tag:jasonrasomusic.com,2005:/blogs/tonequestTONEQUEST2020-03-11T13:41:26-04:00Jason Rasofalsetag:jasonrasomusic.com,2005:Post/62453682020-03-11T13:41:26-04:002020-03-11T13:41:26-04:00BLC Archives: Fred Wesley<p><span class="font_large">Close to 75 interviews were completed in the years leading up to the completion of <em>Bass Line Continuum</em>. Many of them did not make it into the book for various reasons. Some were completed before I had any plans to publish a book and the subject matter did not fit the themes of <em>Bass Line Continuum</em>. Others were not transcribed and/or edited in time for the release. My original idea for the book was to cover more that just bass players. I reached out to one of my all-time favourite musicians, trombonist <strong>Fred Wesley</strong> (James Brown, The JBs, Parliament-Funkadelic). I was delighted when he agreed to the interview! As the focus of the book shifted to bass, Fred's interview was filed away. Here is the full interview, for the very first time...</span></p>
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<p><strong><span class="font_large">JR: Do you have any advice for musicians struggling to stay positive about their playing? </span></strong></p>
<p><span class="font_large"><strong>FW:</strong> First of all, you have to be sure that it’s what you want to do. You have to have a positive attitude about what you’re doing in anything. Playing music, playing sports, accounting. Anything you do you have to be positive about it. Playing music, especially playing the trombone, you have to practice. I’m a good trombone player but I would be a great trombone player if I had practiced more. I only practiced when I had to. When I practice just because, I become better and better and better, but I’m so good naturally that I don’t practice much. </span></p>
<p><span class="font_large">When I was younger I practiced all the time. I was in love with the trombone so I played all the time. I didn’t practice out of books; I just played stuff and kept my chops up. I should have learned scales and stuff, but I just played from heart. </span></p>
<p><strong><span class="font_large">JR: When I think of your playing, no one sounds like you. You know right away it’s you playing. How did you find your own voice on the instrument? </span></strong></p>
<p><span class="font_large"><strong>FW: </strong>That came naturally too. I try to make the horn sound like I’m talking. And I also try to make it sound like other instruments. I didn’t play trombone because I chose it. My father chose it for me and he told me he needed a trombone in his band. And that’s why I play trombone. I was practicing saxophone, and trumpet and bass and guitar. I didn’t wanna play piano because he played piano. My father was a great piano player and I knew I’d never be able play like that. I try to make it sound like I’m talking or singing. I try to make it sound like a saxophone. In other words, I try to make it not sound like a trombone. A trombone is kind of stiff. The specific way that a trombone sounds, you know, I try to make it not sound like that. </span></p>
<p><strong><span class="font_large">JR: Were you listening to trombone players? </span></strong></p>
<p><span class="font_large"><strong>FW:</strong> Not at first. I was listening to guitar players and saxophone players. When I discovered J.J. Johnson and Curtis Fuller I decided that I wanted to play like that. That’s the two most trombone players I wanted to sound like. </span></p>
<p><span class="font_large">I really don’t like the way most trombone players sound. Don’t hold this against me. Don’t write it because I don’t want it to be a matter of record. [Laughs.] I try not to make it sound like a trombone. Most players play like they’re pushing notes out of the instrument. They play specific notes, or use specific things on the trombone and I try not to do that. I want it to sound like talking or singing. Not the way most players tongue, double tongue and triple tongue and play very high. I don’t do that. I just play the way I feel. </span></p>
<p><strong><span class="font_large">JR: You function equally within the section and as a soloist. How do you find that balance? </span></strong></p>
<p><span class="font_large"><strong>FW: </strong>I’ve heard it said that if I’m in a section, the section sounds like I’m in it. You can tell when Fred Wesley is in a section. I’m not braggin’ or anything but they say that I take on sort of a lyrical sound. A different sound when I play. All the other instruments kind of glom toward me. I try to solo the same way. Now I’m not a good reader but when I got the lick then I play it like I own it. I can read pretty good but I can’t read real good. Most cats can look at the music and read it down. Once I got it, then I play it my way. Then most horn players will play it the way I play it. </span></p>
<p><span class="font_large">I just refuse to play exactly like anyone else. A lot of this stuff is god given. I really can’t explain why I do it, or how I do it. I play in the way I want to play it. I don’t try to copy anybody. There are great trombone players out there. Wycliffe Gordon, Steve Turre, even Trombone Shorty. Wycliffe Gordon does some amazing things on trombone. But I don’t even try to do that because it’s his thing. My thing is my thing.</span></p>
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<p><em><span class="font_large">Legendary bandleader, trombonist and author Fred Wesley is one of the forefathers of funk still setting the standard with his jazz-funk band The New JBs. Together for more than 25 years, the band is a living celebration of roots funk and more, performing such hits as “Pass the Peas” made with James Brown and the JBs including Maceo Parker, as well as selections from the P-Funk years and Fred’s own and others’ soulful jazz and blues compositions. <a contents="www.funkyfredwesley.com" data-link-label="" data-link-type="url" href="http://www.funkyfredwesley.com" target="_blank">www.funkyfredwesley.com</a></span></em></p>
