Pino and the RARHOF....

[JimK]

technically, yes but have you ever heard him playing on a number one or major hit?

"Rockit" was played ad nauseum back in the day...

OK, I peeked-
...Wiki sez "Rockit" (only) hit #71 on the Pop Charts (hard to believe 'cause I recall not escaping it)..."Rockit" was #1, though, on the Dance Charts...and in the Top-10 on Black & UK Charts.

 

[willgroove2]

i knew someone'd say that; ok then, for instance why is it him and not someone else who plays on Cee Lo's **** You?

There a bunch of behind the scenes reasons why certain people play on certain records,you would be surprised at how much A&R people have to do with who play's on records especially pop records

 

[JimmyM]

There a bunch of behind the scenes reasons why certain people play on certain records,you would be surprised at how much A&R people have to do with who play's on records especially pop records

i think at this point, cee lo's got enough clout to hire who he wants. but you are correct that a&r weasels do try to get their pet musicians on records.

honestly, though, this is a silly discussion. i can't believe anyone cares even a little bit about the t-shirt selling gimmick that is the rrhof.

 

[Randy Newton]

There's three electric bass players and one acoustic bass player credited on that cd. Do you know for a fact that Pino is playing bass on that track?


And it really doesn't matter because, it's a single released from that particular CD. What will you say when they release another single from the same CD and Pino's not on it?

Would you then feel that they dissed Pino?


Sounds to me like you woke up very recently and discovered Pino not knowing or wanting to believe that there was bass in r&B and hip hop before there was Pino.

And playing nice bass lines and then calling it hip hop isn't rocket science

Thanks for telling me what i already know but have you ever listened to that tune's bridge? and if you listen to that album, **** you is obviously its hit, so i don't understand what you're talkin about

i'm 39 and i've been Pino-exposed since my teens (mid 80's) I know almost everything he's played on (& trust me, that's A LOT of music!!!) that doesn't mean i like every single track that features him (PSP for instance, bores me to hell) but that's why i claim he's played in more musical styles than anybody else...

and about your " playing nice bass lines and then calling it hip hop isn't rocket science" i'm sorry but i prefer to stop here with you cause we're definitely not speaking about the same thing

 

[Randy Newton]

i think at this point, cee lo's got enough clout to hire who he wants. but you are correct that a&r weasels do try to get their pet musicians on records.

honestly, though, this is a silly discussion. i can't believe anyone cares even a little bit about the t-shirt selling gimmick that is the rrhof.

you're absolutely right about everything...btw, i wasn't talking about R'n'RHOF...at all

 

[Randy Newton]

"Rockit" was played ad nauseum back in the day...

OK, I peeked-
...Wiki sez "Rockit" (only) hit #71 on the Pop Charts (hard to believe 'cause I recall not escaping it)..."Rockit" was #1, though, on the Dance Charts...and in the Top-10 on Black & UK Charts.

Ok now that's one...good luck in finding more

 

[PDK]

I don't put Pino in a class next to Jamerson, Dunn and many more. I do like his playing with the John Mayer Trio. I think Steve Jordan and Pino create a great groove during all of Johns solo's.

 

[Randy Newton]

Pino's a great player who has had a nice run and has benefited from being in the right place at the right time with several different artist over the last several years. I found what he was doing during the Paul young era more interesting in the sense that he was playing with a lyrical feel on pop tunes on fretless,something Jaco had done with Joni Mitchell years before.He hooked up with D'Angelo because D'Angelo liked what he did with Paul young but by that point he was playing less fretless (I read a interview that he didn't want to become typecast) He met John Mayer through Questlove who he met working on Voodoo with D'Angelo which hooked him up into a whole other scene with the Neo-soul thing.

You can go to Okayplayer.com and read what Questlove say's about Pino and get somewhat of a timeline of their relationship but my point is Pino has had a nice run of going from situation to situation but not because he is doing anything amazing or innovative,in fact it's the opposite,he blends in to a variety of situations.

I love TB as a community but I will never understand why instead of people just saying "I enjoy and admire player X" they feel the need to say "player X will never be as good or successful as Player Y "

Actually, D & Pino met on BB King's Deuces Wild back in '97 and D freaked out cause Pino was playing a P Bass with flats Jamerson-style and he thought nobody played like that anymore (nothin to do with fretless or Paul Young) i read that in an itw he had with BassPlayer mag btw.

