80s including Rich Blood and the Equators, Black Tire Safari, and The Troubleshooters with Alan Freedman, and in 1985 I joined Bill Sledge and his Hammers, playing jazz six nights a week during the summers at Tavern on the Green. 

 

During winter of 1986 I escaped the cold by joining Princess Cruises’ Love Boat Orchestra; an 11-piece band playing production shows, and backing guest performers in the ship’s main theater.  This was a stellar band, full of seasoned pros from Vegas and younger pedigreed jazzers.  The only guys in the band who didn’t have degrees were myself and saxophonist Victor Goines (Wynton Marsalis’ cousin and director of jazz studies at Julliard and Northwestern University).  That was the most musically challenging, yet cushiest gig imaginable.  I can’t understate the luxury of not having to set up and breakdown gear for each show!   Of course the food, the itinerary and the social life were extraordinary.  Then I met my future wife from Chicago on board the ship, and by 1990 I was back to living life on land. 

 

When I got to Chicago I started jobbing on events with the Michael James Orchestra; a local big band, and working in the studio and on live dates for local indie bands, including Jack Salamander and later Barrett’s Hidden agenda, but my focus was primarily family and raising kids.

 

Nowadays, with the kids out and having their own adventures, I feel lucky to be playing more.  Currently, I’m recording both locally and back on the East coast, and I’m very happy to be playing live again with the popular festival band The Sofa Kings, Barrett, Jack Salamander, the Vini Bruckert Band, Black Partridge, and country band Hodie Snitch.  And I’m looking to do a whole lot more!  Have guns, will travel!

 

Your go-to basses back in the day, and now, and rigs:

 

1974 My first bass; a one pickup Guild Jetstar mated to a Gibson EB neck, so that it looked like a Gibson EB0 (it took a few years before I figured that out).  Rig:  My dad’s black Kustom plush.  I loved that amp.

 

 1978; a Rickenbacker 4001 modified with a brass ingot milled to fit the slot under the bridge, the brass was welded to a Badass bridge (all work imagined and done at Alto Music); sounded great for a couple of years but too much tension eventually made the neck warp.  Rig:  Ampeg SVT.  I took that to a couple of gigs on the NYC subway (with help). 

 

 1982 An Aria Pro II

 

 1983 I traded Ron Carter a broken down old 7/8 size Czech upright I had, for a fretless Fender Jazz with a neck of unknown manufacture (solid piece of rosewood with a single strip of maple down the back for the truss rod, no fingerboard, metal inlaid markers on the side only, old style grover tuners, but with a crack behind the nut before the first tuner).  I took the bass to Roger Sadowsky for an assessment before agreeing to the trade. He took the neck off and told me that Dave Schecter signed it, that the crack repair would be stronger than new, and that if I didn’t want it, he would buy it.  Good enough for me; by the end of the week it had a new set of EMG J pickups, a set of Roger’s hand-wound pots and wiring, and a headstock that still looks like it was never cracked.  Always my go-to if frets aren’t required.

 

 1986  A ‘57 Fender P bass with cut down body. 

 

 1987 The moisture at sea was taking its toll on the fretless, so I made an emergency run to the big guitar chain in LA as soon as we made port, and played every bass in the store.  The best playing instrument at any price was an Ibanez RD707.  It was cheap, light and sounded great; perfect for the gig, and it still feels and sounds great.  Rig: Dad’s black Kustom plush!

 

 Today, I still play the fretless and the Ibanez.  I picked up a new Gibson Thunderbird a few years ago and am just loving it.  The redesign makes it hang so much better than the old version, and the look and sound are just iconic.  Rig:  TC Electronic RH450 and Eden Nemesis.

 

 A description of your playing style.

 

I like to think, musical and natural.  Everything else is so artist/ song-dependent for me.  I take my note choices seriously and focus on the feel.  I try to give every song what it needs from the bass, adding a little fun and flavor, just when and where it can really use it.  That’s it; Fun!