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<p><em><span class="font_large"><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/9518cc1fa5354bb50353fa92fe8dd574abb02f15/original/fredwesley.png/!!/b:W10=.png" class="size_l justify_center border_" /></span></em></p>Jason Rasotag:jasonrasomusic.com,2005:Post/62186292020-02-18T00:05:21-05:002020-02-18T00:05:21-05:00BLC Archives: Bobby Broom<p><span class="font_large">Close to 75 interviews were completed in the years leading up to the completion of <em>Bass Line Continuum</em>. Many of them did not make it into the book for various reasons. Some were completed before I had any plans to publish a book and the subject matter did not fit the themes of <em>Bass Line Continuum</em>. Others were not transcribed and/or edited in time for the release. My original idea for the book was to cover more that just bass players. I reached out to one of my all-time favourite guitar players, <strong>Bobby Broom.</strong> I was delighted when he agreed to the interview! As the focus of the book shifted to bass, Bobby's interview was put aside. He is quoted in the book, however. Here is the full interview, for the very first time...</span></p>
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<p><span class="font_large"><strong>JR: How has your practice changed over the years? </strong></span></p>
<p><span class="font_large"><strong>BB:</strong> One way it’s changed is that it’s not as regular. It would be much more regular when I was trying to learn to play. I spent every moment that I possibly could practicing, or at least I had the desire to practice. So, I think by the time I got to my mid twenties, that started changing. I was working a lot, playing a lot. It waxes and wanes, but I’ve always felt that I never practiced enough, like, even when I was practicing three and four hours a day as a youngster. I didn’t think that was enough, you know, so you talk about beating yourself up, I mean, I did that from the beginning. Like, “You’re never going to amount to anything, you’re never going to be great because you don’t practice like the prodigies practice, like eight and ten hours a day.” That was my thinking at the time, but I practiced every day. I knew to do a little bit of everything, and not focus too much on one thing. And that just kept me interested and less frustrated. </span></p>
<p><strong><span class="font_large">JR: Did you pattern yourself after a certain player, or a few players, and when did you kind of figure out your own style? I hear bits of other players, but you don’t sound like anybody else to me. </span></strong></p>
<p><span class="font_large"><strong>BB:</strong> Good! Yay! [Laughs.] Well, you know, I mean, okay, so I have players that I absolutely adore, but “Pattern myself after them,” I don’t know that I can say that. So there was George Benson who was like the impetus for me even like wanting to pursue the guitar in jazz. I think I may have wanted to pursue it, but not jazz, but just playing the guitar. One of my best friends, growing up, who was a jazz drummer and his father was a jazz musician, and he loved music and had the records and would try to play stuff for me, and I was like, “Ugh, whatever, what is that? This is crazy.” But hearing George Benson, that was the impetus. That’s when I realized, “Wow,” you know, “you can be that creative!” Around that time, I had already been listening to Wes Montgomery, but it hadn’t crystallized like it did with George, and then, from George, I went back to Wes, and was like, “Oh, that’s what my teacher was talking about!” I could hear the similarities. I could hear how great Wes was then. After that, it became more about jazz: not so much about the guitar, because I quickly started to try to find out where this music came from and what the story was. But as far as the guitar, it was George, Wes, and then Pat Martino, who was, at that time, the prominent urban, powerful guitarist on the scene at that time. I’m talking about the 70s. So, it was those three guys: those three guys were my trinity. And the only one I could begin to try to think about taking stuff off the record was Pat Martino, like because that seemed clearer, kind of more straightforward to me. George’s thing was like blowing up pixie dust, like, “Wow, look at that, but don’t try to catch any of it, just look at it.” Wes was like that, too. His dust was – it glittered, and it like hung up really for a long time. </span></p>
<p><span class="font_large">So these were guys that I admired, and I listened to on a daily basis. I think I transcribed one of George’s solos just for the sheer sake of trying to see if it was physically possible for someone else to do it. [Laughs.] I’m serious! This thing was so, like, how can somebody play that fast, that much, for that long, without stopping? And so, I, you know, I set my mind to learning the solo, and I did, and I played it once or twice with the record, and then that was it. I said, okay, it’s possible, but, like, to begin to take it apart and stuff was like, no, man, this is – I see it is so just – his personal train of thought, and his personal way of navigating the music with his own ears, through the instrument, through his own physicality. I just felt like “I can’t do that.” I won’t do that, because then I’m going to sound just like that, and I don’t want to sound just like that. I want to enjoy that, but I want to find a way to make myself feel the same kind of reaction coming from my own music, from my own playing. So, that was really what I felt from the very beginning, first hearing George. It was like, okay, I want to do it like that. Not like sound like that, but have the same reaction and emotions, from myself, if that’s possible. I mean, that’s really the thing that keeps us playing, is hearing the possibility, and being positive about that. The smallest success, somebody saying “You sound good, kid,” or just calling you to play, or any little thing that is praise or validation or encouragement for you to continue, you suck that up like a sponge, and use that as energy to fuel the possibility that may be, you know, maybe that little split second I heard that sounded okay is actually okay. You know, and maybe it’s actually good. Maybe it could actually be good. </span></p>
