Jerzy Drozd - The Ultimate Guide To Perfect Bass Setup

This is just short message from Jerzy to let you know that I have finished The Ultimate Guide To Perfect Bass Setup. Download here:
 
english version
spanish version

Enjoy!
Jerzy
More info: http://www.jerzydrozdbasses.com

Luthman bass & guitar leather bags

Amis bassistes,

afin d'accompagner votre alter ego musical, voici les étuis cuir Luthman, la peau de votre instrument!
Toujours dans l'esprit de fabrication artisanale, ces étuis sont faits à l'unité et notre petit atelier a donné
le meilleur de lui-même pour arriver au compromis haut de gamme/prix raisonnable.
 
Le prix d'un étui est 229€, prix de lancement  à 199€ jusqu'à la fin de l'année!!
Plus de détails sur le deuxième site Luthman : www.luthmanshop.fr
 
Bonnes fêtes à tous!
Bassistement
Thierry
 
*****
Dear bass players,
 
I'm proud to introduce the new bass & guitar leather bags: The skin of your instrument!
Till the end of 2009 we propose it for 199€ (instead of 229€).
For more go to www.luthmanshop.fr
 
Cheers
Musically
Thierry
 
www.luthmanshop.fr
www.luthman.fr

Simone Vignola - Love Song

free download here : http://www.simonevignola.com/

Dominique di Piazza Masterclasses @ AmsterBASS 30/31 October

Dominique, who resides in France, is of Sicilian origin and was raised by his gypsy stepfather, a heritage that would influence his musicality in later years. He played both guitar and bass for a period of time, and after hearing the infamous Jaco Pastorius in 1979 decides to focus strictly on the bass, and not long after starts finding the unique voice he becomes very well known for.
Being a self taught musician, he immediately started developing his own style of playing, and by the early 80's had refined his signature right hand approach. It began by using the thumb, index, and middle finger instead of the traditional two finger approach, and that move gave birth to the four finger technique which is used as a secondary technique by many of the top players in the world. In addition to that, he also enhanced this technique by using a pedal steel guitar pick on his thumb and index finger, and carved out a unique and distinctive sound on the instrument.
Beyond that, he also made a change over from a 4 string to a 5 string and introduced using a high C string as the 5th string instead of the low B, which was uncommon, and once again was embraced by many of the top players. On the « Que Alegria » album with John McLaughlin, which came out in 1992, the solo bass tune « Marie » would become one of the highlights of the recording, displaying his new « picking technique ».

These subtle but imaginative changes to his approach on the instrument, would have a ripple effect in the bass community and would be adopted by numerous players both here in the states and in Europe, such as Matthew Garrison, Adam Nitti, and Hadrien Feraud to name just a few.He also came up with a design for a special bridge to be used on a fretted bass to emulate the sound of a fretless bass.
This can be heard on the piece « Seven Up » from the album « Wait and See » recorded in 1993, which once again was another extraordinary performance by Dominique.
Add to that a strong background in the be-bop genre, his gypsy musical heritage, a neo-classical approach to his playing, and a strong sense of harmony, and you have one of the most original voices on bass in modern music today.
His career started in 1982 at the Hot Club de Lyon in France playing with Michel Perez. He became an established player on the Paris scene and toured as well with Didier Lockwood, Andre Ceccarelli and Gordon Beck.

In 1987 he does a European tour with Gil Evans and the Big Band Lumiere of Laurent Cugny. He then recorded a trio album with Jean-Pierre Como and Stephane Huchard called « Padre » .Then in 1991, Dominique becomes a member of the John McLaughlin trio along with Trilok Gurtu. They do a worldwide tour of more than 300 concerts and record the « Que Alegria » album, which caught the ear of many well known bassists, and Dominique becomes an established player on the jazz scene.
John McLaughlin quotes, « His talent is immense, and I feel he is one of the most musical bass players in the world today ».

In 2000 the group « Front Page » is created featuring Dominique with Bireli Lagrene & Dennis Chambers. They tour Europe and eventually record « Front Page » which wins France's « Victoires de la Musique » award for the years best Jazz CD.

In 2005 and 2006 Dominique is touring again playing in the Island of Reunion, the Island of Maurice, and Madagascar, as well as 10 countries in Africa playing with pianist Meddy Gerville, guitarist Jean-Marie Ecay, and percussionist Horacio « el Negro » Hernandez. This collaboration records the CD « Jazz Amwin » creating what was called « Maloya Jazz », a blend of jazz and Maloya, a traditional music of the Reunion Island.

In 2006, Dominique is in India, recording a CD with the great Indian mandolin player U. Shrinivas, guitarist Debashish Bhattacharya, Selvaganesh (kanjeera), and Zakir Hussain (tablas). « Samjanitha » be released on Dreyffus/Sony label in March of 2008.
He has also recorded a CD « Woman's Perfume » with Italian pianist Antonio Farao and drummer Andre Ceccarelli, which was released the 23 January 2008 on Camjazz label (import Omagatoki Japan)

In 2008, John McLaughlin asked Dominique Di Piazza to join him on his major European tour, "The 4th Dimension", with Gary Husband (keyboards and percussion) and Mark Mondésir (drums). From Spring through to Summer they travelled across Europe, playing over 30 venues together in all the major cities, from Spain to Russia, Ireland and Eastern Europe. Dominique also accompanied John McLaughlin in India at the Blue Frog Club in Mumbai, for a unique concert by "The Floating Point" group, with Ranjit Barot (drums), Louis Banks (keyboards), Shashank (flute), Naveen Kumar (flute) and Shankar Mahadevan (vocals). Meanwhile, Dominique's trio with the Brazilian guitarist, Nelson Veras and drummer Manhu Roche brought out their album, "Princess Sita" on 26 August 2008 on Sunnyside Records (USA), distributed by Ryko.

Since 1985 he has been teaching at music schools in France and throughout the world. His unique voice, style and commitment to music have kept him at the forefront of the jazz scene, and we will be hearing a lot more of him in the near future.

Check out:
www.myspace.com/dominiquedipiazza
http://amsterbass.blogspot.com/
Youtube

JuliousBass @ European BassDay

I played bass in New York City for various projects. I was on the scene as a bassplyer for the live poetry scene which i came in contact with The last Poets and i did alot of gigs throughout Harlem with them. I also worked on an independent movie Kung Fu Jew which i did the music for with the director. I started a band called Mindtrip which featured the original cast member of (Rent) Wilson on the vocals. I spent years at Studio Instrument Rentals working and rubbing shoulders with the rich and famous in music.
John Bon Jovi,Roberta Flack,Herbie hancock,Puff Daddy to Captain and Taneel to name a few.My role was basically if the wanted to play in New York I had to put it together with my crew.
I also worked on some of the best music videos ever made at the time.I was employed by Martine Capalbo and Matt Capalbo which lead to work with Hype Williams,Little X,Brett Ratner,Benny Boom etc.etc. It's funny now to think some of the best directors started out doing Hip Hop and R&b videos. Those were the days. We did video's ghetto style and my most favorite video was Big Pun's "i'm not a playa i just crush alot". (r.i.p Big Pun)
Soon after i got a gig with Lauryn Hill ,and i was in the do wop that thing video.The cool thing about that video was even though there was a lot of extras i was playing Bass behind her.In the video she was pregnant and the dress she wore was designed by my friends the Capalbo's mother. The video was produced by the capalbo,s and i casted the band in my scene and i was working at S.I.R at the time and i brought the equiptment and tech'd the video that day. So i made $$$! Soon after I moved too London to start music school.

