Jay Terrien's Debut CD

Discussion in 'Recordings [BG]' started by JAUQO III-X, Jul 4, 2005.


    JAUQO III-X Banned

    Jan 4, 2002
    Endorsing artist:see profile.
    For the last few days when time permits I have been listening to Bassist Jay Terrien's Debut CD.I have to say that it is a very well thought out Recording,it's a duet setting with Acoustic/Electric Drummer Pat Mastelotto(King Crimson).Each track only gets better as they playfuly move from track to track as if they have a mind all there own.Jay and pat are very modern in there display of Rhythm mates showcasing that if done well melody and Rhythm really are meant for each other,you can actually feel that Pat was paying keen attention overall to what was going on and more importanly what was needed.Jay's Bass Playing is top notch and he is a new voice today in the midst of so many clones.I have to say that I'm very proud of Jay on his first outting as a leader,Jay composed all the tunes and each tune has a voice that they only call their own.Jay's composing skills are no where weak nor cheesy I give Jay mad mad props for this most adventurous recording(but it's not a rugged adventure at all)I have no personal favorite track but I must say that track seven(Wedren)could be the blue print for the entire concept behind this recording,that track itself sounds as if it could be a top 10 hit(and please this comment does not deminish the beauty of this CD in no shape form or fashion) even tho it posseses no Lyrics/Human voice,no need to when Jay is just overflowing with Lyricism,his fretless playing is so melodic and keen that if you don't watch yourself you will not even relise that it's a bass.what sounds like keyboards and guitar as they weave thruout and under his upfront bass playing are coming from notes all played by Jay on his Status Fretless Stealth II and his Parker fly fretted 5.at the end of the last track I would just like to suggest not to turn the CD off because what follows is a very interesting hidden track that is just as equally interesting as the 11 tracks before it.I would also like to say that this recording is not over produced(produced by Ronan Chris Murphy) at all nor are the effects(on a good portion of the recording Jay used an Eventide Effects rack)used overbearingly.I have to say that each track is strong and refreshingly full of great Rythms,lyricism and Melody. if one is open minded and looking to get away from the same old formula recording then this would be a plus in your collection(I can see Jay having no problem getting Major airplay for this recording).

    Keep em coming Jay

  2. I heard Hot Chicks LOVE Chocolates and it's AMAZING.
  3. Wow guys!! Thanks for listening to my compositions!

    The guys at MTV and Carl's Jr. Burgers are banging down my door to do a steamy carwash ad...... NOT!! :)

    I'll start to describe my compositional process and I'll go into the details of our sessions once the record is released. But for now, here are some cool pictures from my sessions for you to check out:
    http://grasstain.com/images/Terrien Mastelotto Sessions/


    But right off the bat, there is great irony in Jauqo's comments about the song WEDREN: (http://grasstain.com/mp3/Jay Terrien- WEDREN.mp3)

    We had great "difficulty" (but in a pleasurable way) mixing this song. It put us to sleep every time we played with it! We couldn't even combat this feeling with tons of iced coffees!!

    Ronan and I just looked at each other in disbelief because we couldn't believe that this song had such a HUGE emotional impact on us. It left us retarded within a half hour of mixing it. The culprit?: Pat's Taos Drum Grooves!!

    There was something so hypnotic about these low end drum grooves!!! Our senses were absolutely mesmerized every time we attempted a mix pass. Once we sculpted out some of the droning low bass drum frequencies, we were able to finish the mix.

    Keeping in mind that the spirit of the whole album is centered around a "bash and awe" concept ruled by the Grunge distortion pedal and governed by LOTS of Red Vines licorice and iced coffee, Wedren is by far the most distinctive song of the album. "One of these things is not like the other!"