 

A few songs to highlight your playing:

 

Nayobe; “I Don’t Have to Make Believe” 1986 https://youtu.be/3-4HI9HzgaI

 

The Equators; “Road to Panama” 1986 https://bit.ly/3dmE1Tf

 

Chubby Checker (with Jerry Marrotta, Tracy Bonham, Happy Traum, Professor Louie); “Lookin’ for Me” 2016 https://youtu.be/_vIrRUedv2M

 

Jack Salamander (with Chicago poet Gregorio Gomez); “Midnight Dreams” 2021 https://youtu.be/VmBevzX3CN0

 

Vini Bruckert Group; “That Thing” (Lauren Hill) 2022 https://bit.ly/3C7dvYm

 

For All Things Jon Rogers …. Jonathan Rogers Music (jonrogersmusic.com) 

 

John Abbey

Know Your Bass Player Q & A with Joe Gagliardo & John Abbey

 

How/when/why did you start playing bass guitar?

 

I kind of started playing by “accident” when I was 13 or 14. Two of my older brothers play bass. One summer, my friends and I would hang out at my house listening to records and play air guitar along with them. One of my brothers was home from college, and on a whim one day, I pulled his bass out of the case and figured I’d play “air bass” while actually holding a bass. I guess the accidental part was this, he played left-handed. I assumed he had a left-handed bass but he’d learned to play upside down, and when I strapped on the bass it was “set up” for me and from that day on that was it.

 

 Any formal training?

 

At first no. I’d ask my brother(s) when they were around to show me some stuff. I bought Mel Bay’s Volume 1 bass book…learned the names of the strings, notes on the fret board but mainly just listened to records and tried to figure stuff out. In elementary school I played violin for a year, and in junior high, you had to be in the chorus, but I had no formal training. I didn’t take any music classes in high school at all, but by my senior year I wanted to learn to read music and understand theory etc etc…unfortunately none of the music teachers were interested in having someone who knew nothing join band or orchestra.

 

That summer, between senior year of high school and freshman year of college, I took a basic music theory class at a community college, and I ended up staying there for my freshman year. It was a classically oriented program and after a year I wanted to learn other stuff. I switched to SUNY Old Westbury. At the time it was one of the only jazz programs around. The head of the department was Ken McIntyre and faculty included Warren Smith, Charles Persip, Jack Jeffers, Dick Griffin, Jimmy Owens…super heavyweights, although at the time their impact was lost on me.

 

After that, I went to B.I.T and studied with Potter Smith, Bob Magnuson, and Jeff Berlin. I was there during a very transitional year for that school..it was just starting to lean away from the jazz/fusion side of things and towards the “metal/big hair” of the mid-80’s. The guitar program still had Joe Pass and Joe Diorio on board and they were thrilled with guys that were into what they did vs what they thought was the “flash”

 

Bass players who influenced you…

 

Man..so many!…Jack Casady, Bill Wyman, Willie Dixon, John Entwistle, Paul Chambers, Charles Mingus, James Jamerson, Jerry Jemmott, Duck Dunn, Larry Graham, Marcus Miller, Jaco, Rick Danko, Aston “Family Man” Barrett, George Porter Jr..I’m sure I’m forgetting a bunch.

 

Summary of bands/years—and recordings…

 

Alright, let’s see I’ll probably be off by a year or two and I’ll skip the “early years”and apologies in advance for stuff I’ve missed and therefore omitted.

 

1984-85 Lauren Smoken-self titled debut record produced by Jack Douglas, 1985-1990?-Outback..came this close :-), recordings with Rob Fraboni, Lori Carson 1988-1990, Carolyne Mas 1989, Todd Kray 1990-1998?

 

Stevie Cochran 1985-1992, David Poe 1995-2003-self titled debut produced by T-Bone Burnett, The Late Album, Love Is Red, Dog’s Eye View-1994-1996(?) debut album Happy Nowhere, Amy Rigby 1994-97, Mike Errico 1996-Pictures Of the Big Vacation, John Cale-1996-1998, Ray Davies-2000, Hubert Sumlin and David Johansen 2004-2005, Amy Speace 1999-2002, Neal Casal- 1995-1997, Moe Tucker 2000, Mark Geary 1998-2001.

 

Current musical activity…

 

Let’s see-since 1998/99 I’ve been producing and engineering…so since moving from NYC to Chicago in 2002, that’s been a majority of my work.

 

Throughout my 20 years in Chicago, I’ve been playing (on and off in some cases) with Robbie Fulks, Steve Dawson, Sons Of the Never Wrong, and Jon Langford’s Four Lost Souls.