The London Music School!
I didn't need to go to London to study music but i needed to get out of New York at the time. I learned Music theory which was just what i needed. In New York everything seems out of reach as a ghetto child and no one gives nothing away for free.
The main lesson I learned in London was I had something to offer despite what I was being told in New York. Jazz and Classical Music education doesn't make you a Musician,talent passion and Theory, Chords, understanding piano is what will put the missing peaces together. When you go your own way you tend not to run into to much bull***t.

check: www.juliousbass.com

Stefan Neldner - new Spector Endorser

Spector Basses und der Gerhard Knauer Großhandel freuen sich, die Zusammenarbeit mit Stefan Neldner verkünden zu können.
Stefan Neldner ist einer der aufregendsten und interessantesten Bassisten Europas. Mit seinem unglaublich virtuosen Fretless Spiel, das vor Musikalität und Spielfreude nur so strotzt, setzt er ganz neue Maßstäbe in diesem Bereich.
Da er seit vielen Jahren einen 1978er Spector USA Bass spielt, war es nur logisch, ihn als Endorser mit ins Spector-Team zu nehmen.
Für das Jahr 2010 sind Spector Clinics mit Stefan Neldner bereits in Planung.
Infos auch auf:
www.stefanneldner.de
www.gknauer.de
www.spectorbass.com

TC Electronic RS112

We continue to make waves in the bass market, this time with another cabinet in the RS range. The RS112 is a great-sounding cabinet to carry, plug and play anywhere...

Our RS112 is a new high quality compact cabinet in the RS bass range. RS112 delivers TC tone in a small and compact package. But don't let the tight design fool you, RS112 handles 200 watts of power and the 12" driver and 1" tweeter is the perfect choice for a full toned sound anywhere spaces comes at a premium. As with all of the RS range, the 12" driver and tweeter (with rear HF adjustment) are custom made by the Eminence and offer superior quality and power.

Read more about RS112

New TC Electronic Bass Amp - Staccato'51 - the sound of a legend

The bass world's response to our introduction of award winning RH450 and Classic450 has been overwhelming. Now, with the help of a true world-class bass legend, we introduce our third amp to deliver instant world-class bass tone - we are proud to present our cooperation with, Tower Of Power's Rocco Prestia on Staccato'51

Think of legendary bass players and Francis Rocco Prestia features on every list. For over 40 years now Rocco's bass has been underpinning the groove for Californian funk legends Tower of Power. In that time Rocco has defined his own style and become synonymous with the much-imitated 'Finger Style Funk' that he pioneered back in the '60s and '70s.

click here to see the video
Laura Clapp & Rocco Prestia
Laura Clapp presents the new Staccato'51 bass amp to Francis Rocco Prestia of Tower of Power. Afterwards, they talk about how it all came together and how it was to develop the amp together with TC Electronic. We also hear the response from other members of ToP including Rocco's bass tech.
Now TC and Rocco have joined forces to make Staccato'51 - a custom-tuned version of the RH450 that's been made to Rocco's exact specification and ear. It may look like the RH450 bass head, but the sound design is completely different and meets the demands of a legend like Rocco Prestia - both on stage and in the studio.

Rocco's sound design on Staccato'51 fits his legendary finger-muting technique like a glove. The full-bodied tone with plenty of highs and lows as well as the ultra fast precision response enhances the percussive elements of Rocco's playing to perfection.

In addition to the sheer tone shaping, Rocco has added a touch of our SpectraComp™ per-string compression to tighten the sound even more. And finally a touch of TubeTone™ brings out the growl of Staccato'51 when really digging into those low-end notes with his powerful right hand technique.

To achieve perfect tone, Rocco pairs his Staccato'51 with a stack of our RS cabinets - An RS410 and two RS212s - giving him both punch and enough low end to stand out on stage with the 10-piece Tower of Power band.

Check: www.tcelectronic.com/bass

Advertisement

Adam Nitti & Band @ European BassDay 2009

Adam Nitti has been establishing himself as both a bass-wielding frontman and recording artist for well over a decade. Having also performed and recorded with a diverse collection of artists, including The Dave Weckl Band, Mike Stern, Scott Henderson, Peter Erskine, Susan Tedeschi, Steven Curtis Chapman, Jeff Coffin Mu'tet, Phil Keaggy, and Heather Headley, he has likewise earned his reputation as a distinguished studio bassist and sideman based out of Nashville, TN. A passion to inspire excellence in musicianship led Adam into co-founding www.MusicDojo.com, the first-ever interactive online music school. Adam is a tireless educator and touring clinician and is also a regular columnist for both Bass Player Magazine and Bass Musician Magazine. He has been featured in hundreds of music publications and on stages around the world and continues to bring unique voice and perspective to the bass playing community. He currently celebrates the recent release of his fourth album, entitled, "Liminal." Learn more at www.adamnitti.com and www.myspace.com/adamnittimusic. 

Advertisement

www.harvest-guitar.com/

www.bassguitarmagazine.com

De Gier Basses @ European BassDay 2009

web: www.degierguitars.com

Glenn Gaddum plays De Gier Basses

Glenn Gaddum jr., was born in Alkmaar and raised in Amsterdam, Holland. He came from a musical family and was influenced early on by his father, a jazz piano player and owner of a recording studio, as well as his musical artistic extended family.
He displayed an early affinity for jazz music. By the age of fifteen he was already proficient on the bass guitar and piano and had begun composing music. The bass guitar, however, was his love and by the age of sixteen, he was working regularly with various bands. Soon thereafter, he was playing bass and writing music for various artists. Glenn also spent the next few years as a studio musician. He has appeared as a bassist on over all kinds of records.He was also a member of the succesful group the Mindmenders in wich his sister Patty Gaddum was the leading singer. They won in 1999 the 'Popprijs Amsterdam' award and also won the "Grote prijs van Nederland' award. As the bassplayer of the Sanne van Hek Trio, they won the Dortse Jazz Price in 2003. Glenn graduated cum laude at the Conservatory, University School of Music in Amsterdam.
He playes/has played with:
Glenn Gaddum sr., Franky Douglas, Eddy Veldman, Karel Boehlee, Ruth Jacott, N'dambi, Ferial Karamat Ali, Jose James, Postman, Berget Lewis, John Scofield, Anouk,
Frank Mc Comb, Harmen Fraanje, Peter Tiehuis, Eef Albers, Boris, Branford Marsalis, Candy Dulfer, Sven Hammond Soul, Sanne van Hek, Ton Dijkman, Rose, Raymzter and so on.
web: www.degierguitars.com

Check out our TAP-GUITARS – we want you for endorsement!!

Check out our TAP-GUITARS – we want you for endorsement!!
 
You are open for new ways in making music …
You still love extraordinary instruments; you are an experienced bass- or guitar-player; or you even have a background in playing tapping instruments and you are still convinced that groove, pop-appeal and some roots are more important than being a virtuous “noodler” which can play notes faster on the fret-board than Michael Schuhmacher can drive and you think about all the chicks too which only like to shake their hips to the music – than you should contact us: info@mm-wo.de . Or check with us at our booth on the European Bassday in Viersen.
 
What do we expect from you really?
You should learn to be a tapper and play our instrument on a lot of Live-Concerts you do with your band, tell the press some nice things about the KOYABU or the TENAYO Tapper, you are willing to do some photo-shootings for us and you should visit our booths at all the conventions we are in, talking with the people and play some tunes for them.
 
If you like to do all that for us you will get one of our Tap-Guitars and a lot of support for nothing!!
www.music-marketing.de
www.tap-guitar.eu

Check out our KOYABU SYMMETRIC BOARD special price-offers in our eBay-Shop: http://stores.shop.ebay.de/music-marketing__W0QQ_sidZ146876133?_nkw=koyabu !!

