Tag: bass

Bro, Do You Even Syncopate?

October 13, 2017 8:34 am October 13, 2017

Get out more, get more out of it Confessions of a working bassist #37: I’m terrible at getting out to hear gigs. Maybe 3 times a year I’ll get my…

Get out more, get more out of it

Confessions of a working bassist #37: I’m terrible at getting out to hear gigs. Maybe 3 times a year I’ll get my act together, check listings, book tickets and go and enjoy being in the audience rather than on the stage.

This post comes from one such occasion this time last year, when I saw that Mark Giuliana was coming to town – I’d heard lots of buzz about him from other musicians and was vaguely aware of his Beat Music project (featuring bass hero Tim LeFebvre) but had never actually bothered to listen to much of his output.

One of the most memorable moments of the gig involved a tune with a lengthy bass and drum intro that consisted of nothing but horribly syncopated unison stabs and didn’t appear to feature any repeating figures. After some Spotify surfing the following morning, it turned out that the song in question was ‘One Month’ from 2015’s Family First album – I realised yesterday that it had been on my transcription ‘to-do’ list for almost an entire year, and my brain was repeatedly nagging me to sit down and decipher what was going on:

Got syncopation? (Transcription up on the blog via link in bio) #bass #uprightbass #doublebass #bassistproblems #bassgram #bassgroove #weplaybass #bassplayersunited #notreble #allaboutthatbass #flyshit #sightreading #sibelius #transcription #jazzercise

A post shared by Tom Kenrick (@tommykrizzle) on Oct 13, 2017 at 1:27am PDT

It’s 2 notes in 4/4 time – how hard could it be?! Try sight reading this at 130bpm:

It’s a roast-up, right? Now, if you want a real challenge, attempt to memorise it.

Dealing with flyshit

I still vividly remember my first lecture at music college – I was 19 years old and had come from a small town with very little in the way of a music scene, so I thought I was pretty good. As soon as this was put in front of me I quickly realised that I knew nothing:

Having grown up on a solid diet of internet TABs and Hot Licks videos, my reading ability was somewhat lacking. I was determined not to be beaten by the little black dots, and by the end of the year I was one of the best readers in the class. How did I do it?

From zero to (reading) hero

My lectures didn’t start until 11am, so I resolved to get up at 7.30 every day and do a couple of hour’s work on my weaknesses – there were (and still are) many – with a particular focus on reading. I worked on rhythm separately from pitch and slogged my way through this riveting tome:

If you can read this book, you can read (almost) anything. And, if you can read it then you can also hear rhythmic figures elsewhere and write them down quickly There’s an entire blog post on it here.

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Groove of the Week

Groove of The Week #50: Joshua Redman – ‘Greasy G’

Tom Kenrick

October 6, 2017 9:12 am October 6, 2017

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GOTW HITS 50! It’s finally here. The last instalment of the Groove of The Week series – what should have taken a year has taken nearly 3, but better late…

GOTW HITS 50!

It’s finally here. The last instalment of the Groove of The Week series – what should have taken a year has taken nearly 3, but better late than never…

Back To The Start

This groove is actually what started everything; I remember getting hold of the Joshua Redman Elastic Band album Momentum (2005) when I was a student and immediately got hooked on the combination of jazz harmony and deep groove that ran through every track. Momentum features a number of guest musicians throughout the album, but because I’d, errr… ‘acquired’ it I didn’t have access to the cd liner notes to see who played on each track; I could hear that one of the bassists sounded like Flea, but there was one groove that totally floored me:

Groove of The Week turns 50… Joshua Redman – ‘Greasy G’, some disgusting playing from Me’shell Ndegeocello. Notation up on the blog! (click link in bio) #bassdaily #bassguitar #bassforward #bass #bassist #bassgram #meshellndegeocello #joshuaredman #fender #fenderjazzbass #bassgroove #bassgrooveoftheweek #instabass #instagroove #vipbassclub #nobleamps #knowyourtone #basslicks #basslessons #baixosong #baixonatural

A post shared by Tom Kenrick (@tommykrizzle) on Oct 6, 2017 at 2:10am PDT

I’d never heard anyone play a groove with that feel before – this was some years after Pino’s laid back grooves on D’Angelo’s much-lauded, behind-the-beat masterpiece Voodoo (2000) and J Dilla’s brand of ‘drunk hip-hop’ was old news, but this was something else. I had to know who it was and how the hell they could sound like that.

And so began my 12-year (and counting) love affair with Me’shell Ndegeocello; she and Anthony Jackson have the rare ability to make me feel like every single note that they have ever played is absolutely perfect.

Here are the dots:

Incidentally, Me’shell uses a very similar groove on here tune ‘GOD.FEAR.MONEY’:

Catching the feel(s)

So, how do you get to sound like that? This was by far the most difficult Groove of The Week track for me to get the hang of; I’m not claiming to even be in the same ballpark, feel-wise, but here are my two cents:

Listen, listen, listen. Then listen some more – every aspect of the music needs to be in your bones.

Record yourself. Listen critically (analyse your waveforms, if necessary).

Are you rushing? Dragging? Dragging? Do you even know?

(Here would be a suitable place for a Whiplash reference, but I thought it one of the worst things ever – Rocky for jazz drummers.)