 

Partial “recent” discography Producing/Engineering- Emily Hurd -her full discography, The Old Town School of Folk Music Songbook Volumes 1-4, Robbie Fulks-Revenge of the Doberman and 16, Funeral Bonzai Wedding self-titled, and Last Flight Out, Martin Lang-Bad Man.

 

Your go-to basses back in the day, and now…

 

These are the basses I used to have and play(very rarely more than one at a time)…that I regret selling; 1978 Fender Jazz Bass, Ken Smith 4 string serial # 109 (smh), early 80’s Steinberger, 1973 Fender P-bass-fretless, mid 80’s Tobias 6 string.

 

I had a GREAT late 18th century German upright bass that suffered a broken neck on the last day of a tour..after it was fixed, it was never the same and I sold it…still haven’t found an upright I like as much as that one.

 

In 1986 I got a 1966 Fender Jazz bass…it took about 6 months for it to get and stay in shape…that’s been my go to bass ever since. I also currently have a 1967 Guild Starfire (the bass I grew up playing courtesy of my bro!) a 1968 Vox violin and a bass made by a great luthier here, Bruce Roper. It’s a short scale hollow body based on Starfire specs. My upright is a German carved bass from the 50’s but made in Italian style..Oh almost forgot, I also have a Guild Ashbory.

 

 Describe your approach / style…

 

Hmm..another tricky one to answer.  I’d like to think that I always serve the song, stay in the pocket and react to what’s happening in the moment.

 

What are you up to when not playing bass?

 

 I am a Producer-Engineer (and Bass Player) at Kingsize Sound Lab and I have taught at the Old Town School of Folk Music.

 

Similar to how I started playing bass, I got into producing and engineering kind of by accident. A buddy of mine from M.I.T. days, Joe Carter III, a great jazz guitar player, said “You know all these singer/songwriter, rock guys..I want you produce a record for me.

 

I wrote a bunch of tunes on piano and I want to make a record that’s a cross between Tumbleweed Connection and Exile On Main Street.” 

Without skipping a beat, I agreed..and not knowing ANYTHING, but with the help of a lot of super talented people I started to learn and TJ Swan-Redemption was the result.

 

Fast-forward 12 years and a few random spaces in Chicago, Mike Hagler and I partnered up and got our current space together in 2010.

 

It’s a great set-up. We work independently of each other…but we share a huge live room, gear, etc.

 

A partial list of stuff I’ve been lucky enough to work on: Robbie Fulks-Revenge of the Doberman and Sixteen, Funeral Bonzai Wedding-self titled and Last Flight Out, Freakons-self-titled, Mike Allemana-Vonology, Martin Lang-Bad Man, Jonas Friddle-The Last Place To Go, Belle deLouisville, Use Your Voice

 

Emily Hurd-(pretty much everything) most recently- Underkill, Nightshades, Josh Berman-A Skip and a Hop….

 

John Abbey Sound & Vision…

 

“New Pony” live w. Robbie Fulks https://youtu.be/xEduxa3J4UA

 

“Oh Chocolay_Sons of the Never Wrong”  https://youtu.be/uS5uxjj5ZVk

 

“Heart of Snow” Emily Hurd  https://youtu.be/3qAcYG6NECM

 

“Reunion” David Poe https://youtu.be/scS2xlIcIIo

 

“Love is a Blessing” live w. Steve Dawson  https://youtu.be/uYYZWiydtUI 

Ricardo Rodriguez

Ricardo Rodriguez by Tony Senatore

 

I first heard about Ricardo Rodriguez when I was hired to play bass on the Shrapnel Records release entitled Midnight Drive in 1991. At that time, Ricardo was making a name for himself as a fiery bassist in the tradition of Billy Sheehan, and we traveled in the same circles. In those days, I was known for performing 10-minute Bach inspired bass solos while clad in spandex and played on stages with smoke machines. By the mid 1990’s, I started to get some session work thanks to an introduction to the late, great engineer Jason Corsaro, and needed to radically alter my approach. Playing bass lines that were suited for the song in perfect time, with no fret rattle or buzz took precedence over trying to replicate Paganini on the electric bass. Around this time, Ricardo made similar changes to his bass style. We both made vast improvements in our bass playing, but it was not because of what we were playing, but rather what we were leaving out. Ricardo has built a career as a bassist on his own efforts. He’s not a member of the elite circle of NYC bassists that play on Broadway or do sessions at the top studios. Like me, he has built his career from the perimeter.