<p><strong><span class="font_large">JR: You know who I hear in your playing? [BB: Who?] I hear Grant Green. </span></strong></p>
<p><span class="font_large"><strong>BB:</strong> Yes. </span></p>
<p><strong><span class="font_large">JR: You play too many chords to be Grant Green, but when you play single note lines. It’s maybe the albums that I know, like the first one I really got into was the Monk (Bobby Broom Plays for Monk) album, the trio. I love that album. I listen to it over and over again. As a bass player, too, I love that album, because there’s no piano. Your lines are super clear, and that’s kind of the way I hear Grant Green. He’s not blowing me away, like technically, but his lines are so defined, you know? So, I kind of connect you to that, because I hear your lines as being, well, always melodic, and like I said, very defined. </span></strong></p>
<p><span class="font_large"><strong>BB:</strong> Do you think that it may be something about the feel, too, because I had maybe two Grant Green records when I was younger. I want to say it was toward the tail end of my senior year of high school right before I was getting ready to go off to school, and he was doing this funk thing, and he was playing the pop tunes, like “Didn’t I (Blow your Mind This Time),” and “Betcha By Golly Wow,” and that kind of thing. So he wasn’t playing bebop; he wasn’t playing, like, through changes or nothing. And so, I didn’t know anything about any of those records, and none of the stuff with Larry Young. I didn’t know any of his Blue Note records. And then, I think maybe a little bit before the Kenny Brown Band, one of the first incarnations of that, somebody was saying – somebody said to me, “Yeah, you sound like Grant Green.” And I’m like, that’s interesting, because I never really ever listened to Grant Green. I wondered if it’s just about the feel, you know? He had that real kind of behind the beat, not very on the meter kind of thing. It was just free. And I know that I do that, so maybe that’s part of it. </span></p>
<p><strong><span class="font_large">JR: It’s funny: I found the Blue Note recordings before the [BB: Really!] funk stuff, yeah. Because I heard <em>Idle Moments</em>, that album with Bobby Hutcherson and Duke Pearson on piano, and I just loved it. And then, I found all the Blue Note albums, and someone’s like, “You talkin’ about that funk guy?” And I was like, “funk guy? What are you talking about?” </span></strong></p>
<p><span class="font_large"><strong>BB: </strong>Yeah, see, that’s so interesting how perspective – so, you’re younger than me, I’m assuming, so when was that, though, was it in the 90s? </span></p>
<p><strong><span class="font_large">JR: It would be maybe 10 years ago? </span></strong></p>
<p><span class="font_large"><strong>BB: </strong>I don’t know if those Blue Note records were available… </span></p>
<p><strong><span class="font_large">JR: No, I think they started getting reissued in maybe mid-2000s. </span></strong></p>
<p><span class="font_large"><strong>BB:</strong> Exactly. I don’t remember ever seeing anything or even knowing anything about most of those Blue Note records, most of them, until the 90s and 2000s. You know. </span></p>
<p><strong><span class="font_large">JR: Yeah. I loved his playing on those albums. It’s so good. </span></strong></p>
<p><span class="font_large"><strong>BB:</strong> I have them all now. </span></p>
<p><strong><span class="font_large">JR: There’s a great album with him on a Lee Morgan album, <em>Search for the New Land?</em> Have you heard of that one? That’s a cool album. It’s a six-piece. </span></strong></p>
<p><span class="font_large"><strong>BB:</strong> Right. Right. I have to check that – I remember talking to Bob Cranshaw, just because I wanted to hear it from the the original source, a member of the Blue Note era – “Bob, why was everybody calling Grant Green all the time to play on their records?” I mean he wasn’t very, you know, technically proficient, however you want to say that. “Why did he get so many calls?” and Bob looked at me like I was crazy, like: “Because he’s so good Everybody wanted to get that feel. Everybody wanted that. He felt good; he made the music feel good, and everybody loved him. Everybody loved him.” [Laughs.] </span></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/b7209546bf36aacca4fb55700bf164db9e096b85/original/bobby-broom.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><span class="font_large">In a career spanning more than three decades, <strong>Bobby Broom</strong> has developed a sound that is clear, yet complex; familiar and always exciting. In addition to his incredible solo albums, Bobby has performed with Sonny Rollins, Miles Davis, Kenny Burrell, Stanley Turrentine, and more. Visit <a contents="www.bobbybroom.com" data-link-label="" data-link-type="url" href="http://www.bobbybroom.com" target="_blank">www.bobbybroom.com</a></span></p>Jason Rasotag:jasonrasomusic.com,2005:Post/62095962020-02-09T17:28:17-05:002020-02-09T17:28:17-05:00NEW VIDEO! "DOUBLE DOUBLE!"<p><span class="font_large">New Video! "Double Double" featuring Robb Cappelletto on Guitar & Peter Grimmer on Drums. </span></p>
