I'm old. And old school as in 20th Century analog and the 45 rpm record and play to them in sound and performance to this day. My influences in jazz are Louis Armstrong, Kenny Burrell to name a very few; Louis Satterfield, Jerry Jemmott, Chuck Rainey and Max Bennett are my main bass influences. My music is Marvin, 70's soul, Afro rock, Afro Cuban but country like King Curtis and Otis Redding. I remain friends with Jemmott and others who went onto extraordinary careers like Will Lee, the guys from NRBQ, Wayne Cochran and others. I teach occasionally through Skype, do cyber tracks with friends and newbies and now days get out to jam in downtown St. Pete maybe once every month or so with wonderful players 40 years my junior. I bring all the Yankee I can muster to the place. Anyone wanna get down to the oldies let me know who turns you the Hell on. I can talk music. I play better than I talk but it's part of the same package to me.
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Thank you most kindly. It is my hope I might be of service here and elsewhere. Still crankin' after all these years. The funk never dies.
Looks like I'm relegated to talking to myself on this subject. What befuddles me is when cats say they're influenced by groups with strange sounding names like Spank the Monkey, Creamy Mung, Bat Crap Tuesday or whatever. How is one individual going to sound like a group? Someone's gotta be listened to and studied to draw from within that group. So why not just say who that individual is as an influence and for what reason?
Is this just symptomatic of the amateur market, the Guitar Center mindset? Sales people in black biker t-shirts posing as musicians to the less astute to sell you overpriced crap from China? Lack of music education? I know I'm fortunate to have had that in our standard curriculum all those many years ago. What say ye?
Is this just symptomatic of the amateur market, the Guitar Center mindset? Sales people in black biker t-shirts posing as musicians to the less astute to sell you overpriced crap from China? Lack of music education? I know I'm fortunate to have had that in our standard curriculum all those many years ago. What say ye?
My bass playing is the sum of many, many, influences combined with 'me'. Those influences include, but certainly aren't limited to, other bassists.
But, in terms of bassists, Tony Levin, Mick Karn, Percy Jones, and Pino Palladino, along with Alan Spenner (primarily his work on the JC Superstar original cast recording), are probably my biggest influences.
But, in terms of bassists, Tony Levin, Mick Karn, Percy Jones, and Pino Palladino, along with Alan Spenner (primarily his work on the JC Superstar original cast recording), are probably my biggest influences.
I deleted my last reply. Louis Armstrong, Duke Ellington, BB King are huge influences -- Armstrong for his Blues and his swing -- where his notes land to propel it; BB King for his Blues and blistering attack and Duke for all things laid back in the massive horn section. His band could make time in music seem to flow backwards -- so on top in the rhythm section and so laid back in style. Studying Duke in college helped me hone down to essentials on bass, how to create space on the bass because bass is the place. Paul Chambers taught me to never be afraid. Never. Always be completely musical and dive right in. Max Bennett, the great bassist out of LA with Joni and Tom Scott, taught me to not only dive in but strong, muscular bass lines. Bennett taught me how to listen as a bassist and because of that, how to jam all night long. Carol Kaye taught me how to use my hands better making my playing far more effortless. Chuck Rainey gave me the sheer joy of love in music. Jemmott gave me his unmitigated murder attitude. We've been friends for a long time and I've had many opportunities to speak with him, dissect his work and those around him, particularly Gil Scott Heron, King Curtis, Aretha, Eddie Harris and Les McCann.
Wayne Cochran's bassist at the time, four bassists before Jaco, showed me the Fender's sound, where it is, how to get it and get it LOUD. I worked with Wayne for two weeks prior to Jaco at a club on Miami Beach. The band I came out of later became his band at Joe Nameth's Bachelor's III in Ft. Laud. Why the above became so influential because I could put it into practice on the gigs with all sorts of acts, local and national 5-6 nights a week, one to four shows a night for 10 years straight. It was a completely different economy during the Johnson and Nixon years. I was very young but got in with these guys while still in my silly high school pop band. Someone took notice. I don't think those opportunities exist much anymore. I could be wrong. Perhaps another topic for another thread.
Wayne Cochran's bassist at the time, four bassists before Jaco, showed me the Fender's sound, where it is, how to get it and get it LOUD. I worked with Wayne for two weeks prior to Jaco at a club on Miami Beach. The band I came out of later became his band at Joe Nameth's Bachelor's III in Ft. Laud. Why the above became so influential because I could put it into practice on the gigs with all sorts of acts, local and national 5-6 nights a week, one to four shows a night for 10 years straight. It was a completely different economy during the Johnson and Nixon years. I was very young but got in with these guys while still in my silly high school pop band. Someone took notice. I don't think those opportunities exist much anymore. I could be wrong. Perhaps another topic for another thread.