Music-Marketing with TAP-Guitar @ European BassDay 2009

Music-Marketing GmbH was founded in 2005...
We are still selling stringed instruments and a lot of accessories all over Europe - mostly to shops. And we are specialized in distributing very extra ordinary stringed instruments like Sitars, Tap-Guitars, Slides, Pedal Steels, Auto-Harps, Soprano Guitars, Classic Guitars with 7, 8, and 10 strings and much more. But our most known trademarks are PACCS, TENAYO, ORFEA, WHITEBORN & HADGET. Our General-Manager Hans-Gerd Pflugbeil is also well known for his work with ROLAND, CASIO or the German Magazine GITARRE & BASS.


This year at Viersen we would like to introduce you to our 12-String Japanese Tap-Guitar – the famous KOYABU Symmetric Board which was constructed by Mr. Yoshitaka Koyabu. The instrument can be played by both hands tapping. Perhaps you can compare it a little to the piano playing technique but at all with guitar and bass strings which will be touched down with your finger tips on to the flat fret-board. The idea of the instrument bases on the Original Chapman-Stick which was first introduced in the early 80s by famous musicians like Tony Levin (Peter Gabriel & King Crimson) or Nick Beggs (Kajagoogoo). But the concept of the KOYABU is still different even its very special design. All parts of the instrument are standard, there is a body (this still causes in a wider spectrum of mid frequencies) and the tuning is symmetric (inverted fifths on the bass side & ascending fourths on the melody site). Both hands move uncrossed on each side of the fret-board. There is a wider spacing between each string and it has a 30’’ scale. So no extra strings are needed. At all the KOYABU sounds much smoother and more dynamic than other well known Tapping-Instruments and the pricing is very well.



Ron Baggerman & Michael Koch (BiusK) will be happy to show you these wonderful instruments at our booth. We will play all that stuff no one would trust to play really. So you are all welcome!!

If you have more questions - please are not afraid to ask us: info@mm-wo.de
If you are interested in these extraordinary Tap-Guitars please visit tap-guitar.eu
The name of our general website is www.music-marketing.de
All of our PACCS products like instrument-cables - stands & other merchandises you will find on www.paccs.de
A lot of photos from our shows and further info you will find at www.myspace.com/musicmarketingworms 

AmsterBASS, 30 & 31 October, Amsterdam

For those who cannot wait till the European BassDay. On 30 and 31 October we are organising together with the conservatory of Amsterdam the first "AmsterBASS" event.

Friday: masterclasses with Dominique DiPiazza, Reggie Washington and Lorenzo Feliciati
Saturday: BASS exhibition, workshop and performances with Dominique DiPiazza, Reggie Washington, Lorenzo Feliciati, Cédric Waterschoot, Davy de Wit, Tomas Merlo, Jonathan Ihlenfeld Cuniado and some more tba soon!

Entrance: free of costs!

Check: http://amsterbass.blogspot.com

Simon Bassmaker @ European BassDay

Simon Bassmaker is a one man business located in Innsbruck, Tirol. It's run by Peter Simon.
Special about the basses are the own designs and innovative details. Only best woods and components are used.
The instruments are planned, designed and built with much love, understanding, taste and creativity to achieve an accomplished result in sound, playability, look and mojo.
Each bass has its own concept and character developed individually with the customer to suite his wishes, needs, taste and personality.
Everything is made by hand by the maker from start to finish.
In the near future there will be a custom bridge, custom cases and gigbags.

For further information visit
www.simon-bassmaker.com
or email to: info@simon-basmaker.com

Simon Bassmaker ist ein Einmannbetrieb in Innsbruck, Tirol, geführt von Peter Simon, spezialisiert auf E-Bässe.
Das Besondere seiner Bässe sind die eigenen, geschmackvollen Designs und innovativen Details. 
Es werden nur die besten Hölzer und Komponenten verwendet. 
Jedes Instrument wird mit viel Liebe, Kompetenz, Geschmack und Kreativität geplant, designed und gebaut um ein stimmiges Ergebnis in Sound, Bespielbarkeit, Aussehen und Mojo zu erreichen.
Jedem Bass liegt eine eigenes Konzept zu Grunde und hat einen eigenen Charakter, der mit dem Kunden zusammen entwickelt wird um seinen / ihren Wünschen, Bedürfnissen, Geschmack und Persönlichkeit gerecht zu werden.
Alle Instrumente werden vom Anfang bis zum Ende vom Maker handgemacht.
In naher Zukunft gibt es eine eigene Brücke, custom Koffer und Gigbags.

Für weiter Information besuchen Sie die Webseite: 
www.simon-bassmaker.com
oder schreiben Sie eine Email an: info@simon-basmaker.com

Accugroove Synergy AMP

NO COMPROMISE
38 years of passionate bass playing have been poured into designing the ultimate no compromise lightweight amp.
Our promise is to not allow cost to dictate the quality of the design or components we use. In addition, like all our gear it is designed and build here in the good old USA. We’ll let the other guys outsource jobs & manufacturing to Asia.

KEEP IT SIMPLE
Total bliss comes from the careful selection of proper EQ and relentless engineering. Following our goal of Studio Quality sound for live applications, our simple 4-band EQ is dead flat when at 12 O’clock. This enables you to hear the true sound of your instrument as if you were still in the studio. There is no coloration like that that associated with other brands.

TONE or WEIGHT
Until now, you had to choose between tone or power. Lightweight usually means no power or tone. Likewise, great tone and power usually means hauling around a heavy lead-sled.
Our hybrid design with our amazing sounding 12AX7 tube in the pre gets rid of the sterility that is associ-ated with lighter amps. Our extremely high quality Class H amp and switching power supply keeps the weight down to what most preamps weigh!

BOTTOM LINE - FEEL THE BASS!
Synergy is the ultimate no compromise lightweight, amazingly simple, extremely powerful amp that has crushing tone. This amp is pure sonic bliss!

More Infos and Specifications here

www.accugroove.com

Nickelback’s Mike Kroeger Teams Up With The AH1200-12, Trace Elliot’s Road Warrior

 
Canadian four-piece Nickelback were already a household name thanks to 2001’s 'Silver Side Up' and its massive lead single ‘How You Remind Me’.  Though it seemed they would never hit such heights again, just five years later they had a massive hit with ‘Rock Star’.  It became everyone’s favourite anthem.
 
Now touring the USA in support of latest album ‘Dark Horse’, these stadium rockers need resilience and power from their amplification and Trace Elliot are on hand to deliver the goods.  Bassist Mike Kroeger brother of vocalist and guitarist Chad, plays the Trace Elliot AH1200-12 head and 1818/1048H cabs. While on the road, he had this to say about his unbeatable setup: “My Trace rig is road proven to be a warrior.  I get rock solid and crystal clear tone every night and the f*&#ing thing will not blow up or break down.”
 
Presuming he is not trying to wreck it physically, it will certainly take whatever locomotive riffs are being thrown at it.  What with Nickelback’s reputation for embracing the tough conditions of playing to adoring fans, it seems the band have found their perfect match with Trace Elliot.