<p><span class="font_large">My <strong>Fodera</strong> Monarch 4 Standard was recorded direct through my <strong>Aguilar</strong> AG 700 Amplifier. I've always had the best luck recording direct. I almost never use a mic'd cabinet signal. </span></p>
<p style="text-align: center;"><em><strong><span class="font_large">What do you use for recording?</span></strong></em></p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="x2dVh9rPcwY" data-video-thumb-url="https://img.youtube.com/vi/x2dVh9rPcwY/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/x2dVh9rPcwY?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="360" width="640" allowfullscreen="true"></iframe></p>
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<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/71477ce612eb7224a4626b97da75db6448447744/original/jason-raso-aguilar-ag700.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>Jason Rasotag:jasonrasomusic.com,2005:Post/61261792020-01-17T13:55:59-05:002020-01-17T13:58:25-05:00BLC Archives: Rudy Sarzo<p><span class="font_large">Close to 75 interviews were completed in the years leading up to the completion of <em><strong>Bass Line Continuum</strong></em>. Many of them did not make it into the book for various reasons. Some were completed before I had any plans to publish a book and the subject matter did not fit the themes of <em>Bass Line Continuum</em>. Others were not transcribed and/or edited in time for the release. In the case of <strong>Rudy Sarzo</strong>, we simply ran out of time and his interview did not make it into the final print. <strong>Tonequest </strong>is proud to present this interview now...</span></p>
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<p><strong><span class="font_large">JR: How did you come to play bass and who were your early influences? </span></strong></p>
<p><span class="font_large"><strong>RS</strong>: I started out playing guitar in the early 60s during the British Invasion. When my family relocated to Miami in 1966 there were too many guitar players in my neighborhood so in order for me to join the band I was requested to switch to bass. </span></p>
<p><span class="font_large">My influences then and now are everyone from McCartney, Jamerson, Entwistle, Tim Bogert, and current influences such as Wooten, Laboriel, and Marcus Miller. All the greats! As it happens, I grew up in Miami and watched Jaco play around town numerous times. Incredibly inspiring and scary! </span></p>
<p><strong><span class="font_large">JR: What is your approach to practicing? </span></strong></p>
<p><span class="font_large"><strong>RS:</strong> My approach to practicing has evolved through the years thanks to all the educational resources available on YouTube and other social media. I'm constantly learning new right and left hand techniques and deepening my knowledge of music theory. I don't only watch bass lessons on such sites as Scott Devine's but I also watch piano and guitar lessons to broaden my music theory knowledge. So basically I lean more towards learning rather than practicing what I already know. </span></p>
<p><strong><span class="font_large">JR: When do you feel you found your own style on the bass? </span></strong></p>
<p><span class="font_large"><strong>RS:</strong> As far as tone, it's a work in progress since I do multiple projects and must adapt my tone to the sound of the group. </span><span class="font_large">I've been playing since late 60s and the role of the bassist has evolved through the years. I was a more melodic and adventurous bassist playing gigs in the 70s than I when I became a recording and touring artist in the 80s due to the shifting role of the bassist becoming more supportive root playing and less riffing. Now it's come full circle and I'm back to finding the balance between being melodic modal/pentatonic riffing and chord tone groove playing. </span></p>
<p><strong><span class="font_large">JR: Do you have any advice for bassists struggling to stay positive about their playing? </span></strong></p>
<p><span class="font_large"><strong>RS: </strong>I've been there and what works for me is to approach the bass from different perspectives. Let's say I'm working on my slapping and I hit a wall. I'll then switch over to a guitar style finger picking and work on that and try to incorporate it into my slap groove playing. Look, the possibilities on the bass are endless, if you watch videos from modern bassist you'll see some of the most amazing new techniques considered unimaginable a few years ago. And they inspire me not only to catch up with these techniques but also to come up with some of my own. Having said that, unless you are in a playing situation that allows you to be progressive and outside the box with your playing you are not going to get to display the full scope of your abilities. But then again there's nothing wrong with being in various projects that will satisfy your both your commerciality and virtuosity. </span></p>
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<p><span class="font_large"><strong>Rudy Sarzo</strong> is a professional recording and performing artist worldwide for over 35 years. As a member of Ozzy Osbourne’s band, from March 1981 to September 1982, Rudy toured the world in support of the <em>Blizzard of Ozz </em>and <em>Diary Of a Madman</em> records. His bass playing can be heard on Ozzy’s multi-million selling CD <em>Tribute</em> and <em>Speak of the Devil </em>CD and DVD. </span></p>
<p><span class="font_large">As a member of Quiet Riot, from September 1982 to January 1985, Sarzo recorded the multi-platinum albums <em>Metal Health</em>, the first Heavy Metal debut to reach #1 on the Billboard charts, and <em>Condition Critical.</em> </span></p>
