A musical breakdown of why "Black Messiah" is a welcome departure from the staus quo:
Invalid Link Removed
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Pino on SNL W/D'Angelo
- Thread starter Dr. Cheese
- Start date
A musical breakdown of why "Black Messiah" is a welcome departure from the staus quo:
Invalid Link Removed
Like Back to the Future (Part 1). WTH? There's no way I'd ever come up with that bass line. And if I had accidentally stumbled upon it, I'd be too worried that everyone else thought it was weird and just wasn't telling me so I'd be imposing chord changes that aren't there trying to come up with something that grooves.
Those hands are enormous! If Pino had been American, he might have been palming and scooping basketballs like Dr. J!
D'Angelo, The Vanguard - Really Love (Live on SNL)
Pino played that bass-line with his right/picking hand thumb.
I got kind of similar bass tone while picking fingerstyle around the 17th -18th frets, but Pino played "Really Love" with his right hand thumb.
Pino while playing "Charade".
Pino played that bass-line with his right/picking hand thumb.
I got kind of similar bass tone while picking fingerstyle around the 17th -18th frets, but Pino played "Really Love" with his right hand thumb.
Pino while playing "Charade".
Anybody who knows anything about music in black churches, especially The Church of God in Christ (but by no means the only denomination,) knows that there are plenty of young R&B musicians being mentored very effectively by very experienced players. It just doesn't happen in the clubs as much as it did in earlier generations. Dozens of happening bassists, keyboardists, and drummers, come out of church networks into R&B. Bubby Lewis and Jamareo Artis are two young bassists who have come up through the church network. Some of those guys in Snarky Puppy came out of the church scene, and Michael League has connections to the Gospel scene too. Your thesis that young black (mainly since we are talking R&B) musicians are not being shown music that their elders know just doesn't hold water. It once again shows that you are making baseless assumptions, and not speaking from actual knowledge.
Well, hopefully that article will reveal the mastery to those cortically challenged individuals who can't grasp it.
I was just about to post this. Read the article last week and agree, very appropriate here.
Well, hopefully that article will reveal the mastery to those cortically challenged individuals who can't grasp it.
That would be cortex-ically if there was such a word
But kids I am not cursed with dogma as so many online - absolutely have no issues with being corrected either - it's a sign of intelligence
I will enrich myself by giving this record a few more listens and hope to be amazed
But, regardless
Fame does NOT = Greatness
I sure wish there was more Cerebral new stuff
One of us is educated
Cool. I usually ask myself why I don't like something, often it's because of lack of prior exposure, which results in me not 'hearing it'.
Some music just rubs me the wrong way, but it's usually a matter of time and place.
But whether you end up loving or hating D'Angelo, be aware his fame is based on the quality of his past music and not on image, industry packaging, etc. he's the real thing and is part of a group of people who more than most have kept live music performance at the core of their activity and means of expression.
If he wants Pino it's not because Pino is famous or 'the best' but because he gets it, can play it, and will make the music as good as it can be.
Referring to the bass he used on The Charade; the bass definitely isn't a Lākland, it's a Custom Shop Fender. If you zoom in on the pic you can make out the shiny early-'60s-style logo. The pickups are apparently from an old Gibson Tbird, this is the first place I've seen him use it outside The Who, he used it on the Quadrophenia tour and it's the same bass from the Super Bowl as well. I didn't think he was buried in the mix at all, and I'm pretty sure he used DR Black Beauties, not tapewounds.
Invalid Link Removed
Pino even got a several sentence shoutout in D'Angelo's NYT review of his concert. The writer said Pino Pallidino was "the backbone of his sound." This is one music critic who actually knows what he is talking about!
Pino even got a several sentence shoutout in D'Angelo's NYT review of his concert. The writer said Pino Pallidino was "the backbone of his sound." This is one music critic who actually knows what he is talking about!
Between having Jesse Johnson and John Blackwell in his band he is definitely taking that torch and running with it.
Wrong.
Pino Paladino never get lost in the mix.
Flatwound strings should not either.
Perhaps it's just that you use your own different taste/perception/preferance of how a bass should sound in a mix, which is very probably is roundwound growly sound, (which exactlly is the opposite of what PP/his producers wants) - as your point.
Agree
Yes. This is the case (and the most important thing).
Some TB members really love their view about virtuosic, 'heroic' & 'in your face" tone type of bass playing and use that as their sole point of judgement/appreciation for bass playing/players. Not all music is like that.
Awesome review. That must've been quite the moment with just D'Angelo and Pino at the end.
If Questlove put every lick he ever learned into every song, chances are some musicians would be impressed. And the music would likely suffer. It's no longer amazing how clueless some people who play an instrument can be about music. Pino wasn't hired to tear D's playhouse down, he was hired (repeatedly) to do what fits per the artist's needs. It's why he gets the big bucks and has a full calendar.
The jabs about D'Angelo's appearance cracked me up. So you guys liked him more when he was "sexier"? Okay....
More likely it's an opportunity to crack on a guy who used to have women (and some men I suppose) go nuts over his body. *Meow*
I listen to the music. And I don't expect everyone to like what he does but being ignorant enough as a musician to not understand what goes into a performance is sad. It's been said before, if you really can't see the level of talent involved, try doing it yourself... in front of folks who'd know a fake when they heard one. The outcome is usually predictable.
Yeah, Pino was laying it down in the rhythm section and not drawing a lot of attention to himself beyond his musicality. That's kind of his thing, isn't it?
The jabs about D'Angelo's appearance cracked me up. So you guys liked him more when he was "sexier"? Okay....
More likely it's an opportunity to crack on a guy who used to have women (and some men I suppose) go nuts over his body. *Meow*
I listen to the music. And I don't expect everyone to like what he does but being ignorant enough as a musician to not understand what goes into a performance is sad. It's been said before, if you really can't see the level of talent involved, try doing it yourself... in front of folks who'd know a fake when they heard one. The outcome is usually predictable.
Yeah, Pino was laying it down in the rhythm section and not drawing a lot of attention to himself beyond his musicality. That's kind of his thing, isn't it?
I'm confused how anyone can listen to Really Love or The Charade and make the determination that Pino isn't drawing a lot of attention to himself. Black Messiah is full of Pino being a complete beast. Is it the low-pass tone that people are referring to? Even on SNL, Pino was super busy.
Agreed. The vibe he got was the one they wanted. Pino has been doing that for years.
Latest posts
-
-
What do you say when service/fast food workers call you BOSS?- Latest: SDC1-ClickClack
-
-
-