RELATED LINKS:
- AH1200-12 Head
- 1818 Cab
- 1048H Cab

 
 
 

Marcello Sebastiani - “BASS EXPRESS” (Drycastle CDD 029 – 2009 )

“ I like the double bass and the electric bass, from Charles Mingus to Paul Mc Cartney, from John Lindsay(in Jelly Roll Morton’s Red Hot Peppers) to Jaco Pastorius.
When Marcello Sebastiani asked if I would have liked to write the cover notes of his album as a solo Bass Express, I accepted immediately: I’ve been appreciating and following this musician and teacher for years, and besides, there is an instinct to follow in the field of music criticism. After having listened to it, I realized that my instinct was right. Bass Express is a brave album because it doesn’t limit to afro-American music and spreads the sound reflex of the double bass both in a planetary dimension (America, Europe, Asia) and in a time shift, touching the year 1723 (La Sonnerie de Sainte-Geneviève du Mont de Paris by Marin Marais , G.B. Lully’s pupil), after having crossed the 1900 with Four Preludes by Erik Satie.
After a deep sight, you can appreciate the precise, accurate and narrative pagination of the album: that prevents the listener from an occasional listening of the sequences. The first five pieces are re-readings, agreements, adaptations of pieces, from a classic repertory. A sort of jazzed up bridge (C.Q.) follows and leads to three compositions inspired by India, three mantras adapted to double bass with various tonal centres, written by Sebastiani. Another bridge, the influence of Marais’ musical scoring and we get to other three compositions, this time strongly jazzed up (the coltranian Equinox and the ellingtonian In a Sentimental Mood, and the most original Bass Express). In other words, it is a sort of multiethnic album, which can be outlined as follows: classic pieces / jazz bridge / Indian pieces / classic bridge/ jazz pieces / folk tail. A whole musical career, an entire life are summed up, in that way.
The repertory choices find a reflex -but with different lights- in the instrumental and stylistic ones: in the field of classical music, Marcello Sebastiani frequently uses the over recordings and shares between the bow and the pinched often overlapping them; in the ethnic and jazz field, the picking prevails and the over recordings disappear, as to highlight the concept of instantaneous composition, of performance, even if mediated by the recording studio. In the real dynamic of pieces, however, the styles aren’t strictly separated, but they interlace themselves in an unexpected way creating the polichromy which makes Bass Express unique in his gender. The
four preludes of Erik Satie (Chevaliers normands ed une jeune demoiselle; Prèlude d' Eginhard; Le Nazarèen; IIème Prèlude du Nazarèen) have a meditative character, with sounds that change stretching to the dark. The variations in pinched introduce rhythm restlessness, generating an elastic tension that doesn’t modifybut brings up-to-date - the pages of Satie. In the austere and martial piece of Marais the overlap of the picking to the bow lightens the metronomic course, coming gradually unhinged at the level of execution and by means of improvisation.

Sebastiani’ s jazz component becomes evident in C.Q., bi-thematic piece (in reality two timbre-thematic sections); here, to beyond the mingusian references, the autonomy and the expressive wealth of the double bass boast, and it becomes able to narrate and sing. In the three mantra it is the horizontal dimension of the phrasing that leads to a great freedom, hardly withheld by the attraction of the gravitational tonal centres; notes beaten again with micro variations and a sitaristic development, confer to the pieces an intimately Indian dimension, the result of deepened sound experiences on the side of the tablas player Badal Roy. It is not a case that the original composition Bass Express has been chosen like the title of the whole album: the chasing low turn that constitutes the cell-base leaves the place to the improvisation, carrying the apotheosis of a solo that maintains its structural steadiness. The historical role of double bass meets the dimension of invention, without for this renouncing to be the pillar of music. It is thus also for Equinox and In a Sentimental Mood, where melody, harmony, timbres mingling are suggested
and make us to catch a glimpse with an happy choice of time and taste. The most delicate, memorial, lyric is the tail of Tutte le funtanelle “. Luigi Onori

Visit: www.marcellosebastiani.com

CMS MUSIC EQUIPMENT sponsors the European BassDay 2009

In Good Sound We Trust
What is it that lights up the hearts of musicians all over the world? The passion for great sound, the pleasure of inspiration through technology, and of course, fine instruments that give the artist the ability to communicate these emotions straight to the audience.



In March 2008 the family business CMS MUSIC EQUIPMENT was inaugurated in Duisburg, Germany, a city close to the border of the Netherlands. Right from the start the demands on the products were high. Only the best guitars, bass-guitars and amplifiers of all classes were selected to find their way onto the product-list of CMS MUSIC EQUIPMENT. So, it does not matter, if you are a rookie or a professional, we will always have the right instrument for you at hand.
Our goal is to offer to our customers the service and the feeling that only a family business is able to provide. Just drop in and see it for yourself! Be impressed by the excellent collection of amplifiertechnology, guitars and bass-guitars by highly recommended brands like Ampeg©, Gretsch©, Spector© and all other current and popular brands, that are just waiting to be played by you! Explore the innovation of German instrument-builders like Rüdiger Ziesemann of Bassline© and Wassilios Nikolaidis of Waja-Bass©!




HOTPOT is our own in-house event that was created to bring together musicians and manufacturers
of music-equipment. Every month, well known endorsers will be doing a workshop at our place and will present their equipment to you, together with the creators. Learn the tricks from the professionals, get used to state-of-the-art-technology, ask all the things you always wanted to know about the stuff and you will be getting an answer right from the people that invented it! And if you get hungry, just try a cup of our hot-pot that we will be preparing freshly for these special occasions.
In Good Sound We Trust. The demand and the passion for great sound we are also sharing with other musicians. And we proudly announce that we could recently win Andreas Reinhard of Latin Jazz Mafia. "Thank you Andreas, and welcome to our CMS-Team!"

No drill, No skill! CMS MUSIC EQUIPMENT is also supporting newcomer bands and festivals like the FreeFall-Festival and Rockhaus in Concert are profiting from our effort to promote young talents.
Would you like to know more about us? Visit our website www.cmsme.de or just come around our place, because we are more than just another online-shop. You will find us at Augustastrasse 73 in 47198 Duisburg.

www.cmsme.de

NEW FENDER® BASSMAN® TVT SERIES

Fender® bass combos carry the DNA of the original Bassman, delivering classic Fender bass tone in a package designed to handle the demands of low bass frequencies. With a unique look that is unmistakably Fender, you are sure to class up any stage and cut through the monotony. Available with 150 watts and a 10” or 12” driver or with 300 watts and a 15” or a pair of 10” drivers.
 
BASSMAN® TV™ TEN
BASSMAN® TV™ TWELVE
BASSMAN® TV™ FIFTEEN
BASSMAN® TV™ DUO TEN

Richard Bona with Band @ European BassDay 2009

We are very glad to anounce that as Special Guest we have Richard Bona with his band to be our main act. Check our Aritst page you'll find all the acts which are allready comfirmed by now.

Stay tuned and order your tickets now to be sure to get in, it will be a full house this time!

See you all @ European BassDay 2009 in Viersen, Germany!

Yours,
Marco Schoots

Order your tickets here

Rotosound launch Nexus coated Bass string range

 
British string manufacturer Rotosound has a rich history of manufacturing the best, most innovative strings in the business. The company has brought all their expertise, knowledge and experience together to launch the new Nexus coated range of strings.
 
After extensive research and development, Rotosound has developed a unique microscopic coating process which adds a flexible, protective, black coating to the new Nexus range of strings. The special black polymer coating helps prevent contamination and corrosion, significantly extending the life of the strings. It is silky smooth to the touch and most importantly produces a tone that has to be heard to be believed.
 
The bass strings have a black polymer coat set over a Type 52 pure nickel alloy wrap. This gives rich mid-tones and offers an alternative to steels with high presence. The gauges available are 40, 60, 80 and 100, and 45, 65, 85 and 105. A single Low B (130) will also be available for five string bass players.
 
Also available are the Nexus Acoustic sets are clear polymer coated wound, gold series plain strings with a phosphor bronze base. This gives enriched highs and gentle mid-tones and comes in three gauges: 10s, 11s and 12s. In the electric range new Nexus strings also have a black polymer coating over nickel alloy. This adds a lot of warmth compared to conventional nickel strings. There are two sets available here: 9s and 10s. 
 
With fifty years of heritage and legions of fans worldwide, Rotosound take great care to ensure it’s strings live up to the Rotosound reputation. All the strings are manufactured using the finest quality raw materials and made to the strictest quality control standards. EVERY string is hand checked for consistency of winding, colour, feel and general quality before being passed, and only then is it worthy of carrying the Rotosound name. 
 