About the contrapuntal fretless lines on songs, i know tons of Joni Mitchell fans who just hate those 3 albums she did with Jaco because of "this huge and sickening bass sound" so, to each his own i guess...(on a personal level, my fav track from Heijira is Amelia and there's no Jaco on it) Listen to Noa's Lama off her album Calling ('96) or Seal's Prayer for the dying ('94) to hear a much more subtle approach to fretless playing on a song.

And about your playerX is better than playerY thing, you're absolutely right but if you go back in the posts, you'll see someone wrote sthg like "if he's in (the rarhof)...dozens and dozens of others talented sidemen should be in as well..." that's just nonsense (nobody has his 360° musical range résumé) and that's why i first replied, that's all, no big deal

 

[ben12390]

Amen. Gets the greatest gig in rock bass- the one where you can really let it fly AND they have Zak Starkey bringing the spirit of Moonie on stage every night- and goes all polite and session guy with it.

I dig Pino, but I LOVE the Who and I miss them having a really driving bass player who could elevate the music.

I just love how Pino is almost exactly like the OX in his stage presence. he just sits and chills. and doenst do much crazy stuff. they couldnt have chosen a better replacement.

 

[bluesbass99]

Interestingly, I tried to put together a campaign of sorts to get Joe Osborn a nomination. I can tell you how many letters, emails and phone calls I made with virtually no one acknowledging me. I was relentless with Jan Wenner and Jon Landrau for awhile, but figured out that either no one cared, or didn't agree with me.

I agree with the Corinpills. If guys like Duck Dunn, Tommy Cogbill, Jerry Jemmott can't get nominated, then who will? James Jamerson was not inducted until after he died.

 

[willgroove2]

Actually, D & Pino met on BB King's Deuces Wild back in '97 and D freaked out cause Pino was playing a P Bass with flats Jamerson-style and he thought nobody played like that anymore (nothin to do with fretless or Paul Young) i read that in an itw he had with BassPlayer mag btw.

About the contrapuntal fretless lines on songs, i know tons of Joni Mitchell fans who just hate those 3 albums she did with Jaco because of "this huge and sickening bass sound" so, to each his own i guess...(on a personal level, my fav track from Heijira is Amelia and there's no Jaco on it) Listen to Noa's Lama off her album Calling ('96) or Seal's Prayer for the dying ('94) to hear a much more subtle approach to fretless playing on a song.

And about your playerX is better than playerY thing, you're absolutely right but if you go back in the posts, you'll see someone wrote sthg like "if he's in (the rarhof)...dozens and dozens of others talented sidemen should be in as well..." that's just nonsense (nobody has his 360° musical range résumé) and that's why i first replied, that's all, no big deal

Questlove told it different but it really doesn't matter I guess;they met and the rest was history

I literally have never heard of this wide spread hate of Jaco's work with Jonie Mitchell,you learn something everyday

I have a issue with your statment that nobody has Pino's 360 Resume,Nathan East comes to mind without really thinking about it hell Willie Weeks and Phil Chen are in that club too among many others.

You dig Pino that's your guy, we get it but step back and you will see he's not the only cat who has played in a wide variety of situations. there are guy's who have combined a session career with high profile touring gig's and have similar sat's

 

[Randy Newton]

Questlove told it different but it really doesn't matter I guess;they met and the rest was history

I literally have never heard of this wide spread hate of Jaco's work with Jonie Mitchell,you learn something everyday

I have a issue with your statment that nobody has Pino's 360 Resume,Nathan East comes to mind without really thinking about it hell Willie Weeks and Phil Chen are in that club too among many others.

You dig Pino that's your guy, we get it but step back and you will see he's not the only cat who has played in a wide variety of situations. there are guy's who have combined a session career with high profile touring gig's and have similar sat's

Most of Joni's early fans can't stand the huge fretless sound on these records but one thing's for sure, musicians seem to like those particular albums more than average fans...

What i meant by 360...résumé is that "Nathan East, Willie Weeks, Phil Chen among many others" are always working in the same kinda musical contexts; for instance, you don't see their names on album credits of African artists like Youssou NDour, Femi Kuti or Gabin Dabiré...
Why guys like D'Angelo (R'n'B), De La Soul Common or Talib Kweli (Hip Hop), Roy Hargrove, Herbie Hancock or John McLaughlin (Jazz Fusion) Ziggy Marley (Reggae) Mark de Clive-Lowe & IG Culture (Broken beat) don't hire any of those "dozens and dozens of talented other sidemen" then?