 

For all of the talk about an alleged “bass brotherhood,” I have learned that if a fraternity of elite bass players truly exists, new members are only admitted if they have something to offer in the form of a tour or a Broadway show to gain access. To truly thrive, a musician must create their own opportunities.  Ricardo and I also have a similar view that there is much more to life than music. Financial security is important to us. As such, we both maintain day jobs that are unrelated to music and would not have it any other way. You can’t build a career with Instagram likes, by posing for pictures with famous bass players or “liking” their posts on Facebook. Getting hired and getting paid for your work is the only thing that matters. The rest of it is just a façade. Know Your Bass Player has always tried to convey the story of the working musician trying to navigate their way through a never-ending sea of obstacles, often in obscurity. As such, we are proud to present this feature on Ricardo Rodriguez, a true pragmatist who lives his life on his own terms.

 

When and where were you born?

 

I was born at Saint Joseph’s Hospital in Paterson New Jersey. When I was born the doctor looked at my hands and told my mom that I would either be a doctor or a musician. I was fortunate to be raised into a family full of Latin jazz musicians. Since our family functions were quite large, we would often rent a hall and my cousins and uncles would always bring the band to perform. As a kid I had no idea how good they were until I heard other bands that rarely sounded as good. They were all very well-educated schooled musicians at the top of their game. Now that I am older, I really appreciate having this influence very early on.  

 

I am curious about your educational background or specific teachers who guided you, not limited to only music teachers.

 

I was always fascinated with technology and studied electronics and computer science however my mind often drifted into music land. There came a time when I was getting busier musically and so I studied theory at William Paterson and took lessons from various local professional bass players. However, my cousin Frankie was my earliest bass player influence who I looked up to and guided me. He still plays Latin jazz to this day.  

 

Did your family support your decision to be a musician?

 

I put in as much time as I possibly can into my music endeavors while maintaining a day job. I’ve always been the responsible type, so my parents never gave me any arguments about my music activities. My family has always been supportive of my musical ventures. Not once has anyone given me any talk about moving in a different direction.

 

Who influenced you at the beginning of your career?  When you listen to their work today, do your early bass influences measure up to your perceptions of them when you were young? Are there any young bass players currently on the scene that inspire you?

 

As early as I can remember I was always humming the bass lines to songs. Not sure why I did that to be honest. But Silly Loves Songs by Paul McCartney as well as songs like “Sir Duke” by Steve Wonder were some of my earliest influences. I had no idea what a good musician was at that age. I just knew that I was drawn to it. As time went on, I realized their genius. As far as new young bass players on the scene that I admire, Henrik Linder from Dirty Loops, Sam Wilkes from Scary Pockets, Michael League from Snarky Puppy, Joe Dart from Vulfpeck and Jacob Collier come to mind.

 

I am a big fan of the Carol Kaye series of bass method books. Her method, combined with The Evolving Bassist by Rufus Reid, and Bach’s Six Suites for Violoncello Solo are the backbone of everything that I do on the bass guitar. Are there any books, or YouTube video channels that have inspired you?

 

Great question! I have Bass Guitar for Dummies by Patrick Pfeiffer. I bought a few from this series and I loved the cds that came with them. I tend to drive a lot and loved listening to these lesson books while on the road. It really helped me absorb many things I was trying to understand at the time. I later found Patrick in NYC and took lessons from him. As for YouTube channels Scott’s Bass Lessons is my go-to, however any session bass player that records a memorable line will grab my attention. I recently found the stems to Lady Antebellum’s hit song “I Need You Now”. I removed the bass track then recorded myself playing the entire track. Craig Young is the bassist on that track. In my book that is textbook perfect bass playing.

 

When I started playing live in 1976, I was lucky enough to acquire a vintage Ampeg SVT. During the ’80s, I got caught up in the sterile “divide and conquer” bi-amping approach to live bass tone. These days, I prefer the character that I believe is only attainable by plugging straight into an amplifier, and I have wisely decided to revert to my roots. How has your approach to getting a great live sound evolved over the years? What was important to you in the past, and what is important today? What is your current setup?