The new Nexus range is available now and is currently being used by top professionals such as Pink’s bass player Eva Gardner.
 
For further information on the range see http://www.rotosound.com/news.html

Bruno Tauzin - Solo Bass

Bruno Tauzin
www.bassebruno.com

Bruno Tauzin has just released a new solo bass CD and it's quite a beautiful musical statement!


Bruno has a really nice ear for melody and harmony (and it sounds like he's spent some time in the classical wood shed...  very reminiscent harmonic movement!).  If you're looking for a chop fest, this may not be the release for you, but I found every track to be very satisfying from a purely musical standpoint.  Although I may not be one to listen to a whole album of solo bass very often (with the exception of some early Dave Holland releases) this music is very soothing and comforting!  Bruno makes nice use of open strings, harmonics and double-stops and his lines are very organic.  My overall impression is that, while you may not be bumping this while cruising the strip, the music here creates a very nice atmosphere.  I found myself enjoying this as a soft soundtrack in the house while doing some other things (and that's a much bigger compliment than it sounds..!).  The music asks you to sit back and let it in...  it won't force itself upon you.  Very worth checking out if you have a little patience.

review by Damian Erskine for Bass Musician Magazine

Lefty BassDay

On Saturday, 19th Sep 2009, we will be able to witness history in the making in the three-country-triangle of Belgium/The Netherlands and Germany.
There will be a BassDay for Lefties on that date, probalby for the first time ever.
The idea for such an event grew on a meeting between Jürgen and Stephanie Weidner (Owner of “CMS Music Equipment”) and Arni (Lefthand Bassplayer Community) at a meeting on the European Bass Day in Viersen.
Stephanie Weidner and Arni (Volkmar Arnecke) are amongst the very few numbers of bassplayers, that play the bass mirrored to others. As the numbers of lefthand-bassplayers are so few, one can not expect of the music-shops to supply an equal wide range of lefthand- as well as righthand-bass-models.
The planned BassDay should now open the opportunity, with the help and support of the visitors, to see and test numberous Lefthand-Bassguitars.


Meet and Greet in Duisburg
There is a planned Get-together of Lefthand-Bassplayers in the rooms of “CMS”, for which every bassist is kindly asked, to bring their own instrument. This will give the Lefties the one in a lifetime opportunity to hold and judge all kinds of different Bassguitars for Lefthand-Players. These exotic instruments could be tried using amplifiers supplied by “CMS”, if anybody wishes to do so.

Eventhough “CMS” has a wide range of Lefthand-Bassguitar the organisers of the meeting would like to ask all visitor, to bring their own instruments to open the unusuall opportunity to inspect and play a big number of Lefthand-Basses.
“CMS Music Equipment” and Arni are looking forward to this “Meet-and-Greet-Event” and are hoping for numberous visitors.

Ideas and suggestions of any kind are welcome.
The Entrance to this Event is obiously free.
You can find further details and development to this Event on:
CMS Music Equipment
Arnis Lefthand Bassplayer Community

Ratko Zjaca - Continental Talk

Ratko Zjaca (g)
John Patitucci (b)
Steve Gadd (dr)
Stanislav Mitrovic
Rabdy Brecker (tr)



Surpassing boundaries, building bridges, bringing people together. It is clear from the biography and discography of the brilliant Croatian guitarist, Ratko Zjaca, that he is very much driven by these concepts. Earlier CDs are called Crossing The Border and The Bag Is Packed and, meanwhile, flights between Zagreb and New York have become a comfortable routine and English the predominant language. Ratko Zjaca stands as a symbol of the ongoing evolution of American classic jazz as it increasingly becomes a country-uniting form of communication.

No wonder, then, that Ratko has named his début album for In+Out Records Continental Talk. The dialogue between the new and old world is functioning much better. With him as moderator, far fewer conflicts arise than is the case on political platforms. A bilateral exchange without pre-conditions and prejudices, in which the string sorcerer is on the same level as accomplished artists such as trumpet player, Randy Brecker, bassist John Patitucci and drummer Steve Gadd creates a new æsthetic of improvisation. "Two years ago, when I recorded Crossing The Border with John, and shortly afterwards started to play live with Randy and Steve, I knew instantly that I wanted to do my next recording with them," said Ratko. The decision to realise this project came about when he was on a plane with his friend and saxophone player, Stanislav Mitrovic. “It was a case of small talk above the clouds, between America and Europe. Which is the reason the CD is called Continental Talk.”

Quite early in Ratko Zjaca's career, there were vivid indications of his extreme global yearning. After completing his classic studies at the University of Zagreb, the highly talented guitarist attended the conservatory of Rotterdam, where he plunged himself head on into the world of modern music. He attended master classes as well as individual lessons given by Joe Pass, Jim Hall, Pat Metheny, Mick Goodrick, Mike Stern, Bob Brookmeyer and John Abercrombie, at the same time dedicating himself to the study of composition. After Rotterdam he attended the New York University School of Music. Soon the young Croatian had gained the status of being something of a secret weapon on strings and he won the recognition of famous colleagues, not only in the USA but also in Europe. He worked with such great artists as Benny Bailey, Gary Peacock, Reggie Workman, Al Foster, Miroslav Vitous, Ron Carter, Jimmy Cobb, Alvin Queen and Adam Nussbaum.

For his dream ensemble, the heroes of his youth, Zjaca wanted to write music that was perfectly fitting. He says: "This was extremely simple, considering the line-up. An almost natural process, an organic symbiosis". This symbiosis continued during the session. Zjaca, Brecker, Patitucci, Mitrovic and Gadd merely had to look at each other, giving a short nod, and the creative energy poured forth like a lava stream. Only one take was required for each one of the twelve titles. Every band member was receptive to the impulses of the others and was immensely communicative. "I never wanted an album for my ego," said Ratko Zjaca. "My intentions were, first and foremost, to achieve an exchange at the highest level. And this actually worked! I cannot possibly describe how much we enjoyed this moment. But it can be heard, it sounds so obvious and pure. I have never felt better during a recording session." And he was never better than on Continental Talk.

More info

Out now: Goldhammer

Check out the first solo cd of Marius Goldhammer
myspace

KSM FOUNDATION™ Bridge

The Revolutionary KSM FOUNDATION™ Bridge

The KSM FOUNDATION™ Bridge was designed to achieve the benefits of a single solid piece, but also to be fully adjustable for each individual player. KSM has utilized a patented ramp system that allows for precise adjustments and maximizes the transfer of string-to-body vibrations. This improved string-to-body contact gives the instrument exceptional brightness and clarity.




The KSM FOUNDATION™ Bridge is perfect for independent bass builders looking to set themselves apart and for bass bridge upgrades. An instrument that is retrofitted with the KSM FOUNDATION™ Bass Bridge will have enhanced characteristics; such as if the instrument tends to sound low and punchy, those characteristic tones will sound clearer and more refine.


All moving components lock into position with a clamping system after final adjustments are made to prevent any part from vibrating loose after extended use. Because the entire bridge is made of high-grade aircraft aluminum, the light, durable and very resonant material resists all corrosion and rust, while continually maintaining tonal integrity.


This bridge is far superior to other comparably priced bridges. The revolutionary design is completely unique and can not be compared to other bridges on the market.

More info:www.bass-lounge.eu

Windmill Custom Shop JBass made in the USA.

Windmill Guitars is presenting a new Custom Shop Bass Guitar range made in the USA.






Authentic Fender '60 Basses which are licensed by Fender, we use the original 1961 measurements, with handselected very old wood (Alder), Ultra Thin Nitro Finish, handmade (USA) Single Coil Pickups and USA Hardware.
With producing this serie, we do not look at time or money, these Basses are made to be the best you can get!!!