<p><span class="font_large">As a member of Whitesnake, from April 1987 to September 1994, Rudy recorded the multi-platinum album <em>Slip of the Tongue</em>. During this period, Rudy also performed worldwide on headline tours in support of the multi platinum <em>Whitesnake</em> and <em>Slip of the Tongue</em> albums. </span></p>
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<p><span class="font_large"><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/a9016ff3508d47eae13c9cda7590f611401d652a/original/rudy.png/!!/b:W10=.png" class="size_l justify_center border_" /></span></p>Jason Rasotag:jasonrasomusic.com,2005:Post/60261912019-12-17T13:03:18-05:002019-12-17T13:03:18-05:00TQ Interview No. 2 - Curtis Freeman<p><span class="font_large"><strong>Curtis Freeman</strong> is an ‘in demand’ bass player, studio bassist and music educator. Curtis has traveled and performed in over forty countries worldwide, working with several talented Pop, Rock, Country, World Music, Gospel, and Jazz groups.</span></p>
<p><span class="font_large">Freeman was featured in two PBS Specials backing Canadian Guitar master Pavlo: ‘Live from Kastoria’ (Greece) and ‘Pavlo Live from Guadalajara’ (Mexico). Both TV Specials are currently being broadcast across American television on almost 100 PBS stations. </span><span class="font_large">Curtis toured with Pavlo across Canada opening for José Feliciano and The Tenors, playing large sold-out venues including the Air Canada Centre.</span></p>
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<p><span class="font_large"><strong>JR: What was your first bass? </strong></span></p>
<p><span class="font_large"><strong>CF: </strong>I bought an Ibanez Soundgear bass that I ordered from a catalogue in a music store. I grew up in Espanola Ontario and there weren’t any music stores that carried basses. </span></p>
<p><span class="font_large">I had played an Ibanez in high school so chose to buy one. I had worked all summer for my Dad’s construction company saving up for it. </span></p>
<p><span class="font_large">It was beautiful with a solid Padauk body, EMG’s were stock pickups and the bridge and hardware were perfect. I still have it! </span></p>
<p><strong><span class="font_large">JR: Is there a bass you sold over the years you wish you had kept? (The one that got away!) </span></strong></p>
<p><span class="font_large"><strong>CF: </strong>I sold an F Bass BN6 (six string) for way under value. I regret that poor decision daily. It had a beautiful purple burst, black hardware, a great preamp...Ugh! </span></p>
<p><strong><span class="font_large">JR: Which recording of yours do you feel best represents your playing and tone? </span></strong></p>
<p><span class="font_large"><strong>CF:</strong> I see myself more as a ‘live performer’ than identifying as a ‘recording artist’. Although, I love recording in the studio, I did a few live recordings with Pavlo (Live in Kastoria and Live in Guadalajara). I feel that these recordings do a good job capturing my sound and vibe. </span></p>
<p><strong><span class="font_large">JR: What is your current rig? </span></strong></p>
<p><span class="font_large"><strong>CF:</strong> My main basses are Foderas. I use a Monarch Standard 4 string the most and the 5 string Emperor often as well. Strangely enough I barely use an amp. </span></p>
<p><span class="font_large">I fly so often to shows that I generally use a Sure Wireless, a Radial Tonebone DI box and I rely heavily on the on-board (Mike Pope) preamps in my basses. </span></p>
<p><strong><span class="font_large">JR: How often do you change your strings while on tour? </span></strong></p>
<p><span class="font_large"><strong>CF: </strong>I change my strings once a month. I use a medium-lite gauge of D’Addario nickels. </span></p>
<p><strong><span class="font_large">JR: They say the sound is in your hands but how much does your main bass contribute to your overall musical voice? </span></strong></p>
<p><span class="font_large">I believe that a good instrument will ‘get out of the way’ of your playing and let you do your thing. My main bass is so comfortable (4 string Monarch Fodera) allows me to speak as clearly as possible.</span></p>
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<p><span class="font_large"><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/7bce61d658d35a31cac29435b7ca615f7814d4bb/original/image0.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></span></p>
<p style="text-align: center;"><span class="font_regular">*Photo by Raffi Hadidian</span></p>Jason Rasotag:jasonrasomusic.com,2005:Post/60261792019-12-17T10:12:01-05:002019-12-17T13:04:02-05:00Vintage Tone: 1989 Ken Smith BT6<p><span class="font_large">Recently I had the pleasure of recording with this beautiful Ken Smith BT6 from 1989. A huge thank you to Chancellor Dave at <a contents="Ultimate Basses" data-link-label="" data-link-type="url" href="http://www.ultimatebasses.ca" target="_blank">Ultimate Basses</a>!</span></p>
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<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/2f672ab30fbc6c4d93e653a372a1eb85ba1e297f/original/tonequest.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>Jason Rasotag:jasonrasomusic.com,2005:Post/59977102019-12-09T10:45:06-05:002019-12-09T10:45:06-05:00Is the sound really in your hands?<p><span class="font_large"><strong>JR: Most players talk about the sound being in your hands, but how much does your main bass contribute to your overall voice? </strong></span></p>