 

My early influences were Steve Wonder, Parliament, and other r&b artists. I would often confuse synth bass parts for real bass parts, and I wanted synth like lows to be a part of my sound. My first serious bass cabinet had dual 18’s. In those days bigger was better. I remember an older bassist telling me I could do so much more with less and that I would let all that big stuff go one day. My first thought was no way. How boring! I lugged that beast for about five years then down sized to 15’s. I lugged the 15’s for a few years then down sized to 12’s. The 12’s, in my opinion, are the sweet spot size wise and still have those around. I held onto the 15’s thinking I would go back to them someday but never did. What I have learned is having booming bass on stage can get messy at times. Most of the time I must trim the bass down and get a more focused sound so I can hear the pitch of my notes. It’s better to let the front of house get that boomy sound and just let your stage amp be your focused monitor.

 

Back in 2019 a friend asked for my opinion on great combo amps. The one I had was an Ampeg Portaflex 2×8 which for its size had a great sound however they were discontinued. I told my friend I would go to a few stores and see what new amps were out there that met my approval. I hit all the stores I could find within an hour drive from my house. I was at Alto Music in Middletown. They had a bunch of Phil Jones bass amps. I tried them all including the Fender, Peavy, Ampeg, Blackstar and other brands. To my surprise the PJB BG400 kept coming out on top. I went to a few other stores that had Phil Jones amps to compare it to other manufacturers and once again the BG400 for its size kept coming out on top. The last test I did was to compare it to my Ampeg combo and the BG400 blew it out of the water. I sold my Ampeg’s and bought the BG400. Since 2019 the only amp I have gigged with is the BG400 with its extension cab. I never thought in a million years that a 5” speaker could cut it but to my surprise so far it has. So, I guess that guy who was trying to educate me in my teens was right all along.  Setup, outside of the Phil Jones amps I just carry a few pedals to my live events. Nothing fancy. Just a few basic Boss pedals. Tuner, Limiter, Octave, EQ and Chorus. I love Boss pedals because I have been using them since I first started, and they never have failed me. If someone invites me to a session, I have a few boutique pedals that I will bring with me. Origin Effects Cali76 Compressor and a Noble DI. In my studio I use a Neve 1028 Preamp. It would be nice if someone would make a pedal version of this but the closest I have gotten to that is the JHS Colour Box. My travel session chain is always evolving so ask me next month what I am using.

 

To answer your question of what was important to me in the past and important today. That all ties into my first real recording session experience. I was only 20 years old and completely green to the process. But what I do remember was how amazing my bass not only sounded but felt under my hands. I asked the engineer a lot of questions. He explained the importance of a great preamp and compressor. All recorded bass is compressed to some degree. I like my bass to have that studio sound live, so I always add a touch of compression. Prior to knowing what a compressor was or did, the only time I experienced such a pleasant sound was with a tube amp with what is known as tube sag. A compressor mimics this sound. However not all compressors sound the same. I have a ton of them, and one will sound good with one bass and another sounds good with a different bass. So, your mileage will vary. But when you find the right combo its heaven. So, a good preamp DI, and compressor is everything these days.

 

Your decision to assemble a home studio to track bass parts for clients was a wise one. When asked to add bass to a project, I have yet to do the same and rely on area studios. Tell us a bit about your studio. Can you recommend a basic setup that would enable novice and veteran bass players to get started?

 

As much as the pandemic wreaked havoc for many it forced me into putting the studio together. I always had it in my mind of wanting to have my own recording setup, but I was always too busy and feared the learning curve. It was much easier to just show up and let someone else deal with all the technology. I just wanted to focus on playing and that’s it. I was already purchasing pieces for my studio and was already about 70% there with the gear I needed. Once we were forced to stay home and the only people that were still working musically were the ones with home studios, the rush to complete my studio went from hardly a focus to priority number one. The only problem was the whole world was in the same panic because the gear you needed was hard to come by. I ran around for a few months and spent whatever I had to get what I needed before someone one else took the opportunity away from me. What a crazy time that was. 

