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Jauqo III X

I met the man at NAMM, and he was nice enough to give me a CD, "the Low C# theory".

Awesome album! Excellent understated and subtle space-dub with an Ornette Coleman Prime-time meets king Crimson vibe!

I listened to it over and over, and I am pretty sure my kidney stones are dissolved! That rumbling sound was shaking my whole car!

I think I see a King Crimson parallel in the fact that the fretless subcontra sometimes sounds like Tony Levin's early work with King Crimson on the Stick.

Plus, Jaquo III X was a very down to earth and nice guy!
 
One thing I found after reading the liner notes of the low c# theory, was that the g$#%tars were recorded independent of each other, meaning, they each only had the drums and Jaquo's bass to go from:

I like that concept

I have recorded some avante garde stuff where the only instrument I listened to for each of the 7 remaining tracks was the drums. I purposely tried to forget what I did on the other tracks, even as far as the key.

What I got was quite musical, as long as I could wrap my brain around it, and try not to be so locked into a certain key or style.

In the case of Jaquo's album, his bass is working such a strong foundation, that it's almost not important that the guitars are at variance with one another...everything is centered and anchored on the bass. Or should I say, all the other instruments are "orbiting" the bass..which is as it should be, seeing how we are the most important aspect of the band! :hyper:

It was interesting that any note can go with any other note...who needs a friggin key anyway? ha ha!
 
I saw a Jordan Electric Violin at NAMM that was maybe a 10" scale! It had 3 extra strings that went lower, so you could hit Viola, cello and bass tones along with the higher violin voices.

Considering basses are now leaning towards bigger and bigger scale (35" to the dingwall and knuckle bass scales of 37 and higher) I can't figure out why. The guy from Jordan told me it was all about the string, and not so much the scale.

that Jordan Violin was extrememly beefy and powerful sounding. The low notes sounded a lot like a good cello or upright bass should, and yet this scale is smaller then the smallest 27 inch baritone!

I even plucked it, and there were some very good, deep tones coming out!

Why are they able to get great bass tones out of a 10" scale instrument, yet we bassists are having to get extended scale basses just to make the low B sound floppy?