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Tag: pino

Groove Of The Week #17: Omar – ‘There’s Nothing Like This’

Apologies for the serious time lag between posts – the last fortnight involved moving house and a series of gigs that included learning an entire set of Wayne Shorter tunes…

Apologies for the serious time lag between posts – the last fortnight involved moving house and a series of gigs that included learning an entire set of Wayne Shorter tunes at short notice.

Anyway, time to clear the Groove Of The Week backlog. This one comes courtesy of British soul singer Omar (who also played most of the instruments on the track, including the standout bass line). ‘There’s Nothing Like This’ remains the best example that I’ve ever heard of how to convert something as mundane as a major 7 arpeggio into a musical idea that really grooves.

Omar - There's Nothing Like This

Omar recently re-recorded this classic track, and who played bass? None other than Pino Palladino:

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Groove Of The Week #11: Erykah Badu – ‘Didn’t Cha Know’

Whilst I’m trying my best to provide transcriptions from a variety of players over the course of this year’s Groove Of The Week series there are some bassists that I…

Whilst I’m trying my best to provide transcriptions from a variety of players over the course of this year’s Groove Of The Week series there are some bassists that I just can’t stop listening to. Pino Palladino is one of them.

We’ve already heard from Pino on D’Angelo’s The Charade, and this week’s groove sees him laying down another great line on Erykah Badu’s ‘Didn’t Cha Know’:

There are two main grooves that Pino plays, both of which outline an Ebm tonality:

Erykah Badu - Didn t Cha Know copy

The first line makes frequent use of the 9th (F) and although it sounds relatively simple it might take some practice to get the descending 4th intervals to sound smooth.

Groove 2 makes further use of the upper extensions as Pino references the b7th, 9th and 11th (Db, F and Ab respectively).

Want to instantly incorporate this sound into your playing?

Easy! All you have to do is play a major triad down a whole tone on minor chords. In this case we have a Db major triad played over an Ebm chord – this is something Miles Davis and many other improvisers have made great use of (Miles’ classic solo on ‘So What‘ features a number of lines that feature this concept, including C major triad lines played over Dm7 harmony).

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Groove Of The Week #5 – D’Angelo ‘The Charade’

Regular readers of this blog will have gathered that I’m something of a D’Angelo fanboy, so imagine my excitement when he suddenly reappeared with Black Messiah, his first studio album…

Regular readers of this blog will have gathered that I’m something of a D’Angelo fanboy, so imagine my excitement when he suddenly reappeared with Black Messiah, his first studio album in 14 years. I’d got hooked by the grooves on Voodoo, mainly because they were anchored by one of my favourite bassists, the great Pino Palladino.

Here’s what Questlove had to say about Pino’s involvement in Black Messiah:

“We MUST take our hats off to Pino Palladino, his pocket and precision and carefully chosen notes on this record is an absolute tutorial in bass playing.”

High praise indeed from someone who has drummed on and produced some of the most groove-laden albums of the past 20 years…

Pino announces his arrival on ‘The Charade’ with an ear-grabbing melodic fill before descending into the main groove of the verse section:

This entire line is built on ascending triads that outline the harmony – a great lesson in how to turn something that is traditionally seen as a rather boring exercise into real music.

D'Angelo - The Charade

As always, listen out for the articulation as you take the notes off the page – much of the magic lies not in what the notes are but how you play them.

 

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Fret less, Say More

Last year I got a call to play some bass on some tracks for Records On Ribs artist Talk Less Say More. The plan was to make a record with…

Last year I got a call to play some bass on some tracks for Records On Ribs artist Talk Less Say More. The plan was to make a record with a decidedly 80s feel, which meant that I got to stretch out and take some risks doing things that I don’t usually do as part of my ‘day job’. I seem to remember the conversation going something like this:

“It’d be great to have some fretless bass. Do you have a fretless bass?”

“No…”

“Oh ok… Do you play fretless at all?”

“Sorry, I’ve never played fretless…”

“Ok no problem, we’ll hire you a fretless. It’ll be fine.”

In almost 15 years of playing this was the first time I’d had someone ask for fretless. So, the night before the session I take delivery of an unlined Fender P/J and do my best to get my fingers (and ears) around it.

 

 

On the day I tried to channel the spirit of Pino Palladino/Jaco/Bakithi Kumalo and other fretless players that I’d grown up listening to. Here’s how some of it turned out:

 

 

 

 

So, did the experience persuade me to take the plunge and go fretless? In a word, no.

In spite of the fact that I really enjoyed the session I don’t feel that fretless fits with my ‘voice’ as a bassist – although I’m heavily influenced by fretless players I’m sure if I made the switch then I’d end up sounding even more like a sub-par Jaco or Pino clone.

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