<p><br><span class="font_large"><em><strong>Michael Manring:</strong> It’s a great question, and I like how you’ve phrased it. I’ve seen some pretty fiery debates on the subject of whether tone comes from the instrument or player and often wondered if what was needed wasn’t a better definition of the concepts involved. Using the phrase “overall musical voice” is a lovely way of clarifying. <br>In my case, I would say my instrument plays a very large role in my overall musical voice. As I think you know, I help design the instruments I play, and they have some unusual capabilities. In my personal conception, the form of the bass guitar is not yet fully fixed and established, so experimenting with aspects of its design and implementation are part of the creative process for me. While I spend a lot of my time very happily playing a “conventional” instrument, a 4-string fretted built along roughly the standard Fender parameters, the addition of unconventional tools and approaches is what really makes things interesting to me. </em></span></p>
<p><em><span class="font_large"><strong>Marcus Miller</strong>: It’s a partnership. I’ve been playing – like, you called it my main bass – I’ve been playing it – well, I had two jazz basses before I got the one that I have now. But I’ve been playing a jazz bass since I was thirteen or fourteen years old, and I’ve been playing that bass since I was seventeen. So, what happens is that when you have a particular instrument, especially like an organic instrument made of wood or something like that - there are things that it does well, there are things that it doesn’t do so well. And so my style kind of obviously evolved around the things that I thought sounded good on that particular bass. So, I feel like I grew up together with my bass.</span></em></p>
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<p><span class="font_large">If the sound was solely in your hands, it wouldn't matter what bass you played. Well that certainly isn't true in my case. I'm most comfortable on my main instrument. I love what Marcus said about it being a partnership. I like to believe that the sound is in my bass, strings, and amplifier, but my tone, style, and feel, are in my hands. I hate playing someone else's bass and prefer to bring my own amplifier even if a backline is provided. I know my gear!</span></p>
<p><strong><span class="font_large">How important is your rig to your playing?</span></strong></p>
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<p><strong><span class="font_large"><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/42d59259970ebc66aacb76b64815cb455a8ed4e8/original/dsc1068.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></span></strong></p>Jason Rasotag:jasonrasomusic.com,2005:Post/59910652019-12-04T00:34:47-05:002019-12-04T00:35:40-05:00Re-stringing a Bass<p style="text-align: center;"><span class="font_large">Jason offers some tips and tricks for re-string a bass!</span></p>
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<p><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/2f672ab30fbc6c4d93e653a372a1eb85ba1e297f/original/tonequest.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p> </p>Jason Rasotag:jasonrasomusic.com,2005:Post/59655952019-11-19T11:25:47-05:002019-11-19T11:32:47-05:00Talking Gear with Stuart Hamm<p><span class="font_large">I recently sat down with the legendary <strong>Stuart Hamm</strong> to talk basses, amps, and tone!</span></p>
<p> </p>
<p><span class="font_large"><strong>JR: What’s your main bass these days?</strong> </span></p>
<p><span class="font_large"><strong>SH:</strong> My main bass is this guy, which is I guess the second prototype of the Warwicks. One of the best things about Warwick is a guy named Marcus Spangler who is a designer and builder – he’s just a freak, you know, his passion. And I mean, there’s some real problems with this bass, the main being that, you know, the horn goes to the fourteenth fret where every other bass in the world goes to the twelfth fret. So when I first got this bass, I went to a session, and they said basically, you know, we’re in the key of F, and I’m playing like this, and the producer stopped and said, “What are you doing?” I’m like, “Oh! Yeah!” So I was playing in G. So, I have subsequent versions that they corrected the horn thing, but this bass, just the neck is awesome, and it’s just beat to shit. I’m actually going to take it in. I’m doing a thing in Germany later this year, and I’m going to drop this bass off and send it back to the factory to get totally reworked up, so new frets and hardware. </span></p>
<p><strong><span class="font_large">JR: How long have you been with Warwick now? </span></strong></p>
<p><span class="font_large"><strong>SH: </strong>I don’t do years, man. I can remember every gig, who I met, what the hotel was like, and who screwed up what song, but I don’t remember how many years, man. I’ll say five, how’s that? </span></p>
<p><strong><span class="font_large">JR: How much of your sound in your hands versus how much is in your gear? </span></strong></p>
<p><span class="font_large"><strong>SH: </strong>You know, good gear should transmit your sound, not create it. </span></p>
<p><strong><span class="font_large">JR: Right. </span></strong></p>
<p><span class="font_large"><strong>SH: </strong>You know, if you’re looking to buy an amp or a guitar or a bass to create your sound, you’re lost. It’s the same with me with pedals; I just did a TonePrint for TC Electronic for their delay where I use the delay like a ‘verb. And the guy there was like, well, that’s really interesting: you’re using it to colour the tone, to shape the tone, right, not create the tone out of it. So, of course, the answer is the fingers, but having said that, every bass you play sounds a little bit differently, but does anyone but us notice that? </span></p>
<p><span class="font_large"><strong>JR: No.</strong> </span></p>
<p><span class="font_large"><strong>SH:</strong> But dude, I remember, honestly, when we did that BX3 tour with Jeff Berlin, Billy Sheehan, and myself. Jeff was playing whatever bass he plays, bridge pickup through a Mark Bass amp, little teeny Mark Bass amp, and Billy’s got his two compressors and his Yamaha. We would switch basses and do “Big Bottom,” and when Jeff played through a Yamaha bass through two compressors and adds fifteens, it still sounds like Jeff Berlin! </span></p>