 

As for setup recommendations. This topic requires a lot of discussion; however, I will try to keep it basic for now. You need a computer with lots of RAM. At least 32Gigs. Most people use Pro Tools on a MAC however I am a Windows guy and since I work in  IT, I managed to put a system together that cost me 1/3rd of what an equivalent MAC would cost. So, it depends on your budget which system you want to go with. You want a good sounding interface. Apollo series of interfaces is the standard these days. Warm Audio is a decent brand that makes clones of much more expensive gear. I would check them out for a good recording DI, compressor, preamp, and microphone. As for nearfield studio monitors, Yamaha is a decent brand and would shoot for those. Lastly you can operate Pro Tools with your computers keyboard and mouse, but a control surface makes life easier. I like Icon series control surfaces. I think this covers it.

 

Do you make your entire living playing music? If not, why have you decided to work an unrelated day job?

My first love will always be music however personally I prefer a steady income with medical benefits. I admire the few hundred musicians that have managed to make a steady living, but I just don’t see a return to the days of the Wrecking Crew session musician life. If that were to ever happen again, I would entertain the idea of giving up my day job. Until then I just do not see paying a mortgage and car payment with on and off cash streams unfortunately.

 

My decision to release a solo CD in 2005, and an instructional DVD in 2007 was the catalyst for much of the session work that I am doing now. I am curious as to whether you have thought about deviating from your current path of playing on other people’s music and have considered releasing something of your own. Perhaps you have done this already, and I am unaware of it.

 

When I first hit the scene in the ’90’s I was only doing the New Jersey cover scene circuit. In 1999 I started working with a singer in NYC which opened a new door to session work with various singer songwriters. I was so busy that at one point I had 20 bands on rotation. Those were crazy fun times. I never gave the solo idea any thought because up until March of 2020 I was too busy working on everyone else’s projects. My mind set was always study and emulate the great session players like Pino Palladino and Nathan East.

 

In 2010 a Jazz band by the of Rubber Skunk hired me and for that year we had a lot of fun stretching out and I thought this might be a good band to showcase my talents but the band disbanded before we got to go into the studio. I still may one day go down that solo path but at this time I find it rewarding working with singer songwriters and bringing their ideas to life. 

 

I have a large collection of over 40 bass guitars. If forced to get rid of all of them except for one, I would keep my 1973 Fender Precision bass. Which of the basses that you own is the instrument that you would never part with?

 

If forced, I would keep my Sadowsky NYC Series Chambered 5 String Bass. That bass records well and has a great neck for live playing.

 

It is more challenging to survive playing music today than in past eras. Reality is not negativity, and I feel an obligation to young musicians to clarify this. What would you tell them if you could offer one piece of advice to aspiring bassists?

 

Give music as much as you can give it but keep an eye on reality. Think about your future. One thing I try hard to do is to not get into a day job that sucks the life out of me. If you come home every day drained to the point where all you want to do is sit on your couch, then you must make some important life decisions. These types of jobs shorten your life span. Music increases it. So, find a job that will allow you to balance your creative life with your professional life. This has worked well for me so far.

 

Ricardo’s YouTube Channel: https://www.youtube.com/c/RicardoRodriguezBass

 

Ricardo’s SoundCloud page: Stream ricardobass | Listen to Studio, Live and Demo Recordings playlist online for free on SoundCloud

 

Ricardo’s Instagram page: https://www.instagram.com/alotabass/

 

Ton Temming (The Caverns, Batfinger, Witness)

By Philip Huizer

 

Dutch bassist Ton Temming anchored several bands including Phoenix, The Caverns, and Batfinger and founded the repertory ensemble Witness. Temming, who passed in 2022, performed extensively in the Netherlands, Belgium, and Germany. Active on the jam session scene for nearly 60 years, Ton was a “real musician” who loved to play the bass guitar.

 

Ton Temming Sound & Vision…

 

The Caverns “No Matter” https://youtu.be/w5KfpHXM9po

 

The Caverns “It’s All Over Now” https://youtu.be/-xWO-_WvSAE

 

Tom’s Top Ten Reasons Why You Should “Own” One Bass…

 

One: The bass is your spouse. If you are fortunate in life to find the ideal soul mate, why cheat? Why look elsewhere? Older players understand where I’m coming from…youthful indiscretion is an important part of…. youth! And growth. (Note: the author has been married twice!) 

