BASS NOTES LINK FACE TECH PLAY LEARN B and my producer, Chris Gero, loved it. To update it, we were able to get Verdine, Philip Bailey, and Ralph Johnson to come in. Verdine played to the track a few times and put his spirit all over it, and then we picked out some of the magic moments and inserted them amid my bass part. So the bass line is a cool mash-up of our ideas. Your cover of Stevie Wonder’s “Higher Ground” is full of heady harmony, including your cool use of Jaco’s Eb7#9 chordal harmonic. Jaco sure left a lot of meat on the bone for the rest of us to chew on. That harmonic chord is the exact tonality of the tune. We had already been having fun playing the song at live shows, so I thought, why not record it? Moogie Canazio had the idea for me to shadow my melody up an octave with my 6-string, and I thought it would be cool to quote “Master Blaster” at the end. As for the reharms here and throughout the album, that’s why I surround myself with keyboard genuises like Jeff Babko, Tim Carmon, and Dave Delhomme. They try all kinds of brilliant ideas, and I go, Whoa, what’s that? Okay, I need that! “Shadow” is also outside the box harmonically and features Chick Corea. That started as a song idea by Lendell Black, a great Nashville composer/ arranger who did the orchestral arrangements on both of my albums. Chris Gero and I collaborated on it with him, and I sent it to Chick, who loved it. I first met Chick while recording “Ravel’s Bolero” from Hubert Laws’ Family album [1980, Columbia], but we hadn’t played together in the 35 years since. I went to see him during his historic 75th Birthday Blue Note run in New York, and he found the time to lay down his track. He also asked me to sub for John Patitucci on some Elektric Band dates this year. I’ve been sweating trying to get those tunes under my belt! “Pasan” and the solo closer, “Until We Meet Again,” feature your fretless playing. “Pasan” is by the amazing Argentinian band the Aca Seca Trio. I got turned on to them by Chuck and Bob James. They’re great players and singers, but the virtuosity is in the writing. The original had fretless on it, so that’s the way I went. “Until We Meet Again” is an odd story: The day Toots Thielemans passed away, both my 6-string and my fretless—a Yamaha BB5000 that I had pulled the frets out of—went down with pot trouble while we were in the studio. I frantically sent them over to Yamaha, which is close by, and thankfully in a couple of hours they had them serviced and returned. So I was trying out the 6-string, playing arpeggios. Moogie heard me and hit record. I listened back and got a support part together, and then I played the fretless over it, thinking of Toots, and eventually I came up with the melody. BP OVER 250,000 ITEMS FROM YOUR FAVORITE BANDS T - SHIRTS HOODIES JACKETS JERSEYS TANK TOPS SWEATERS LONG SLEEVES SHORTS BABYWEAR HATS BEANIES JEWELRY BACKPACKS BAGS POSTERS COLLECTIBLES TOYS FLAGS PATCHES PINS BUTTONS STICKERS WALLETS KEY CHAINS DVDS VINYL AND MORE For a free catalog, visit rockabilia.com, call or write:
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4.52am The BRONSONS Issue With Manton Guitars, Furch Guitars, SPC ECO, Captain, Learn to play Oasis, Chris Farlowe, David Bowie, Hazel O'Connor, McAlmont & Butler, The Levellers and Harry Styles. Yep. Harry Styles
November 2017 issue of Bido Lito! magazine. Featuring: SILENT BILL, SECRET SOCIETY OF SUPERVILLIAN ARTISTS, XAMVOLO, REMÉE, MERSEYRAIL SOUND STATION, HOWIE PAYNE, LOYLE CARNER, LIVERPOOL PSYCH FEST, ZOLA JESUS and much more.