    Please take a listen to it before it ends up in a Taco Bell ad.
    It's now called "III-X Midget Waltz":
    http://grasstain.com/mp3/Jay Terrien- WEDREN.mp3



  4. Hey man, how much will the album cost. I'm a poor musician penny pinching for a new bass so I'm not sure how much I can cough up. I'm not even old enough for a job, but I'll do what i can. THe new track is downloading...
  5. Ryst,

    E-mail me at jay@grasstain.com and I'll help you out. :)

    Ninjas RULE! They are the only true virtuosos......
  6. Muchos thanks, it is sent. ( Sorry I was on vacation, my bass savvy friend.)
  7. CD in the mail tomorrow. :) I hope that you and Brian Peppers enjoy it. Maybe the Blum will like it too?:

  8. Garry Goodman

    Garry Goodman

    Feb 26, 2003
    Hey Jay,
    I received your CD and have started listening to it. I applaud your originality and fine bass playing.The tracks are clean and the music is very progressive.Great solos,too.
    It's refreshing to hear some bass concepts that are not an attempt at imitating another player's style.

    Very creative use of your bass! I think you are on to something.
  9. Much appreciated Garry. :)

    The original concept of the album was to imitate Jauqo's unique playing concepts but of course, that went out the window as soon as I realized that I have no PREDATOR tattoos. Jauqo RULES! :)

    It's great to hear that someone with your advanced musical background likes the record! At this stage, I've sent out only a handful of copies to key industry friends and business associates until we do our first major artwork pressing of 10,000 discs this summer.

    Regarding the overall aesthetic of the album, my primary goal was to collaborate with some incredibly inventive people who were very open minded about recording a unique bass and drums duo album that highlights the subtler compositional aspects of the music that I wanted to record. Overall, the record is bold then pretty, abrasive and then absolutely calming --- there are moments of "tension and release" all throughout the record. Fortunately, we were able to successfully showcase this without being overly notey or painfully "proggy" or flashy.

    Producer/Mixer Ronan Chris Murphy (who has done miles of work with King Crimson, Tony Levin, Terry Bozzio, The California Guitar Trio, et al.) was our critical differentiator since he served as the "outside perspective" to keep this aesthetic honest and to make sure that Pat Mastelotto and I had enough sugar and caffeine in our system to bash through the triple forte sections. Pat Mastelotto is EXTREMELY dedicated to whatever musical project he decides to undertake. We let P@ out of his cage and gave him free reign to do just about whatever he wanted because, well, he is an ANIMAL, or, a monkey to be exact:
    http://grasstain.com/images/Terrien Mastelotto Sessions/2_Mast The Monkey.JPG

    While there are some very unique and complex "bass" and "acoustic/electronic drums" moments on the record, the overall vibe and textural component of the compositions far surpasses the "chops factor". I only used certain tones and techniques if they happened to serve the song.

    Besides, how many records out there have 69 tracks on them? :)

    Glad you liked the record!


  10. RYST,

    Did you get it yet?

    You get extra points if you can transcribe "Judging By The Size Of Carnie"! :)


  11. I got it today, and I LOVE you're playing style. Let me fully listen to it and give a full review, song for song man. It's so original, and not flashy, but it serves the purpose. DOwnright good compositions. Thanks for the pic, hehehe:-D
  12. Wow, I am flattered. :)

    Did you get to track #69 yet? It's called RCMIWYP!

    The picture is the best part. My wife said to me, "Now what are you sending that picture for?"..... Ha ha. God, please make a t-shirt out of it and wear it everywhere. Ugh.

    Track 3, "Judging By The Size Of Carnie" is cool one to play. It's all ELECTRONIC drum programming by crazy P@ Mastelotto, 6 string fretless bass tuned in EBDF#C#E, and compositionally, it "grows" from 4/8 to 5/8 to 6/8 to 7/8 to 8/8 to 9/8.

    When we were tracking the song, I wanted to make sure that the 7/8 section had enough "Slayer" in it to appease the death metal masses. There are some very interesting false harmonics at the end of the 9/8 section---really bubbly and quirky stuff---I was incredibly disinterested in note choice during that section because I was solely focused on bringing out the weird rhythmic figures and "fighting phrase structures" that you hear.


  13. Jay Terrien's solo album is a breakout album in the bass world. I mean, first you had the first bass solo ever on a radio played song (The Who - My Generation,) to Jaco's fiery solo and Weather Report work (on a fretless, which, no doubt to me, has affected Jay since Jaco revolutionized the freltess bass) to Billy Sheehan's and Stu Hamm's fiery work with famous guitar virtuosos, then in the 90's Victor Wooten's "A Show Of Hands" raised the bar for the title of "Bass solo album." What he did on that album was phenomal, it was fast, relatively tasteful, and all done in one take. After that bassists felt intimidated and thought the only way to get noticed in the bass world was to play faster, to tap better, to double thumb faster than the speed of light. (Some bassists, anyway.) But nobody was getting anywhere doing that because it'd all been done before, and as for speed on bass, it's pretty much been revolutionized and maxed out.