 

Two: You become a better player by negotiating the strengths and weaknesses of a single instrument. If you jump to another instrument because playing a certain style is easier on said instrument– you compromise your potential to improve and the opportunity to truly forge your own voice. M’shell Ndegeocello slaps with heavy flats. Bobby Vega funks with a pick. Fernando Saunders and Tony Franklin did not concede their fretless inclinations for their respective bandleaders Lou Reed and Jimmy Page – two artists who couldn’t be more diverse.  Be like these cats!  

 

Three: Identity. Your sound is you! Your phrasing is you! Your note choices are you! Unless you toil in a repertory or tribute ensemble, all musicians (should) strive to be recognizable in a single passage. To a significant degree, when you move from instrument to instrument to instrument you do so at the expense of tone and playability which have a direct impact on your identity. I concur with the tenet that tone is (mostly) in your fingers and soul– however the instrument buffers the two. Don’t mess with that synergy!

 

Playing basses with different neck widths, shapes, weight distribution, fanned or trad frets, extended range, and scale lengths – among other characteristics – alters the way you play. The more instruments you play, the more your true identity is distorted. That is, if you want to have a “true” identity. I’ve met many a player content to appropriate their respective heroes. And it’s big business too – behold the massive popularity of “signature artist” instruments and tribute bands. Shoot me if you see me on stage dressed as Overend Watts. 

 

Four: Visuals. When you compose, practice, and record – you are an artist. When you step on the stage, you are an entertainer.

Macca / Hofner

Jaco / Fender fretless Jazz

Marcus Miller/ Fender Jazz by way of Roger Sadowsky’s revisions

Chris Squire/ Rickenbacker 4001

Berry Oakley / Fender “tractor” Jazz

Peter Hook / Yamaha BB1200S 

Stanley’s Alembic …

For those obsessed with aesthetics – swapping out pickguards affords you a fresh veneer when you get fidgety. You get the picture…. 

 

Five: And bandleaders, producers, engineers, sound-techs, and bandmates get a picture too. Among the most crucial roles of the bassist is one of infallible reliability. Be that cat who is dependable with the gear that is best for you and the situation gig after gig after gig. Fact is most basses are indistinguishable in the final mix – which is where they belong. Who knew Macca was playing a Fender Jazz on The Beatles, Abbey Road tracks until the archival releases revealed photos of the actual sessions? Can you pick out the P bass or the J bass with David Hood, Willie Weeks, Dee Murray, and John Paul Jones – all of whom used both models? Exaggerating an element of a tone of a bass: refer to Jaco Pastorius, Chris Squire, Aston Barrett, Jack Bruce, and Robbie Shakespeare – is rare – though commendable in the hands of a master.  You can hear nuances in the headphones or perhaps during a solo, but those subtleties vanish among the din of other instruments. Don’t sweat it. 

 

Six: Whoa, I want more timbre options! Good for you. Invest in strings! Instead of piling up instruments – have at your disposal multiple string species (flat-wound, round-wound, tape-wound, half-round…) in multiple gauges (light – medium – heavy). Game over! Now you have a myriad of pitches that will accommodate the majority of circumstances wherein your services are required. Cut the strings to size in advance and you can change ’em in under three minutes.

 

Play with your fingers, play with a plectrum, learn to palm mute, employ a “waddafoam” in proximity to the bridge. All these techniques affect your tone, note choices, and approach to the instrument. Variety is the spice of… growth, evolution!

 

Seven: Attitude! Miles Davis “Anybody can play. The note is only 20%. The attitude of the mother****er who plays it is 80 %.” How cool is it to observe keyboard players, drummers, guitar players, and the motley hassle with assembling interconnecting gear, pedals, elaborated rigs etc. as I simply and swiftly plug and play my Fender Jazz bass? I can soundcheck from the bar – and often do. Cool tries to be me! The bass is a relatively “simple” instrument – don’t make it more complicated than it needs to be. 

 

Eight: Multiple instrument ownership breeds indecisiveness. With one instrument, you never have to choose. Did Hank Aaron choose what size bat he was going to hit with every time he stepped to the plate?  

 

Nine: Old chickens make the best soup de jour. Maybe it’s my vintage ears, but the more I play the same instrument the better it sounds. And with battle scars, dings, dents… older looks even better. 