<p><strong><span class="font_large">JR: Tell me about the new amp: the new Mark Bass S.T.U. Amp 1000. </span></strong></p>
<p><span class="font_large"><strong>SH:</strong> I talked with the Mark Bass guys for a while. I think the first time I met Marco was when BX3 played the B.B. King’s in New York, and there was Marco showing Jeff Berlin how to unhook the horn from a little mini Mark Bass amp. The guy went from literally selling electronic gear out of his truck to cornering fifty percent of the bass market? Forty? Sixty? Somewhere in there, right? So I met with those guys, you know, I’ve known them for a long time. Sisinio is the engineer. Great, crazy guy. Just a freak about amps as I am about basses. I can’t talk electronics or capacitors or any of that. When I try to design a product that has my name on it, I want it to be – I’m looking at my amp longingly, but the way – I want it to be unique, not just like slap your name on a P bass. And also fill a market place void. You can’t really bring a 4x10 to a rock gig and you’re too old to carry Ampeg 8x10s, right, so cabinet-wise, there’s got to be something in the middle with all the innovations and neodymium and what Aguilar did lightweight cabs and stuff, right? They sold me on that idea. They had this cabinet with two 15s in it, and I was like, no, 15s are going to be mushy. But whatever they did, the definition of the 15s is amazing, and it has a low end that just, you know, when I plug in some of the old gear, it just sounds a little nasally. So really full, easier to carry, a nice size, and bigger than a 4x10. When it’s rock, it’s got to look cool, right? So I thought the kiddies would like something with big knobs and bright lights! You know, I usually use the solid state side for recording: like in your track, the DI track on its own – I mean, the amp track on its own sounds kind of squirrely, but if you mix in the DI track, it just adds some space.</span></p>
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<p style="text-align: center;"><span class="font_large"><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/f34719052f3a0371e8e66175b559d94efc899ef2/original/20160610-dp2-9267.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></span><span class="font_small">*Photo by Dave Peleschak</span></p>
<p style="text-align: center;"><span class="font_large">Stuart's new album, ARTSPOKE is available now at <a contents="www.stuhamm.com" data-link-label="" data-link-type="url" href="http://www.stuhamm.com" target="_blank">www.stuhamm.com</a></span></p>
<p style="text-align: center;"> </p>Jason Rasotag:jasonrasomusic.com,2005:Post/59616802019-11-15T12:11:01-05:002019-11-15T12:12:15-05:00TQ Interview No. 1 - Matt Bissonette<p><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/c1e28d49e9f825c46751c5c76592ce9423326b45/original/ldn-l-elton-wbox-0124-11-kjs1.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
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<p><span class="font_large">I have been following <strong>Matt Bissonette</strong> since his late 80s work with <em>David Lee Roth</em>, early 90s work with <em>Joe Satriani</em>, and through to his current gig as bassist for <em><strong>Elton John</strong></em>. Matt is living proof that it is possible to be a brilliant musician while being humble and kind! I have all the respect in the world for Matt Bissonette!</span></p>
<p> </p>
<p><span class="font_large"><strong>JR: What was your first bass? </strong></span></p>
<p><span class="font_large"><strong>MB:</strong> My first bass was a brown 4 string Aria around 1973. My mom and dad bought it for me as a surprise with a little Jordan amp. </span></p>
<p><strong><span class="font_large">JR: Is there a bass you sold over the years you wish you had kept? (The one that got away!) </span></strong></p>
<p><span class="font_large"><strong>MB: </strong>There are many. When my son was born I "cleaned house" so we could buy diapers! I sold a 1962 P bass, I sold a 1964 Jazz bass to my friend, who still has it, and promises to sell it back to me if I ever want it. What a pal! Whenever I have sold a bass or amp or something that sort of breaks my heart it always seems like God brings something back years later that is even better. Very weird but cool! </span></p>
<p><strong><span class="font_large">JR: Which recording of yours do you feel best represents your playing and tone? </span></strong></p>
<p><span class="font_large"><strong>MB:</strong> Wow, tough question. I try and record a bass sound according to the style of music. For jazz there is a Maynard Ferguson CD called<em> "Live In San Fransisco" </em>that I used my old German upright on, sadly it snapped in two a few days later on the road. I liked the fretless tone on a song called "All Around The World" on a solo CD called <em>"Oh No Bass Solo".</em> A lot of my favorite stuff tone wise I've never heard mixed versions of, they get lost in the shuffle or no one ever hears them. I really like when a producer likes to experiment with odd different tones, octave dividers or anything different that the "meat and potato" sound, but I still love meat and potatoes! I always like the sound of a MusicMan Stingray 5 string, it seems like whenever I plug it in in the studio or live it just naturally sounds great. </span></p>
<p><strong><span class="font_large">JR: I’ve had the pleasure of hearing you play with Elton John three times and your playing is always locked in AND melodic! What is your setup for the current tour? </span></strong></p>
