Maybe we could share some great music every Friday!? Start a tradition!?
Here is some amazing latin jazz with Michel Camilo on the piano, the inimitable Anthony Jackson on his 6-string monster and Horacio Hernandez, who sounds like a guy replacing a whole percussion section. This is dense stuff, for sure, but also just amazing playing. I saw a concert with them once, and it was the only concert I remember where the tuner had to come in during intermission to get the grand piano back in shape Happy Friday!
PS: if you donât know Anthony Jackson before - he played on many (if not all) of Chaka Khanâs records.
I went to this show at Bottom of the Hill in SF, so I played it most of the day Friday. Great show. This video is a bit of the energy that it was - the people shouting along and pumping their fists to every syllable make the show feel⌠full. Full of collective energy. It was lovely.
Iron Chic, ladies and gentlemen.
Haha, gotta love the energy⌠The bass player looks like he is not even breaking a sweat (like, ever), but might have to deal with some serious back pain in about 15-20 years, while the singer paces around like a hippo in a cage thatâs way too small!
OK, itâs Friday again⌠letâs share some more music ( and all through the week ). And thanks for sharing your favorites - inspiring to see so many different types, vibes and âenergiesâ.
So, here is an old prog-rock classic from U.K.- In the Dead of Night. It has a deceptively simple bass line, but it needs to be executed flawlessly together with the drummer and âagainstâ the keyboards. I have seen amateur bands try to play this and more often than not it comes off as awkward and stilted. The fact that itâs in 7/4 doesnât make it any easier to get it to groove. The late John Wetton is on bass and vocals here, and the original guitar player and drummer (Alan Holdsworth and Bill Bruford, respectively) are replaced by the very talented Alex Machacek and Marco Minnemann. Meanwhile, Eddie Jobson is doing what Eddie Jobson is doing⌠Happy Friday!
Aaaaaand, itâs Friday again! Here is a tune from the late great Chris Squire, but probably one a little less known - âParallelsâ! The video is interesting - not the best in sound and not exactly hi-res, hi-def either, but it is cool, because it is âliveâ and it is apparently the take that made it onto the Going for the One album (for the bass, that is). I also found a transcription of what Chris plays - this transcription can be downloaded on Stevie Glasgowâs webpage, here: http://www.stevieglasgow.com/transcriptions_e/Parallels.pdf).
The only difference to the recording in the video are bars 148-151 in the first repetition, where he plays straight eights in the video, which was later âfixedâ for the final recording to be the same figure he plays in the repeats. Anyway, another cool bass line, and just amazing playing overall, and a quirky tune that rocks big time nonetheless. Yes - Parallels rehearsal, Going For The One Sessions - 1976-1977 2DVD set - YouTube
Isnât it amazing how tiny the neck looks in Squireâs hand? I wonder what @JoshFossgreen has to say about his thumb position, though
Enjoy!
Okay, my first time successfully coming to this thread on Friday Currently listening to Marcus Millerâs âAfrodeeziaâ record that I somehow missed -
Nice Chris Squire @joergkutter, such a good tone. And everything else. And yeah, the interesting thing is that you can have a bunch of non-ideal technique issues and still play a bunch of killer shit on the bass. It would just be easier without the technique issues.
But the thumb-over-the-neck thing isnât something I call 100% ânon-idealâ, I just forbid my students to do it until they completely kick ass at âproperâ technique. Once youâve got that, resting the thumb on top can be a good way to get some rest, change muscle groups. I totally do that in live performance. But I only let myself do that because I know that my clean technique is there waiting for me if I need it, thanks to thousands of hours of practice!
Amen.
Once you have learned how to do something efficiently and cleanly, one is free to play howsoever one wishes.
I certainly never want to be held accountable for my live technique. Audiences and Vibes make the body do weird things.
Haha, that reminds me of the time I saw you playing with Toast Machine back when I was a freaking teenager, and you slappahâd the bass so hard your thumb started bleeding. I thought it was the coolest thing ever.
Ha! I thought it was cool too - so cool, I posted it on our website (back pre-social media days, folks. Weâre talking earrrrrrly MyspaceâŚ)
Someone posted my pics to a bass forum (not unlike this one!) and people weighed in, REAMING the technique of whatever barbarian would play so hard as to make his thumb bleed.
It hurt my tender little feelings at the time.
Had they not heard of the way of true rockage? Didnât they also know the feeling of invincibility and raw, savage power that overtakes one whilst playing at 120 decibles???
Haha! Clearly theyâd been enjoying the non-rocking comfort of their desks and (presumably also non-rocking) chairs far too long. Sometimes you gotta hit hard!
Djent isnât necessarily my favorite sub-genre, but I donât think this is overly djenty really, but showcases a variety of techniques to play the bass and create very different timbres and moods. And these two are just so locked and tight playing together.
Iâm listening to some more James Blake today, Iâve had his first record for years and finally checking out the other ones. I think this is still my favorite track of his ever though:
Man Iâd never heard of these guys. Sound great, thanks for the tip. Kind of remind me of what Husker Du would sound like after 30 more years to fill out their sound.
Happy Friday!