 

Ten: Space! Unless you reside in a house or have access to storage, basses in cases take up too much spaces!  

 

I could be right I could be wrong I could be…Every one of these ten reasons can be argued, debated, disapproved, or validated. Be my guest! 

Gee Patino (Jankem, Splif)

 

By KYBP Austin Bureau Chief Robert Jenkins

 

Punk rock is an integral part of the evolution of music and Rock & Roll in particular. There are numerous bands who have been influenced by the sound of early punk rock and allowed that sound to develop into something completely new (just listen to the early Iron Maiden recordings to hear how British punk turned into British metal). But it is a sound that has endured numerous decades, still holding true to its roots. In Austin, Texas punk rock has been alive and well since the 1980’s and continues to thrive to this day.

 

Enter Jankem.

 

Gee Patino is the bassist for Jankem, a new punk band in Austin, Texas. Jankem is an extension of a punk band formerly known as Splif. Founded some years ago, (specifics aren’t needed because punk rock doesn’t care, it just is) Splif was formed with Gee as a founding member when he was 22. Originally a guitarist, Gee was forced into the role of bassist out of necessity (how often does that happen?) and he gladly accepted because, in his words, “Fuck yeah, it’s got two less strings and I get to make that thumping sound!” I mean, isn’t that really why we all play the bass? The honesty of our mission is distilled in that sentence.

 

What’s interesting about Splif is that their influences reach deep into prog rock. Their drummer, Mitchell, was heavily influenced by the likes of Genesis, King Crimson, Rush, et al. Gee was bringing the harder influences of The Minutemen (Mike Watt) and Fugazi. Splif guitarist, Anthony, brought along classic rock influences of Led Zeppelin et al. The result is a blissful, raucous mix of crazy musical arrangements paying homage to their influences while having the absolute irreverent blast a punk rock band should have. Sadly, the impact of COVID-19 brought Splif to an end when their drummer had to exit the band.

 

Okay, NOW enter Jankem.

 

Gee and Anthony kept working together. When they found a new drummer it was their decision to start the band anew. While Jankem still pursues the adventurous music started in Splif, they didn’t want the new drummer to feel confined to old material so everything is new. And Jankem is out of the gate in ATX having played their first show in March 2021 and continuing regularly to show the underground scene that they are here to, first and foremost, party, and then rock the house.

 

Gee is a humble bassist. He freely admits that he knows nothing of technique or music in general. He plays by ear and by what he feels, working closely with his bandmates to get the sound he needs. Gee also freely admits he doesn’t know anything about gear. Most (if not all) of what equipment he plays has been borrowed or bought as cheap as possible. “Dude, I’m not gonna spend $4000 dollars on gear to get fucked up and party with it.” By my reckoning, this is sound reasoning.

 

Jankem plays loud and obnoxiously, but they still respect the music they write and the music they listen to. Gee says, “We may not know a lot but we feel that we are good musicians for what we do. And we respect the musicians who work really hard at their craft. We love to listen to all kinds of music, and Jankem wants to draw from that. We keep an open mind. Good musicians have good taste.”  Jankem is doing what all musicians should strive for: they have fun.

 

So who are Gee’s two biggest influences?

 

1) Mike Watt

 

2) Les Claypool

 

Now for the fun part. Gee’s rig rundown (disclaimer: I have done tech work on Gee’s bass).

 

Bass: No Name Jazz style bass that plays really nicely. Gee says he got it for about $20 or so.

 

Amp: “What kind of amp do you use, Gee?”

 

“Fuck man. It’s an Acoustic. Let me Google it and see what kind. Yeah, here it is. It says here that it is a B300HD.”

 

Cab: “What cab are you running it through?”

 

“I think it’s a 4×10 stack.”

 

“So 2 4×10 cabs stacked; an 8×10 stack?”

 

“Yeah, maybe? Wait. No. It’s just one cabinet with 4 10s in it.”

 

“So a single 4×10. Cool. What kind is it?”

 

“Fuck, man, I don’t fucking know.”

 

“Sweet.”

 

Jankem, ladies and gentlemen, are punk rock at their core.

 

Gee Patino Sound and Vision…

 

Splif:

 

 

Visit the Jankem Facebook page for live clips and promotional videos: https://m.facebook.com/JankemATX/