Free Bass Transcriptions

Free Bass Transcriptions

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Tag: herbie hancock

Janek Gwizdala Masterclass 2007, Part 1: Transcription

I recently dug out my (now prehistoric) dictaphone that I used when I was a student at the Academy of Contemporary Music in Guildford between 2005 and 2008 and set…

I recently dug out my (now prehistoric) dictaphone that I used when I was a student at the Academy of Contemporary Music in Guildford between 2005 and 2008 and set about reviewing all of the lessons, concerts and masterclasses that I had bootlegged over the course of my degree.

One of the highlights was Janek Gwizdala’s clinic that I attended in March 2007. I’d actually met Janek the year before when I’d turned up to a sight reading lecture and found him as an unannounced guest lecturer for the class – I’d never heard of him before and was immediately inspired by both his playing and his outlook on music. So, when I heard that he was returning to give a more ‘officical’ masterclass the following year I made a point of attending with my trusty dictaphone at the ready.

Of course, it took me a decade to get round to doing anything with the recording, but better late than never…right?

The audio quality of the original file was absolutely vile, so I’ve done my best to clean it up and EQ it to provide some semblance of clarity. I’ve fully transcribed the speech (notice how almost everything he mentions is ‘super important’) and wrote down the playing excerpts that I thought might be most relevant – I don’t own a bass with a C string (I share Gary Willis’ opinion that they ‘sound like a cat, and not in a good way’) so I skipped much of the high-register chordal stuff. You can, however, steal all of his George Benson licks.

Part 1 of the clinic deals with Janek’s thoughts on transcription, including things that he ‘ripped off’ from great players including Pat Metheny, Allan Holdsworth and George Benson:

 

The pdf of the transcription can be found RIGHT HERE

 

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Groove of the Week #42: Herbie Hancock – ‘Palm Grease’

Everyone knows Herbie’s classic synth bass line on ‘Chameleon’, and plenty of guys can tear through ‘Actual Proof’ without breaking a sweat but for me, the real gem in the…

Everyone knows Herbie’s classic synth bass line on ‘Chameleon’, and plenty of guys can tear through ‘Actual Proof’ without breaking a sweat but for me, the real gem in the Head Hunters’ catalogue of grooves has always ‘Palm Grease’ (from 1974’s Thrust).

As soon as you hear Mike Clarke’s drum groove kick in, you know something serious is going to happen.

 

Paul Jackson’s bass line on ‘Palm Grease’ is a masterclass in how to develop and expand a groove, using just enough variation to keep the listener guessing while still retaining a ‘common thread’. After the initial statement, he begins to embellish the part – notice how the line unfolds with each successive iteration:

 

Rhythmic variation is only part of the equation; one of the most distinctive qualities of Paul Jackson’s playing is his mastery of articulation. The elusive essence of groove comes from how each note is played – check out how each note in every phrase is carefully sculpted for maximum impact.

Control of the left hand is key to being able to freely switch between different articulations; slides, hammer-ons and – most importantly – the length of each note all put a different sonic stamp on each phrase.

As an aside, I found this one of the most difficult grooves in this series – although other posts in the Groove Of The Week archive have required a greater level of conventional ‘chops’, Paul Jackson’s time feel on ‘Palm Grease’ was the hardest thing to recreate.

 

The heir to the (greasy) throne

 

One contemporary bassist who has clearly taken a lot from Paul Jackson’s greasy grooves is Me’shell N’degeocello*, who has been (and continues to be) a massive influence on my playing.

I unknowingly first heard Me’Shell on a tune by Joshua Redman called ‘Greasy G’ (from the 2005 Momentum album) and was absolutely floored by her time feel:

 

With both of these grooves, it’s the almost undefinable quality of feel that sets the head nodding or the foot tapping; it’s not necessarily what you play but how you play it that counts.

 

*If you’re not familiar with Me’Shell, get hold of Plantation Lullabies and Peace Beyond Passion for some serious groove education.

 

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