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BassPlayer 2017-03

BassPlayer 2017-03

CS Oskar Cartaya

CS Oskar Cartaya training when he enrolled in the island’s prestigious Escuela Libre De Musica, in the eighth grade. From there he was on the fast track: rising through the local island scene, moving out to Los Angeles to study and teach at Musicians Institute, returning East to create a rumble as he climbed the ranks in New York City, and finally moving back to Los Angeles, where his career file has been ever-broadening. A peek at the 53-year-old’s resumé runs the gamut from Celia Cruz, Tito Puente, Spyro Gyra, Arturo Sandoval, and Herb Alpert to Steve Winwood, Robbie Robertson, Christina Aguilera, Andraé Crouch, and All 4 One, with a steady flow of musical directing, producing, and film-scoring projects. Bajo Mundo is front and center for Cartaya now, and that’s where Bajo Profundo Oskar Cartaya’s bass is his plucking passport as he journeys through Bajo Mundo delivering deep-seated world grooves, muscular melodies, fretless lyricsm, and upright girth. Example 1 contains the bass melody (written in half-time) of “Para Ti Latino,” at 0:20. Maintain a flowing sense, and let both notes ring at the end of bar 4 and start of bar 5. Example 2 shows the main four-bar phrase of “Trucky Paco,” first heard at 0:28. To match the horns on the unison lick in the second ending, think of it as two breaths—the first six notes and the last two. Example 3 has Cartaya’s solo at the 3:38 mark of “Flamencocho,” which is written in four but felt in 6/8. In trading ideas with flamenco dancer Manuel Gutierrez on the track, Oskar plays a typical Flamenco rhythm for his descending arpeggios in bar 2. Remember to lay back for the final two descending phrases. Example 4 features three excerpts from Cartaya’s Baby Bass line on “Get Up.” The first two measures have the basic boogaloo bass line. The second two are an improvised step-away at 1:59—lay back on the quarter-note triplets. The last two show Oskar’s variation of the bass line (complete with the G harmonic) heard in the outro, beginning at 4:14. Finally, Ex. 5 contains four bars of the bass melody of “Tum Tum,” at 0:24. Not wanting to overdub a second part, Oskar keeps the bass line going in-between the melody, in bar 2 and the start of bar 3. Be aware of laying back on the melody but locking in the bass part. Plena feel = 120 Dm E7 A7 Dm2 Dm D7b9 Gm7 Abdim7 3 Ex. 1 4 7 7 9 10 9 12 10 9 9 7 8 7 6 12 11 A7 A7/G Dm/F A7/E Ebmaj9#11 S 12 7 7 8 7 10 8 8 7 7 10 9 8 8 6 9 710 9 7 S 7 6 9 0 10 9 5 8 7 8 7 8 7 6 Ex. 2 Latin funk 1. 2. = 124 C7 Bb7 C7 Bb7 C7 Bb7 F#7b5 C7 Bb7 F#7b5 3 3 3 3 3 1 3 1 3 1 2 2 2 0 0 3 1 3 1 2 S (14) H H 7 8 10 7 10 87 11 28 bassplayer.com / march2017

we began our wide-ranging discussion, on a Christmastime call from Bayamón, with the sound of the native coqui frogs chirping in the background. What was your concept for the album? I describe Bajo Mundo as taking an imaginary trip around the world with my bass and my backpack. When I started writing for it, I realized I was mixing my influences, so rather than try to be authentic in each style I was covering, I decided to do my take on them—like a chef utilizing different flavors. But what I did do was hire musicians who knew the traditional rhythms of these various styles, and they helped me apply them to my arrangements. Flamenco- Latin = 132 Cmaj7 Bm7 E7 Am7 Abm7 Gm7 C7 Fmaj7 Em7 Lay back Am7 Dm7 G7 Ex. 3 3 3 3 3 3 15 14 16 17 14 14 12 14 17 13 12 9 10 12 11 8 3 3 3 9 11 10 7 8 10 7 8 10 8 710 910 1112 9 10 12 10 7 9 7 10 3 Boogaloo feel = 144 C7 Bb7 C7 Bb7 3 Ex. 5 Ex. 4 5 Med. funk 4 = 96 C7 3 9 2 3 8 3 12 0 1 3 10 10 8 Em Bb7 1 1 10 7 P T T H PO PO H H 9109 8 9 Em7 12 9 10 11 0 0 0 1 2 3 10 P PO 9 8 0 0 T S 9 5 T Cmaj9 T 0 0 9 12 3 3 8 7 10 Em(maj7) 6 5 8 7 3 8 0 P T T T T T H H H 0 0 5 7 0 0 0 0 H POPO 9109 8 9 P P P 14 13 12 T T H P PO T 9 10 11 9 8 S 9 7 bassplayer.com / march2017 29

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