The point of this is that you can’t be objective about your playing while you’re playing, because too much of your brain’s ‘bandwidth’ is taken up with the act of playing. Recording yourself is a brutally effective mechanism for finding out how you actually sound, not how you think you sound. I have a hunch that this is the reason that session greats such as Steve Gadd, Anthony Jackson, Bernard Purdie and Nathan East sound so incredible – they have heard their playing on tape countless times, allowing them to develop a total understanding of how to internally direct their playing to achieve the desired external sound.

This is getting worryingly metaphysical, so let’s wrap it up here. May the groove be with you.

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Lessons

Janek Gwizdala Masterclass 2007 Part 3: Gear, Tradition and Finding Your Voice

Tom Kenrick

October 3, 2017 7:53 pm October 3, 2017

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Here’s the third and final instalment of Janek Gwizdala’s bass clinic at ACM Guildford in 2007. For those who missed the first two episodes, you can find them here: –…

Here’s the third and final instalment of Janek Gwizdala’s bass clinic at ACM Guildford in 2007. For those who missed the first two episodes, you can find them here:

– Part 1 focuses on transcription, including things he stole from George Benson and Allan Holdsworth
– Part 2 deals with Janek’s early days playing the bass and how he developed his prodigious technique

Part 3 covers a range of topics, including:

Janek’s philosophy on equipment

Regular viewers of his ‘coffee with Janek’ blog might find it interesting to hear how his views on being a gear head have shifted over the last decade – this masterclass happened before he started hanging out with Juan Alderete and stockpiling Meatboxes and OC-2 pedals.

The value of understanding tradition

While talking about his time playing with the late Hiram Bullock, Janek reveals that he didn’t begin his journey with jazz and started on a solid diet of pop music before moving on to the likes of Miles Davis and Herbie Hancock.

One of the most important points that Janek makes on this topic is that it’s essential to have a comprehensive knowledge of your chosen musical genre(s) before you can forge your own musical path – if you don’t know what has come before you, then how can know when you’re being original?

(and yes, I was that guy who knew everything about Anthony Jackson. I’m pretty handy at a pub quiz…)

finding your ‘voice’ on your instrument

Closely linked to the idea of understanding your ‘place’ in musical history is the importance of not simply regurgitating things that have happened before – but how do you work out which direction you should go in? Janek discusses some of his own ‘self talk’ that he uses in musical decision making.

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Groove of the Week

Groove of The Week #49: Damian Erskine – ‘Kaluanui’

Tom Kenrick

September 29, 2017 5:37 pm September 29, 2017

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Damian’s Drum-influenced Double-Stops Following on from last week’s double stop adventures with Hiatus Kaiyote, it’s time for another contemporary chordal groove. This edition of Groove of The Week comes courtesy…

Damian’s Drum-influenced Double-Stops

Following on from last week’s double stop adventures with Hiatus Kaiyote, it’s time for another contemporary chordal groove. This edition of Groove of The Week comes courtesy of modern bass master Damian Erskine (his uncle is the Peter Erskine) and provides one hell of a workout for both hands:

Groove of The Week #49: @damianerskine 'Kaluanui' (link to the transcription in bio) #bassguitar #bassist #bassforward #bassgram #bassistsofinstagram #bassguitar #bassguitarist #bassplayersunited #bassgroove #bassgrooveoftheweek #bassworld #notreble #inspirebass #nordstrand #damianerskine #nobleamps #baixonatural #baixosong

A post shared by Tom Kenrick (@tommykrizzle) on Sep 29, 2017 at 10:35am PDT

As with many of the grooves that underpin Damian’s debut album (2010’s ‘So To Speak’), the introduction to ‘Kaluanui’ showcases his incredible command of rhythmic ideas and dynamic contrast. In between each chordal flourish is a series of of ghost notes that act as an additional percussion instrument, giving the line a sense of perpetual motion and augmenting the groove without overcrowding the harmonic content.

Speaking of the harmonic content, the groove sits predominantly in F major, using double stop 10ths to imply Bb major, A minor, D minor and C major. On the third iteration of the line there’s a brief departure to a new tonality with the arrival of a D/F# chord.

As far as the left hand is concerned, I fret all the major 10ths with 2nd and 4th fingers, while minor 10ths are covered by 1st and 2nd fingers (or 1st, 2nd and 3rd fingers in the case of the D minor chord shape that appears in bars 4 and 16).

10ths are a great way of conveying chordal sounds in a ‘shorthand’ fashion and a useful addition to any bassist’s toolkit as they tend to ‘speak’ more clearly than more densely populated chords. Notice how some of the major chords feature a hammer-on from the 9th into the 10th, which is a great way to add melodic interest to an otherwise chordal line.

As far as the right hand goes, ‘Kaluanui’ is a great groove to use as a developmental tool for your palm muting skills – I’ve used the classical guitar system for naming the plucking fingers (p=thumb, i=index finger, m=middle finger). It might take a while for the p,m,i motion required to execute the ghost notes to feel comfortable, but once you’ve mastered it then it’s great way to add a percolating percussive element to your bass parts where appropriate; it’s no surprise to learn that Damian Erskine started out his musical career as a drummer, switching to bass once he was at the Berklee College of Music – lots of his grooves feel like they were composed from a ‘rhythm first’ perspective.

For a deeper insight into Damian’s highly evolved right hand technique, take a look at his book Right Hand Drive.

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