    So now in a generation of bassists who are trying to emulate their idols voices (I, myself, am guilty in several ways. It's not bad to admire them) we need more voices to hear from. Jay Terrien's debut album stands out, not as a chops fest, but as a perfectly tasteful compositional album that anyone could enjoy. (I mean, how many non bassists do you know that could sit through, let's say, Radio Free Albumeth by Stu Hamm?)

    Jay isn't the onely amazing player on this album though, as Pat Mastelotto pounds a path down in a forrest of the musical world for Jay to walk right through showing that he, too, has something different to offer for us to learn from.

    So don't just read this review, get the album and see what you yourself think about everything from Jay Terrien's mesmerizing fretless solos to Pat Mastelotto's pounding electronic and acoustic drums.

    Oh yeah, and it has 69 tracks. A feat that even the Beatles haven't accomplished, so top that.
  14. Thanks again for the kindness! ;)

    As soon as I find some good video compression software, I'll make sure to post some live bass and drums vids on my website. There are some very cool videos of Pat Mastelotto laying down some genius "Crucifix Overdubs": http://grasstain.com/images/Terrien Mastelotto Sessions/5_Percussion Overdubs.JPG

    Another video features me tracking "Insulin" by "whistling through my Status bass pickups":
    http://grasstain.com/images/Terrien Mastelotto Sessions/Whistling Bass Dixie.JPG

    I'll keep everyone posted when the record is released domestically and internationally. It's almost as compelling as Avril Lavigne's last release.......

  15. Man, what's the most strings you have on a bass? 6? I was wondering if when I got my six string I'd be able to play most of these tunes, because some of the notes are so high (I actually thought for a second there was some guitar on the album.)
  16. The entire album features ONLY two basses: My fretted Parker 5 (EADGC) and my custom Status Stealth-2 fretless 6 (tuned EADGCF).

    Since I use some pretty different string gauges, I am able to up or down tune according to the composition. For instance, "Insulin's" "primary bass" progression is in a EBDAC#E tuning. On the other hand, Fastidious primary fretted riff is in a BADF#D tuning.

    6 String Basses:
    If you like the sounds of a bass tuned a little higher than normal, than get a bass where you can get the nutslots cut a little thinner to accomodate a EADGCF higher tuning or else you'll get some hideous nutslot rattling and buzzing. If you REALLY are into the low B sounds, then have the bass strung as it "normally" would be, BEADGC. I am able to bridge the gap between a higher and lower tuning on my 5 string basses because I string them with .120, .85, .65, .45, .32 for my E-C Tuning. Due to the composite construction of my basses (the most stable instruments I've ever played- Mike Adler's are amazing too!), I am able to use these gauges without any affect on the neck whatsoever.

    Or, get a 7, 8, or a 9 string and solve all of your problems. :)

  17. El Bobo

    El Bobo

    Apr 24, 2003
    Wow Jay,

    I am checking out this stuff you have on your page. Very Cool man. I almost never get much enjoyment out of bass solo albums but you have a really cool melodic approach to everything that really captures a mood instead of just serving your chops and FX. I really want to get a CD of this stuff. let me know how I can buy it man! Tell Ronan hi if you talk to him before I do. Compliments to him as well this stuff sounds great. Like other people have said you are not a clone of anyone and I dig that. I do hear some of your influences in a good way though such as Michael Manring ( god I love that guy). What a breath of fresh air man! When I get a CD I would like to do a full review of it for you man! I know it is nice to get feedback about stuff you have worked so hard on.I suggest everyone check this stuff out!:bassist: :bassist: :bassist:

  18. You should create a feedback section of your site where you post these most excellent reviews.
  19. 3 quick session videos to check out:

    1.) Jay Terrien Blows (Bass intro for "Insulin"):

    2.) Pat Mastelotto Warms Up:

    3.) The One Million Dollar Muffin (And The Sixty-Five Thousand Dollar Donut!):