Prices are around 2.900,- Euro (Also available with relic finish: 3.300,- Euro)

Specs:
- Windmill JBass 4-String USA Custom Shop
- Wood: Handselected very old Alder (Also av. Swamp Ash)
- Finish: Ultra Thin Nitro High Gloss
- Neck: Handselected very old Maple
- Fingerboard: Handselected Rosewood (Also av. Maple)
- Pickups: Windmill JBass Single Coil USA Vintage
- Electronic: Passive
- Bridge: Badass
- Tuner: Hipshot

Info: www.windmill-guitars.com

Jerzy Drozd's Bass Contest!

This Brand New Bass Can Be Yours!








Hi, Jerzy Drozd here.

We have finally released the new bass that I have been involved with for some time now. This is our new single cut model.

Before I give you more information about this amazing instrument let me introduce myself.

If you are new to my basses and you do not know yet who I am, just let me say that I´m a Pro bass luthier designing and building bass guitars for mostly 25 years (yeah! it will be next year).

I have designed and have built basses for bass Artists like:
- Carles Benavent ( Paco de Lucia, Chick Corea, Miles Davis)
- Yves Carbonne (Solo Artist, Bass Trio with Michael Manring, Dominique Di Piazza, many other Artists)
- Juan D.C.R. (Maná)
- Alain Pérez (Paco de Lucia, Enrique Morente, Diego "El Cigala", Niño Jósele)
...and many others.

I have built basses from 4 strings to 12 strings, single and double necks, solid and hollow basses etc... I am widely know for my Barcelona™, Legend™, Prodigy L.E.™ basses and Extended Range Basses like Legend X™ and Legend™ XII.

If you want to know more about my work, just take a tour here on my website and discover all the bass guitar models I offer, visit our Forum and read my blog.

Why I tell you all this?

Well, I do not want to sound conceited here but I do want you to be aware that the bass I am giving away is not an ordinary instrument, instead it is a serious piece of art and very fine quality bass guitar.
While giving away a bass free sounds like giving cheap, I want to give you a unique chance to win this unique bass valued in more than $3400!!!

Sounds Good?

OK, now you are aware of what we are talking about I want to introduce you to my very newest baby:

Here are some basic specifications:

- 33" Scale
- Set-in Neck
- Flat (no radius) maple bird´s eye Fretboard
- Cedar Wood Body
- Flamed/spalted maple top
- New innovative Wood Bridge
- 2 split coil JeDXS pickups

all this packed inside of a great bass with many fine details that I am known for, drawn from my knowledge about bass building.

... I have applied to this bass some of my latest discoveries in bass building science. If you want to know more about those secrets, stay connected reading my Newsletter and Blog.

In upcoming months I will reveal some of them.

Actually even if you do not win this bass or even if you do not buy any bass from me whatsoever, you will be able to apply these secrets for a better selection of your next bass purchase, based on the sound you want to achieve.

This bass is so new that you will not find any info about it except within in my Blog. There isn't even a web page for this instrument yet; it's that new!

I had an idea from the first moment to give away one bass from this new single cut series. It is supposed to be a rather basic version, nothing fancy yet it is still a great bass of mine.

However, finally I decided to give away THIS very first bass!

It is the first generation of this new bass design, in time I probably will redesign an actual body/neck setin joint to make it even better.

But I think there is something very special about this bass, the very first one from our new series. It has beautiful wood, gold hardware and it comes with a Certificate of Authenticity with my own signature.

if you know my work for quite time you would know that I never given any of my basses for free, even my endorsers have to pay for it and God knows I have never done this before.

But here it is ...
 
Welcome to Jerzy Drozd's First-Ever Bass Contest!
 
What do you have to do in order to possibly win this bass? It's very simple, you must go to our website

Thanks for participating and good luck!

Reggie Washington "2 HEADS" @ European BassDay 2009

Reggie Washington:  Woody bass
Patrick Dorcean: drums & laptop



Reggie Washington is an influential electric & acoustic bassist in the Jazz, Funk and World scene. Reggie started as a leader 4 years ago and has toured through Europe & the USA with his bands. 

For the European Bass Day, he will play in duo with drummer Patrick Dorcean (Manou Gallo, Mark King, Daniel Romeo, Zap Mama).
"A new twist" to drum & bass with splashes of melody, angular solos & groove,  samples of bass with neo-soul drums.
Reggie's compositions and some re-arrangements of compositions by Opus Akoben, Notorious B.I.G, Marcus Miller & Michael Jackson will bring you to the desired destination... BASS!

Raised in New York, Reggie was a first call bassist during the 80 's & 90's ( Chico Hamilton, Steve Coleman, Steps Ahead, Cassandra Wilson, Branford Marsalis & Buckshot Lefonque).
In the new millenium, he's continued to find his bass voice touring & recording with Roy Hargrove & RH Factor, Me'shell Ndegéocello, Ute Lemper, Mark Ledford, Jacques Schwarz-Bart, Oliver Lake, Adam Falcon & Poogie Bell. 

His first CD entitled; “A Lot Of Love, LIVE!’’ was released in October 2006 (Jammin’ colorS).
The CD is comprised of two live concert performances, one of the stellar trio line ups is with saxophonist Ravi Coltrane (Roy Haynes, Alice Coltrane, Saxophone Summit) & Gene Lake on drums. (Marcus Miller, Henry Threadgill, David Sanborn). The other is made up of 2 excellent Belgian musicians; saxophonist Erwin Vann (Venus, Joe Lovano, Paolo Fresu) & Stéphane Galland on drums. (Aka Moon, Joe Zawinul, Axelle Red).
The CD has received excellent reviews from Bass Player Magazine (USA), Jazz Times (USA), The Music Report (Canada), Bass Guitar (UK), Jazz Magazine (France), All About Jazz (Italy), Mr Jam Magazine (Spain), Jazzman (France), De Bassist (Netherlands), "Le Soir" (Belgium), Jazz Hot (Belgium), Karga Magazine (Turkey), ...

Reggie has given several workshops teaching the "Eternal Internal" & "Anatomy of My Groove" in USA & Europe (California, New York, Belgium, Ireland, Netherlands, France, Germany, Austria, Canada, ...) and private instruction for the last 15 years.

“My music represents the cutting edge of New Jazz today.  It’s a healthy musical mix paying homage to our forefathers & exploring our craft by journeying down new roads to help pave the way for the future. I am a purist at heart; hungry with new & fresh ideas.  For me; our music must evolve & I feel I’m among the select group of musicians/artists/stylists capable & dedicated to keeping jazz music alive & strong!! “ - Reggie Washington

European BassDay 2009

TC Electronic announces that its Classic450 bass amp is now shipping

TC Electronic’s Classic450 is a brand new bass amp that gives bass players exactly what they need: pure tone and power. After showing the world its bass amp credentials with the award-winning RH450, TC Electronic is going back to bass basics with Classic450 – an amp that offers players easy access to a wide range of classic tones, all via the versatile vintage tone control section. This is backed with TC Electronic’s Tubetone™ and multiband SpectraComp™ technology. TubeTone™ emulates every characteristic of a tube pre-amp and power-amp to deliver the full tube sound. SpectraComp™ virtually allows ‘per string’ compression that evens out the compression across all strings, delivering the quality, punchy sound that compressors are all about.

Classic450 delivers 450W output power via Class D amplifier technology in combination with TC Electronic’s Active Power Management™. This ensures maximum power impact and that Classic450 behaves like a tube amp at full blast. Classic450’s input section caters for both active and passive basses, while its fully transformer-balanced linedriver output, featuring a pre/post tone control switch, delivers a perfect reproduction of Classic450’s tone for both recording and live use, so it’s an ideal amp both on the road and in the studio.