Besides, Pino's the only guy of his generation who's contributing to what's new right now in the music world.
Of course, the players you mentioned could easily do the job but once again, why all those artits choose him then? don't tell me "cause he's cheaper" please

 

[JAUQO III-X]

I'm playing 6 string fretless one of Commons CD's does that count?

 

[willgroove2]

Most of Joni's early fans can't stand the huge fretless sound on these records but one thing's for sure, musicians seem to like those particular albums more than average fans...

What i meant by 360...résumé is that "Nathan East, Willie Weeks, Phil Chen among many others" are always working in the same kinda musical contexts; for instance, you don't see their names on album credits of African artists like Youssou NDour, Femi Kuti or Gabin Dabiré...
Why guys like D'Angelo (R'n'B), De La Soul Common or Talib Kweli (Hip Hop), Roy Hargrove, Herbie Hancock or John McLaughlin (Jazz Fusion) Ziggy Marley (Reggae) Mark de Clive-Lowe & IG Culture (Broken beat) don't hire any of those "dozens and dozens of talented other sidemen" then?

Besides, Pino's the only guy of his generation who's contributing to what's new right now in the music world.
Of course, the players you mentioned could easily do the job but once again, why all those artits choose him then? don't tell me "cause he's cheaper" please

Pino is 53 so he is definitely not the only one of his generation,which includes People like Marcus Miller and Will Lee By the way,with a large amount of variety on their resume.Pino's a session guy,session guy's play with a lot of people because Producers,A&R's, engineers etc know they can deliver.

Google Robby Shakespeare,a few years older than Pino but same generation but look at his credits which are spread across several genres as a bassist and a producer. my point is taking nothing away from Pino there are a few other guy's with the same kind of career happening

 

[Fretless5verfan]

Pino is 53 so he is definitely not the only one of his generation,which includes People like Marcus Miller and Will Lee By the way,with a large amount of variety on their resume.g

What mainstream things are Miller and Lee playing on? Just curious cause i like 'em

 

[Stranger Danger]

no

 

[willgroove2]

What mainstream things are Miller and Lee playing on? Just curious cause i like 'em

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/www.willlee.com/discography.php

you also can add thousands of Jingles and soundtrack recording between them

 

[Ezbass]

I think the ultimate way for any sideman to get into the HoF is to die. It always amazes me how much being dead adds to a players' kudos. Not that I'm wishing death on anyone you understand.

 

[MikeBass]

Last time I checked, The Ventures aren't in. Why'd they ever put Pino in when about 90% of the public has no idea who he is?

John

90% of general public????
Hell, I'd say 90% of musicians in general might not know who he is.

listen, the rock and roll hall of fame is a joke. when the ertegun brothers were alive, they and jann wenner controlled who got in. now that the erteguns are dead, jann wenner controls it pretty much by himself, and he loves yoko ono's music so he's clearly an idiot. i hold no more stock in the rock and roll hall of fame's choices than i do some random blogger's choices. clearly, it's a way to sell t-shirts and keychains, nothing more. i've got a handful of friends and co-workers in there, and i'm happy for them that they're happy to be in there, but let's get real.

Yeah, kinda funny..

yeah of course but Pino's musical range is unique: Top40 pop rock blues...jazz fusion, nu soul hip hop electronica, afro beat, world music...
no one has ever recorded or performed in so many musical genres, no matter the instrument.

You guys beat me to Will Lee.....
And seriously, NO ONE?????
C'Mon man.....there are WAY too many players out there who have amassed the range that he has.

IMO, maybe not in a pure songwriting context, but Lee crushes most along with Lee Sklar in diverse credits and genre jumping.
When Pino's resume reads like this:
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Then statements like "no one else..." MIGHT be able to apply.

What mainstream things are Miller and Lee playing on? Just curious cause i like 'em

Seriously??

Don't get me wrong. I LOVE Pino.
The early Paul Young and Go West stuff....puh-leez...Pino's killin'.

 

[MikeBass]

Oh, just for good measure, from the FAQ section of Will Lee's web site:

Q: You’ve worked with some of the biggest legends in showbiz, which sessions have stood out the most for you, and which artist was the most inspiring to work with?
A: That's a hard one. D'Angelo was fun. Chaka Khan, Phoebe Snow. Having played with (not all 4 guys at the same time) John, Paul, George & Ringo is a blessing. Some of the studio experiences can be quite a calculated effort, so I had would have to say, because of how much fun it is to play live, that maybe playing on Letterman with James Brown was a real big standout.