9 months ago

BassPlayer 2017-01

BassPlayer 2017-01


COMMUNITY LINK FACE TECH PLAY LEARN C ommunity LOWDOWN chris jisi Remembering Kid Logic I learned of Victor Bailey’s passing on the morning of Veterans dAy, nOVember 11, while boarding a flight to Florida for a gig. Fitting because it reminded me of Victor relaying to BP the story of “Do You Know Who?/Continuum,” his brilliant biographical ode to Jaco, in which he put lyrics to Jaco’s “Continuum,” feeling that younger bassists were already forgetting the Florida giant. Victor wrote it on a cross-country flight in 1999, the entire lyric coming to him in a bolt of inspiration. That’s the kind of gift he had, just like the story of how he was able to play the bass guitar—and even fill on it—the very first time he picked it up, in the basement of his musically rich Philadelphia household. It’s the kind of gift I wish I had, as I try to put the man and his music into words, while on this flight. The Victor I knew was focused, determined (he never once complained about the medical condition that would ultimately take him from us much too early), outspoken, and even a bit cocky in a positive way, with a powerful drive and passion to play the bass. No matter what sideman gig he had—and he had the best of the best—he would always say, “There’s so much more I can do that I don’t get to show.” Even with his catalogue of well-rounded, adventurous solo albums, he always felt he could go further. That constant reaching, coupled with a solid musical grounding, was how he was able to innovate on both the groove and solo sides. As for “Do You Know Who,” I had it as my message greeting on my old analog phone machine for years, and Victor would joke, “Sometimes I call your number just to hear myself playing”—inferring that you weren’t hearing him on the radio with any regularity. Not to worry, Victor, your singular musical output ensures the bass world will always know you and remember you. And I’ll be ready to write tribute lyrics to “Kid Logic,” should that ever change. Rest in peace, my bass brother. DIG MY RIG! As a bassist with the Orchestre Symphonique de Montréal, the double bass is my main gig. The electrics allow me to have fun with other styles that I love, including funk, rock, and progressive metal. I began performing on the octobass in the orchestra in October 2016. The capos are activated by a system of hand levers and footpedals, just like the original instrument invented circa 1850. For an acoustic instrument, its power and richness is amazing. Double bass: Rafaelle & Antonio Gagliano (1850). Octobass: Jean-Jacques Pagès/Canimex (2010). Electrics, left to right: Fender American Deluxe P-Bass, Music Man Bongo 5, MTD 6-string. —Eric Chappell Got a rig you think we’d dig? Send a photo and description to 12 / january2017

The Real World Brian Masek Home base Sioux Falls, South Dakota Occupation Computer programmer Gigs Brian Masek & Friends (original jazz/rock/fusion/blues), solo performances, Gail Pifer Big Band, backing up touring performers Basses Two Bossa OB-5 basses (main bass is maple/walnut, backup is ash) Rig Hartke HA3500 amp with Hartke XL 4x10 and 4x15 cabs, each with added 5" driver Effects Line 6 POD Pro XT Bass, DigiTech JamMan Stereo Looper Pedal, Boss Bass EQ, Alesis SR-18 drum machine (solo gigs only) Strings Elixir Nanowebs Heroes & inspiration Too many to list, and I’m inspired more by great songwriting than great playing. A few players I greatly admire are Ric Fierabracci, Rufus Philpot, Rocco Prestia, Paul McCartney, Anthony Jackson, Alex Al, and Hussain Jiffry. Contact, How did you come to play bass? What’s a lesson you’ve learned along the way? What are your musical goals? I started on bass because my friend was a guitar player. I quickly got involved with the music scene playing in rock cover bands. I had always wanted to get into jazz, and in 2005, I decided to focus on that exclusively. My first jazz gig ended up being with Mike Miller (currently with Boz Scaggs), Tom Brechtlein (Chick Corea) and Steve Weingart (formerly with Dave Weckl) at a big jazz festival. Over the years, I’ve tried to catch up, fill in the gaps, play honorable gigs, and do the best that I can. No matter how much better other players may To continue to work to be a better player, fill in my seem than you, you can nearly always win many gaps of knowledge on jazz and theory, everyone over by being prepared. Knowing and continue playing with others who inspire the arrangements and having good feel and and push me to be better. tone means more to most people than being an amazing soloist. Do your homework and go after every opportunity, no matter how crazy it seems. Sometimes the rare opportunities work out, and when they do, they are amazing! Introducing Players Circle - Buy Strings, Get Points, Claim Rewards Enter to win 2,500 Players Points by visiting And go to to join today! Court Of Opinion What are your New Year’s resolutions? I just want to be able to get up in front of people and play again. Currently fighting pancreatic cancer and don’t have the strength to stand and hold any of my basses, much less play. But don’t count this Vietnam veteran out. I will play again and I will play damn good! —Ron Shepherd Trump’s the president, racial tensions are high, Americans are rioting, our future’s uncertain: I feel compelled to write bass riffs for political songs. —Omar Dogknife Martinez To concentrate more on sightreading. Having the ability to coldread a piece of music is where it’s at. —Al Gates Aside from practicing material for gigs, leave time for more actual exploration and just free playing! The stuff I did as a younger player, when anything seemed possible. —Sean Fairchild Convince the band to drop the songs that require my fretted bass. —George Baker To retire after 40 years in food service to go back to my first love. I’m restringing my bass now. Then more practice. —John Montalvo I’m going to go back to the beginning and learn how to read music. I always taught myself by listening and never put any time into reading. So that’s the objective. —David Morrison Spend more time in the shed. —Jason Sanders I want to become as comfortable on upright as I am on electric. —Alex Trellu Get back to playing full time! —Rudy Johnson Spend more time listening and locking with the drummer. It’s a magical thing when the groove is tight, completely free of “extra” notes that we inherently feel make things better when they generally don’t. —Ben Harris Perfect my slap/pop technique. Work on my fret hand strength, dexterity, agility, and keeping fingers closer to the fretboard when not playing a note. Nail “For Whom the Bell Tolls” 100 percent Cliff-style. Join a band. —Joey Mathieu Kelly / january2017 13

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