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Funk DB players?

#21
I am a serious Govt Mule fan too. What I've discovered is that certain Mule songs will work well reinterpreted with the DB. What has worked for me is:
Beautifully Broken
Lay Your Burden Down
Sco-Mule (of course)
Worried Down With the Blues

The key here is your technique or how you play the DB. Of course, I run the DB amplified with a little compression.

IMHO I consider Alain Caron to be a MASTER of DB funky/crossover...whatever. Listen to his work with Frank Gambale. :eek: If you listen to DB players from Slam Stewart through the University of Miles (Anyone Who Played With Miles Davis), including the guy in my avatar, you'll get more funk/blues than you can absorb in a lifetime.

Keep Going and Learning!!!!!!!!!
Peace
 
#22
Cool thanks. I believe Beautifully Broken was played with a fretless BG so I guess that can translate to the DB much easier. Some goes for Lay Your.. and the other tunes?

Can I ask what happens to the sound if you don't run your DB through compression? Is it a more BG sound you're trying to get by running it through compression?

Frank Gambale has been brought up a lot in my other thread about jazz/fusion trios, I really gotta look up some of his CDs.

The guy in your avatar is Monk isn't it?

So do you double on the BG and the DB during a gig? Considering that the tunes you mentioned above were played with the BG, do you play the DB on those tunes for a little variety? I'm really interested to know because there was a time when I thought about choosing to focus on either the BG or the DB, but then I thought that if I chose either one, I would be limiting myself. It was my impression that a DB, or even an EUB cannot do what a BG can do, and a BG cannot produce the characteristic DB/EUB sound.
 
#23
RiseOfTheWooten said:
Cool thanks. I believe Beautifully Broken was played with a fretless BG so I guess that can translate to the DB much easier. Some goes for Lay Your.. and the other tunes?
Click to expand...

The Dave Schools live version on The Deep End V2 May be a fretless...I think it is. BUT it doesn't matter if it was originally played on a fretless or not. If you dig the cut then YOU try it anyway YOU want! ;)

RiseOfTheWooten said:
Can I ask what happens to the sound if you don't run your DB through compression? Is it a more BG sound you're trying to get by running it through compression?
Click to expand...
Nope. I just like a little tighter feel to the sound. Takes some of the acoustic overtones out. Its useful to the way I interpret the song.

RiseOfTheWooten said:
Frank Gambale has been brought up a lot in my other thread about jazz/fusion trios, I really gotta look up some of his CDs.
Click to expand...
What's taking you so long? :eyebrow:

RiseOfTheWooten said:
The guy in your avatar is Monk isn't it?
Click to expand...
Yes. :smug:
RiseOfTheWooten said:
So do you double on the BG and the DB during a gig?
Click to expand...
Not gigging yet. Developing new directions. When I do yes.
RiseOfTheWooten said:
Considering that the tunes you mentioned above were played with the BG, do you play the DB on those tunes for a little variety? I'm really interested to know because there was a time when I thought about choosing to focus on either the BG or the DB, but then I thought that if I chose either one, I would be limiting myself. It was my impression that a DB, or even an EUB cannot do what a BG can do, and a BG cannot produce the characteristic DB/EUB sound.
Click to expand...
The SOUND of DB, EUB, and different BG can be used on ANY composition the choice is yours. Each one has it's own character. Who says you have to focus on one...:spit:

It's all about the music bro. Focus on the music and follow YOUR passion.

Free your mind and your A** will follow.
 
#24
bassksun said:
Nope. I just like a little tighter feel to the sound. Takes some of the acoustic overtones out. Its useful to the way I interpret the song.
Click to expand...

Ah cool I understand.

bassksun said:
What's taking you so long? :eyebrow:
Click to expand...

Money money money!

bassksun said:
The SOUND of DB, EUB, and different BG can be used on ANY composition the choice is yours. Each one has it's own character. Who says you have to focus on one...:spit:
Click to expand...

I'm still largely feeling my way around on the bass as an instrument (I have an extensive piano/keyboard background from years ago). One example I know of that a DB/EUB cannot do is slapping and popping, at least not with the same traditional sound as you would get from slapping and popping on a BG.
 
#27
RiseOfTheWooten said:
I'm still largely feeling my way around on the bass as an instrument (I have an extensive piano/keyboard background from years ago). One example I know of that a DB/EUB cannot do is slapping and popping, at least not with the same traditional sound as you would get from slapping and popping on a BG.
Click to expand...

There is NO traditional slap sound. Musicians have been slapping the DB to get the percussive sound since whenever. Its in the percussive sound that you have to work with no matter which instrument. The slap on the BG was invented by Larry Graham.

Here a freebie:
[Invalid or Expired Link Removed]
 
#28
The work of Nils Olmsted Pederson with Oscar Peterson on "Summer Night in Munich" is extremely funky! Theirs lots of double stops, muted notes, and not a lot of traditional walking, the rhythm section kicks arse on this CD. Check out the head of "Nigerian Marketplace", then when the rhythm section comes in it's like Jamerson on Steroids, Serious stuff!
 
#29
Lot's of people have different definitions of Funk. Here's websters
Main Entry: 3funk
Function: noun
Etymology: back-formation from 2funky
1 : music that combines traditional forms of black music (as blues, gospel, or soul) and is characterized by a strong backbeat
2 : the quality or state of being funky <jeans ... have lost much of their funk -- Tom Wolfe>

I'd say there is plenty of stuff with DB players that satisfies these requirements. It's about grooving, which a lot of electric slappers forget.

On the subject of Milt Hinton, there were these instructional videos, a Ray Brown series, that had him demonstrate his slap technique. It's not your standard rockabilly style, that guy was a monster.
 
#30
RiseOfTheWooten said:
Milt Hinton the jazz DBassist? Which particular recording? I'm referring to the slapping and popping sound of a BG, not the kind of slapping and popping done by, say someone like Roland Guerin on the DB.
Click to expand...

I have Hinton's Laughing At Life...check out "Sweet Georgia Brown", "Indiana", "Jon John", or "The Judge & The Jury".
OK, it's not Caron or Wooten...but it's pretty damn bad!
;)
 
#31
flatwoundfender said:
I'd say there is plenty of stuff with DB players that satisfies these requirements. It's about grooving, which a lot of electric slappers forget.
Click to expand...
...and not meaning to blow smoke up his wazoo-
Ed "Funky" Fuqua has moments.
Sorry, Ed.

flatwoundfender said:
On the subject of Milt Hinton, there were these instructional videos, a Ray Brown series, that had him demonstrate his slap technique. It's not your standard rockabilly style, that guy was a monster.
Click to expand...
Bass Player had an issue with Hinton & Daryyl Jones on the cover. Truthfully, Hinton's slap/pop techniques/examples were a helluva lot more difficult to get than Jones' examples.
 

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