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BassPlayer 2017-04

BassPlayer 2017-04

COMMUNITY LINK FACE TECH

COMMUNITY LINK FACE TECH PLAY LEARN C ommunity LOWDOWN CHRIS JISI Numbers NUMBERS, NUMBERS EVERYWHERE. NUMBERS HAVE BEEN ON MY BRAIN RECENTLY, between remembering to write the new year on various documents (old school, I know), compiling lists of bassists by the hundreds, and (yuck) dealing with tax season. As a result, what caught my eye this issue is the number 57— as in ’57 Fender Precision. That venerable, Leo Fender-crafted instrument plays the starring role in both the music of our featured artist, Sting—who holds his with pride on the cover—and in our Buddy Guy complete transcription, under the formidable fingers of Michael Rhodes (and check out Moollon’s cool ’57 tribute bass in our NAMM report). Turning back to our 100 Greatest Bassists February cover story, when we posted the piece to the BP website, we featured five players at a time in reverse order. As a bonus wrinkle, we turned the tables on these esteemed artists by asking many of them to list their Top Ten Greatest Bassists (not including themselves). In the case of deceased players, we’ve sought out stylistically appropriate stand-ins to give us their lists. So far it’s been a fun and interesting process, adding many new names to our gallery of greats. Have a look (bassplayer.com/february2017), check back often, and let me know your thoughts (bpeditor@nbmedia.com)—I’ve enjoyed all of your comments so far. Finally, on the heels of losing an inordinate amount of stellar bassists over the last two years, it’s with sadness that we note the press-time passing of King Crimson and Asia bassist John Wetton, who was additionally a terrific vocalist and composer, a great interview, and a true gentleman. DIG MY RIG! I RETIRED A LONG TIME AGO, BUT I STILL HAVE some pretty nice gear. My bass guitars, from left to right: a 1969 Gibson Les Paul Bass, an Ibanez SRX, a G&L L-2000, and a Gibson Midtown Standard. I never used effects, but I do have a Zoom B3 multi-effects pedal. Amplifiers, from left to right: a 1964–65 Ampeg B-15N, 1971 Gallien-Krueger GMT 600B and dbx 31-band constant- Q graphic equalizer on top of two GMT folded horns with Cerwin-Vega 18” drivers, Genz-Benz GBE 1200 on top of an Ampeg 810E, Ampeg SVT-CL on another Ampeg 810E, and a massively powerful Mesa Big Block Titan V12 on top of a Mesa Powerhouse 4x12. All this equipment was purchased new except for the Les Paul Bass and the B-15N. I had a meeting with Robert Gallien and Rich Krueger when I purchased the GMT. It was very early in their company’s history. —DREW HASTAY Got a rig you think we’d dig? Send a photo and description to digmyrig@gmail.com. 12 bassplayer.com / april2017

THE REAL WORLD John C. Hefty Occupation Bassist. Fifty years in, fifty to go. Gigs Blue Rooster—rock & roll, blues, Americana covers, and originals Basses ’71 Fender Precision with ’58 neck, 2013 American Standard Jazz Bass 5-string, 1989 Peavey DynaBass Rig Gallien-Krueger 700RB head, 1989 Peavey MegaBass head, Hartley 410XL cabinet, Bugera BXD15A combo Effects Boss GEB-7, 1994 Danelectro Daddy-O, Boss OC-2 Octave, Boss CEB-3 Chorus, Boss BF-3 Flanger, MXR M-80 DI Heroes & influences Duck Dunn, James Jamerson, Bob Babbitt, Chuck Rainey Introducing Players Circle - Buy Strings, Get Points, Claim Rewards Enter to win 2,500 Players Points by visiting bassplayer. com/realworld And go to Playerscircle. daddario.com to join today! How did you come to play bass? What’s a lesson you’ve learned along the way? What are your musical goals? I was a bumbling guitarist. In 1967, a P-Bass was shoved into my arms by a guitar player friend, who said, “You were meant for this.” A prophet, indeed! Always play honestly, and learn the feel in as many genres as you can, even if you’re not so fond of the music. It’s good to work. The objective is to be the go-to player, whatever the gig. Oh, and be nice! Keep striving to be as cool as Duck Dunn (impossible)! COURT OF OPINION What’s the toughest bass line you’ve ever learned? Steely Dan’s “Glamour Profession” (Anthony Jackson) and “Peg” (Chuck Rainey), and Christian McBride’s version of “Summer Soft.” It’s hard to get as much groove and precision as they did. —Guillaume Journel Any Joe Osborn bass line, especially “For All We Know” by the Carpenters and “Ventura Highway” by America. And Carol Kaye’s line on “Good Vibrations” is a gem. —De Souza Stewart “The Real Me,” by the Who. John Entwistle was just all over the place, but he never lost control. —Mike Sandstrom Surprisingly, a worship song called “You Won’t Relent,” by Misty Edwards. Lots of chords and tapping. —Gavin Fockens “What is Hip,” by Tower Of Power (Francis “Rocco” Prestia), “Teen Town” (Jaco), and “Mr. Pink,” by Level 42. —Matt Tremblett Ralphe Armstrong’s fretless solo on “Sunset Drive” from Jean Luc Ponty’s A Taste for Passion album. —Rudy Johnson “Panic Attack,” Dream Theater. —Kris Rank Metallica’s “Master of Puppets,” played by Cliff Burton, and Death’s “The Philosopher,” by Steve DiGiorgio. —Rogério Ramos “YYZ,” definitely. I spent a good amount of time learning that Rush masterpiece, but once you know it, it’s a joy to play. —Riad Guzin Cats, the Andrew Lloyd Webber score. There are so many key signature changes, and it’s so difficult to read. —Thomas Hunting “Day Tripper.” How Macca played that and sang I’ll never know. It’s all over the fretboard. —Robert Brunn “Smoke on the Water.” Just can’t get the notes in the right order . . . . —Josh Smith bassplayer.com / april2017 13

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