Classic450 is fully compatible with all TC Electronic RS cabinets and it will drive any triple combination of the existing models (RS210, RS212, and RS410). And with its auto-sensing power supply operating from 90 to 240 volts, switching to whatever the local rating is, it is ideal for the gigging musician on tour.

Classic450 is what bass players have been missing: classic sounds, ease of use and raw power all in a compact and sturdy box that can be taken anywhere. For review units please contact AMP – see details below.


Classic450 – Tech Specs:
Power: 450 Watt (800+W peak)
Weight: 4 kg / 8.8 pounds
Dimensions: 275 x 290 x 66mm
Outputs: Galvanic isolated transformer-balanced linedriver output (pre/post pre-amp); tuner out, Speakon speaker output
Tone controls: Four vintage tone controls
Compression: SpectraComp™ multi-band compression
Drive: TubeTone™ full amp simulation
Other features: Output and linedriver Mute, Tuner out, Effects Loop, Auto-sensing PSU

Price:
€780 EU list excl. VAT

More information, pictures and videos
Click here for more info on Classic450

Stefan Redtenbacher

by John Lester

 Hausmusik Medley

First of all, hello again. You and I met at European Bass Day in 2006. It's a pleasure to interview you for Bassmagazine and see what you've been up to since then. My first comment about the new CD is ...wow! Putting the first track on and sitting down to listen to this project I was immediately floored by the huge sound jumping off the speakers.  Deep phat grooves and all those horns! The bass is big and round with a nice high end that just cuts through the band without being overpowering. I must admit that when I listen to most projects that are led by a bassist, I find that the playingis often amazing but I rarely like the ‘music’. Not so here! You have great compositions, arrangements and playing as well.

While we will of course be talking ‘bass’ I wanted to ask first about your writing and arranging (well I guess it's a ‘bass’ question anyways). Do you conceive all your horn melodies and lines on the bass or do you use other instruments to write with?

‘Juggernaut Blondes’, the opening track from my last album ‘Falling from Insanity’, was the blueprint for ‘Hausmusik’. My concept was to create up-tempo ‘four-on-the-floor’ beats with a big band horn section on top and a good amount of funky bass and guitar chank in ‘the middle’. Once I had this creative framework in my mind I conceived further ideas with my bass, guitar, keys and loops in no particular order. Alongside this process I was listening to a lot of music for inspiration, more specifically big bands like the Count Basie Big band with Quincy Jones and Sammy Nestico arrangements, Tower of Power (so great to have their very own Stephen ‘Doc’ Kupka and Lee Thornburg on my record), Blood Sweat and Tears, and Earth, Wind & Fire, the absolutely amazing Jerry Hey horn section with Seawind, Rufus/Chaka Khan and Michael Jackson, as well as ‘Soul Jazz’ records from the 60s by Jimmy Smith (check out ‘The Cat’ – totally awesome), Richard ‘Groove’ Holmes, Lou Donaldson, Cal Tjader, well…all the Greats from that special period! Contemporary bands like the Dap Kings, The Budos Band, Mark Ronson, Groove Collective, Herbaliser and Incognito were also on my radar. It’s great to check in how other contemporary artists digest the wealth of great music that came before us. I also studied a fair amount of arranging books (Henri Mancini’s for example) at the time and even took a few private lessons with experienced arrangers in London. I guess all this filtered through from my particular music vantage point, being a bassist who loves to write and arrange. By the way, one of the things that I’m very happy about is that there is no programming on the entire album (except the remixes). All parts are played by musicians and although at times I asked myself during production if I’m going mad by multi-tracking between 50 and 70 tracks per song, I persevered because overall it was a fantastic journey. I also want to give Rupert Christie, the man who mixed my last two records, a big cheer for his great work. You should have seen his face when he booted up the first track and this huge amount of tracks were starring him in the face. That was one of the reasons why I was there all the time in the mixing process (which took a long time) as with this amount of layered material the question of what should be fore, middle and background can totally reshape the music and I had a good idea of how I wanted it to be.

Stefan with his Funkestra at the European BassDay 2006 

Yes, the CD definitely has a shape. A few things I really like is the panning of dense horn parts to the sides, leaving room in the middle for the bass and soloists. You also seem to have compressed most of the horn solos so they seem ‘smaller’ than the other horn parts, but loud enough to be heard clearly. When the horn parts come in around the solos, they really punch. Was there a particular arranger you listened to that gave you this idea? 

Thanks for your kind words. The horns are obviously a big feature and early on I made a decision to write for four trumpets, three trombones and five saxes. Smaller horn sections (three or five horns) are often mixed as one unit, often in one particular sonic space. After I decided on the amount of brass and reeds I thought it would be great to spread the horns across the stereo spectrum. After quite a bit of listening it seems that a lot of big band records have the brass (trumpet and trombones) on the right side of the panorama and the reeds on the left. One record that completely fascinated me during the writing of ‘Hausmusik’ was Paul Anka’s ‘Rock Swings’. Besides the amazing re-arrangements of rock classics and killing performance, the sound is outstanding. It is my dream that one day I will record an album of that caliber. In the meanwhile…back to my record. I’d say that the overall volume of the horn section is probably unusually loud but after experimenting with Rupert Christie, the mixing engineer, I wanted to make sure that the horns are punchy and ‘surround’ the soloist. I’m aware that some of the things we did in terms of sound and relationships between the instruments is not what would acoustically happen if all the musicians would have recorded at the same time but hopefully we have achieved something musically pleasing but slightly different too.

Well, I for one, think you have certainly achieved a unique sound. What's your studio setup at your home studio, Holly Lodge? I see when you mention your home studio on your CD credits you mention also 'Rudi van Gelder appreciation'. Does this mean you set up mics in your living room like van Gelder was known to do when he recorded the greats of jazz?

Funny you ask this question because this is exactly what I’ve done. I saw a great picture of Sonny Rolling during a RVG recording session in Rudy’s parents’ living room in Hackensack. Sonny Rollins was sitting on a bar stool in front of a ‘puny’ music stand, behind him a 50s television set with a Styrofoam cup of coffee on it. I loved the intimacy of it – the whole scene looked relaxed. Although I used a few commercial studios to record some of the material, notably the drums and some of the Tower of Power guys in L.A., I recorded most of it in the cosines of our living room. Sid Gauld, trumpet player from Incognito, came around for a day just to test mics. I borrowed a whole bunch of expensive mics and we experimented with placing and my moveable acoustic tiles, the stuff that the BBC uses for live interviews to block out the surrounding sound and noise. I lost count of how many great meals my wife cooked for, what seems, a myriad of musicians coming and going to record on this album. But that was another great aspect of the journey in the making of ‘Hausmusik’ – sitting down for a meal, talking about life and music, recording some more, having a break for tea or coffee, hopefully a relaxed atmosphere for all involved. There are also a few tracks of vibraphone and percussion which were recorded by the players themselves in their home studios and then sent to me, however, the majority of takes were recorded in the front room at Holly Lodge.

I've done a few bass parts for people in my home studio, and then sent them to the artists. With this being more common these days, how did you find working in this manner? Did you need to ask either the vibraphone or percussion player to re-track anything, since you weren't in the room to originally offer your opinions about their parts?

I love that the Internet has opened up new possibilities and ways in which we can make music. I think music making has become richer for it. At the same time I also think that one approach cannot eliminate another, i.e. it is great to work with people in the same physical environment, to work simultaneously across the net real-time, and also to work in different time-lines and different places. They all are valid and produce their own flavor of results and experiences. 