<p><span class="font_large"><strong>MB:</strong> God bless you man. Just using the MusicMan 5 string, we have 6 of them, our bass tech Rick Salazar had them all custom designed. They all sound exactly the same and are pretty solid. Rick is amazing and he does all the "thinking" so I can just go up and play. We play pretty soft on stage, at least I do, ha, and rely on our monitor guy, Allan Richardson, to pump the bass in my in ear monitors. </span></p>
<p><strong><span class="font_large">JR: How often do you change your strings while on tour? </span></strong></p>
<p><span class="font_large"><strong>MB:</strong> I think the strings are changed every 3rd or 4th show. In the old days I would boil the strings, probably after the Elton gig is over I'll be back to boiling! </span></p>
<p><strong><span class="font_large">JR: How much does your main bass contribute to your overall musical voice? </span></strong></p>
<p><span class="font_large"><strong>MB:</strong> I guess I've been playing bass for so long that I never really think about that. I've been playing in bands since I was 12 so I just got right to it and haven't looked back. Over the years I've worked on my singing which makes me rethink the approach of playing bass. I guess also over the years I've recorded bass last on songs I write, much like Paul McCartney would do on the later Beatle records. You get so used to just throwing down a part that you don't really scrutinize the part. I'm learning to do that more now than ever. Bass is so great, one of the great "unnoticed" things in music, when it's wrong it's very bad, when right things just seem to make sense for everybody.</span></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/663d967bc23a44193cd0c516a5da1b68ccf53d2b/original/bissonette.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p> </p>Jason Rasotag:jasonrasomusic.com,2005:Post/59589732019-11-13T10:30:27-05:002019-11-13T10:30:27-05:00Welcome to Tonequest!<p><span class="font_large">Welcome to Tonequest! </span></p>
<p><span class="font_large">Do you suffer from B.A.S.™? (Bass Acquisition Syndrome)</span></p>
<p><span class="font_large">To my recollection these are all of the basses I have owned over 31 years of playing...</span></p>
<ol> <li><span class="font_large">Azola Bug Bass (Electric Upright)</span></li> <li><span class="font_large">Epiphone Viola Bass</span></li> <li><span class="font_large">Ernie Ball Stringray 5</span></li> <li><span class="font_large">F Bass BN6</span></li> <li><span class="font_large">Fender Jazz Bass Fretless (Mexico)</span></li> <li><span class="font_large">Fender Geddy Lee Jazz Bass (Japan)</span></li> <li><span class="font_large">Fodera NYC</span></li> <li><span class="font_large">Fodera Monarch 4 Standard</span></li> <li><span class="font_large">Fodera Emperor 5 Deluxe</span></li> <li><span class="font_large">Godin A5</span></li> <li><span class="font_large">Godin Dorchester</span></li> <li><span class="font_large">Godin Passion 4</span></li> <li><span class="font_large">Ibanez Soundgear Fretless</span></li> <li><span class="font_large">Ibanez Ergodyne</span></li> <li><span class="font_large">Ibanez Ashula</span></li> <li><span class="font_large">MTD Kingston</span></li> <li><span class="font_large">Modulus Genesis Vintage Jazz</span></li> <li><span class="font_large">Peavey Grind 6 String</span></li> <li><span class="font_large">Roland GR-77B Synth Bass</span></li> <li><span class="font_large">Spector Performer</span></li> <li><span class="font_large">Spector NS-2J Euro</span></li> <li><span class="font_large">Spector Coda</span></li> <li><span class="font_large">Spector Coda Fretless</span></li> <li><span class="font_large">Spector NS-5H2</span></li> <li><span class="font_large">Vester PJ Bass - my first bass</span></li> <li><span class="font_large">Warwick Thumb Bass</span></li> <li><span class="font_large">Yamaha BB200</span></li> <li><span class="font_large">Yamaha BB300</span></li> <li><span class="font_large">Yamaha Attitude</span></li>
</ol>
<p> </p>
<p><span class="font_large">Over the years, I certainly have been afflicted with this expensive disorder. Most of these basses were bought and sold between 1999 to 2003, when B.A.S.™ had it's strongest hold on me. Looking back, my playing didn't improve much over those years. I was too wrapped in the gear, thinking that what was I needed to improve! </span></p>
<p><span class="font_large">Interestingly, most of my recorded output was recorded on three instruments: the Spector Euro, the Modulus Vintage Jazz, and the Fodera Monarch 4 Standard. Truthfully, I love the idea of having one main bass. Like Billy Sheehan with "The Wife" or Jaco's "Bass of Doom" or Jamerson's "Funk Machine." My Fodera Monarch is the closest I've come...yet! </span></p>
<p><span class="font_large">A few of my friends are real collectors and have upwards of thirty instruments. I am not much of a collector. I think the most basses I have owned at one time is six. I currently own three basses. </span></p>
<p><span class="font_large">What is your main bass (or basses)?</span></p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/246f1946a39bfabf99528a44848bb21582d88e68/original/azola-bug-bass-electric-upright.jpg/!!/undefined/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/cd992628d3010ea1054d3c80887237632001daf8/original/fender-geddy-lee-jazz-bass.jpg/!!/undefined/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/e99e533f1e805227afbb5bea01ced7e0fd1b3b5e/original/modulus-genesis-vintage-jazz-bass-my-main-bass.jpg/!!/undefined/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/47a11a7167e47b7a9d9b77ef429f939118e207ed/original/spector-ns2j-cr-bass.jpg/!!/undefined/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/8c6e7794381a2b7fd34c63f41f0226d2abe2319f/original/yamaha-attitude-ltd-bass.jpg/!!/undefined/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/63067/9c1fb74b4c8fe638371f50f887f42e94734c3953/original/vester-pj-bass-my-first-bass.jpg/!!/undefined/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_" /></p>Jason Raso