For me, as a bass player, it has been great to have my set-up and I have done a fair amount of long-distance bass sessions. It is still a great experience to receive a cheque in the post for a session that I held in the comfort of my own home (I got to play ‘with’ Herb Alpert this way on his remix album). However, I think long-distance recording works best if the people working with each other know each other personally to a certain extent. Things can get a little tricky when working with new people or complete strangers. Everybody’s perception and language around music is different and when one producer says “play a fill in bar 53” to a bassist it could mean a lot of different things. Knowing each other helps tremendously because the involved musicians will hopefully understand what each other mean when giving instructions via the phone or email. Email is probably the hardest way to communicate because the written word can be totally misconstrued. Even a simple yes can have a myriad of meanings in a face-to-face conversation whereas in an email it is pretty finite. Trust is one of these human experiences that are still best formed face-to-face.

When it comes to my music and me being the producer, writer and arranger I also think it is great to use the net for ‘off time-line’ and ‘long-distance’ sessions. However, my personal writing style is that I would want the main parts to be recorded with the musician(s) in the same room. It is just a great experience to record with friends and great musicians and this also often produces the much talked about ‘chemistry’ – good and bad. A lot of my music was notated and that made it easier to send the dots via email and then to collect the audio files for insertion into the pieces. It is also interesting to provide hardly any instructions to a musician, as the creative input of another musician can be hugely refreshing. A good example on the record for this approach is the percussion on ‘Shindig’. The percussion player Gabrielle Nuzzoli (who lives in Barcelona) did a great job and all I gave him was a type of lead-sheet and the instruction ‘Have fun!’ This was after everything else was recorded. I cannot remember any comeback in terms of musical input. I think on one occasion we re-did a long-distance session because of technical reasons but not musical ones.



What bass guitar(s) did you use on the new CD?

I used mostly my main axe - a Music Man Sterling but also my Fender Jazz and Rickenbacker. The guitars are an Epiphone 335 and a Fender Tele with three pick-ups.

Can you tell me how you recorded the bass, what preamps and/or compressors you used, do you mic a cabinet as well as go DI? Is this different from you live rig?

To a certain extend I see my live rig and my studio rig as two separate entities. For the main basses I used mostly a Universal Audio LA-610 or a slightly modified Aguilar DB-680 (one of the first ones they built way back then). There are a lot of plectrum bass parts in the ‘tenor register’, which could easily be mistaken for guitar parts on the album. For these I used The UA LA-610 and had fun with my pedals (Moogerfoogers, Electro Harmonix, etc.), sometimes I even used a little Pignose guitar amp to post-process some of the sounds and on ‘WRBD’ I even sang the melody through a Rocktron ‘Banshee Talk Box’ inspired by the legendary recording of Peter Frampton’s ‘Do You Feel Like We Do’. My live rig is the Aguilar DB-750 which I use with a 2x12” Aguilar cab or an Accugroove cabinet for smaller venues.

As well as bass guitar, you also play synth bass. Would you describe your synth bass and Novation "Bass Station" a bit?

My Novation Bass Station is fun. I think they went out of production a while ago. Basically it is a monophonic bass synth with two octaves and only a handful of presets. I think it was more a toy for DJs initially but I feel that a bass synth gives you a whole different angle into low frequencies, very different to bass guitar. I played this little bass synth life for a while (just propped on top of my amp) but have since treated myself to a Moog ‘Little Phatty’, the modern version of the classic Minimoog and I can’t wait to use it for a new album and possibly live – space and muscle power allowing.

Have you transcribed some of your favorite bass guitar lines and played them on keyboard to develop you bass synth chops?

There is a great repertoire of synth bass lines like ‘Boogie Down’ by Al Jarreau, ‘Living in the City’, ‘Too High’ and ‘Keep on Running’ by Stevie Wonder, ‘Ain’t nobody’ and ‘A night in Tunesia’ by Chaka Kahn, ‘Speed Demon’ and many other tracks by Michael Jackson, Jackson Five and Parliament, well…I could go on….I transcribed some of them but mostly to play them on my 4-string bass. I don’t really have ‘chops’ as in ‘technical proficiency’ on keys but I think I can hold down a tune with some phat notes. I’d love to have Greg Phillinganes or Bernie Worrell’s synth bass chops but I need to do some serious shedding first. 

I gotta know, how did a white boy from Austria get SOOOO funky?

Ha-ha, that’s a funny question... well, I guess we all like to play and write what feels good to us and I feel lucky that I had the opportunity to study in the States where I really got into Funk music after my desire to become a ‘serious Jazz Cat’ lost its appeal. The Funk called and I felt I had to respond… it felt a lot better to me than playing standards, although I still love to listen to them and check them out. Right now I’m totally inspired by the writing and arrangements of Thad Jones. Feeling the gravitas of the cultural melting pot that is London is also great for inspiration, influence and ‘feeling the beat’ in general. My hometown Salzburg has its own great music reputation but as you might imagine it is not particularly funky…. ‘The hills are alive with the sound of [funky] music’? ...not quiet!

When did you move to London?

I moved to London in 1996 after I graduated from Berklee College of Music in Boston.

As well as leading your own band, do you play as bassist in other bands in the UK?

Yes, I do indeed – recently I recorded with London singer Noah Francis (with Wu-Tang clan guest appearances), an album with soul singer Sam Brown, another album with her very talented brother Pete Brown and played a gig with their dad, Joe Brown, who has a well respected career that spans the last four decades. I think the Beatles opened up for him way back then and it is great for me to step in as a sideman to his gig and think: ‘Wow, this guy has been going for 40 odd years and has this abundance of energy – I hope I will be able to do the same with my music in 30 years time’. Another fantastic band I sometimes play with is called Talc. You have to check them out – I think they are most outstanding – Steely Dan 2.0. kind of thing. Also, besides everything else – their bass lines are fantastic. What is even more astonishing is that Nichol Thomson, one of the two main writers, sings, plays keys, vocoder and trombone and also punishes the bass with the greatest sense of flair and pocket… don’t you find talents like this totally awesome… oh, yes – and he played trombone on all of my last three records too.
So the short answer to your question - It’s great for me to step in as a sideman into somebody else’s band. There is always a lot to learn and I always get inspired for my own thing too.

After leading your own band, do you find it relaxing to ‘just’ be the bassist for someone else?

I think that both being a sideman, or a bandleader, have its challenges and rewards. Of course it is easier to only have to manage yourself without the responsibility of the overall outcome, but being a sideman puts you in a place in which you have to accept being in the passenger seat rather than the driving seat. This can be relaxing when you are heading in the right musical direction, or stressful when things come off the tracks. Being a bandleader can be relaxing when you are heading in the right direction or stressful when you have unruly passengers or customers. Ultimately I like both roles if the music, or the people, or the circumstances are great. In case these three all come together…well, what is there but heaven after that?

Do you produce other artists as well?

Currently I’m finishing off my fourth album ‘Concubine Chronicles – Live at British Grove’. This will be released sometime in spring 09. As I have not produced another artist for a while (the last CD I produced was for a London singer/songwriter called John Thwaites and I hired Danny Gottlieb to play drums – that was fun too!) I’m looking forward to working and producing some recordings for the outstanding vocal talent Brendan Reilly who has worked with the Funkestra for the past year or so. I also frequently collaborate with my good friend and producer extraordinaire Thomas Foyer and we have a few spin off projects, one of them is called ‘Kampfanzug’ – it’s definitely not funk, but fun to produce.

I see you play The 606 Club in London on a regular basis, what a great place that is! Any plans on bringing the Funkestra over to this side of the channel, perhaps here in The Netherlands, in the near future?

We would love to come over again but would need a little help from someone local on the continent. Know anyone by any chance? Currently I’m planning a small tour in the south of England in March with Hammond organ player Dave Limina from Boston to celebrate the release of our fourth album, hence the tour will the ‘Concubine Chronicles tour 2009’. We’d love to extend over to the Netherlands. Just get in touch if anyone thinks they can help.