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Pino on SNL W/D'Angelo

#81
Just in general a theme of this thread has been him being a team player and not over playing and drawing attention to himself. While I agree he does that sometimes, I'm not sure that that's the case in his latest work with D'Angelo.

Edit: re: being a team player. My point about him being busy isn't meant to say that he in anyway overstepped his boundaries. I think he did what he was hired to do. Just don't think what he was hired to do in this instance was necessarily to sit back and support the ensemble.
 
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#83
DWBass said:
The drummer is John Blackwell. He played with Prince for many years! Not only a master drummer, he's an excellent showman hence the 'look at me' antics. On another note, I wish this forum had members with a wider taste in music. Many times certain genres get put down due mainly to ignorance or other reasons, some clear some not so clear. You can't speak knowledge on a subject you have no experience with but it happens quite a lot here. Pino is a great player because he is accepting of ALL musics and has a strong understanding of how they work! Bass playing for D'Angelo is challenging because he basically created that style! I thought it was odd until I started listening intently to it. I get it. As for percussionists mirroring drummers in a band......really? Go listen to Latin, Cuban, African and other World music and get back to me!
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Agreed except for Pino creating that style. He's definitely among those who popularized it years ago. Before him there was J Dilla... so behind the beat he was practically in the previous track ;). And Rapael Saddiq.
 
#84
Brad Johnson said:
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?
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Yes, I did crack on him. I was just having some fun at the expense of a very talented musician I happen to admire and support modestly by buying his music. I also know how hard it is to battle weight. Fifteen years ago, I looked a lot sexier myself.;)
 
#86
Brad Johnson said:
Agreed except for Pino creating that style. He's definitely among those who popularized it years ago. Before him there was J Dilla... so behind the beat he was practically in the previous track ;). And Rapael Saddiq.
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I guess I typed that wrong. Meant to say D'Angelo created the style or adopted the style. I read where Pino and Jerry Brooks both mentioned that it took them a minute to grasp the concept.
 
#87
Dr. Cheese said:
Yes, I did crack on him. I was just having some fun at the expense of a very talented musician I happen to admire and support modestly by buying his music. I also know how hard it is to battle weight. Fifteen years ago, I looked a lot sexier myself.;)
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I understand what happened. I honestly don't get why... that's all. I saw him and my first reaction was I was glad to see him back.

I've had that happen with people I haven't seen in a long time. They'll make cracks and my reaction is "Gee... I didn't know we were an item".
:D

I guess the obvious thing is that while he could lose weight, the chances of most of us getting to his level as a musician are far less likely.

I know, it was just a joke.
 
#88
I'm starting to think that as the 80's synth sound waned, Pino changed his tone so he didn't have to change his style. That barking fretless stingray that sounded so at home with Go West or Paul Young would've been to obtrusive for Barely Breathing. The fundamental forward rosewood p with flats and tone rolled off makes those upper register phrases he likes to punctuate his grooves with sort of disappear into the landscape. He's kind of an evil genius.
 
#89
Brad Johnson said:
I understand what happened. I honestly don't get why... that's all. I saw him and my first reaction was I was glad to see him back.

I've had that happen with people I haven't seen in a long time. They'll make cracks and my reaction is "Gee... I didn't know we were an item".
:D

I guess the obvious thing is that while he could lose weight, the chances of most of us getting to his level as a musician are far less likely.

I know, it was just a joke.
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One thing I have learned is that we don't have to understand why other folks do what they do. Whenever someone does what I wouldn't do, I remind myself that I have lots of habits and interests that would make no sense to a lot of people too.
 
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#90
Brad Johnson said:
:D

Pino always amazed me because it's rare to find someone who could have his monster style with Paul Young AND be able to do the polar opposite so well. Completely in your face vs. subtle as heck... and dominate a track either way. To those with ears for that sort of thing.
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I don't do the math on how long ago "Tear your Playhouse Down" came out. I was playing back then and that stuff thrilled me. It's amazing how lots of young players were trying to cop his stuff back then, and how young players in 2015 are still doing that.

He truly is a singular talent. Talkbass is the only place I've encountered where his work isn't universally admired, but that's par for the course.
 
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#91
DWBass said:
I guess I typed that wrong. Meant to say D'Angelo created the style or adopted the style. I read where Pino and Jerry Brooks both mentioned that it took them a minute to grasp the concept.
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I think Dilla came first. I could be mistaken.

No joke... moving your head like Pino can make it easier to comprehend. It's a fluid, relaxed kind of thing. Check out Michael League's head motions when he's channeling that vibe. Some folks think it's funny. I think it's just a musician getting inside the music.
 
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#92
Dr. Cheese said:
One thing I have learned is that we don't have to understand why other folks do what they do. Whenever someone does what I wouldn't do, I remind myself that I have lots of habits and interests that would make no sense to a lot of people too.
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Of course we don't have to... by the same token I still want to. Having a conversation where the person you're talking to's motives aren't clear usually leads to more misunderstandings.
 
#94
20db pad said:
I don't do the math on how long ago "Tear your Playhouse Down" came out. I was playing back then and that stuff thrilled me. It's amazing how lots of young players were trying to cop his stuff back then, and how young players in 2015 are still doing that.

He truly is a singular talent. Talkbass is the only place I've encountered where his work isn't universally admired, but that's par for the course.
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The beauty of the anonymous hater.
;)
 
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#96
20db pad said:
It's almost always fans of The Who that discount Pino's talent simply because his birth certificate doesn't say John Entwistle. They'd throw that rock at anyone that accepted Roger and Pete's job offer, though.
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For what it's worth, I know of a frequent poster who said he could never see what was special about Pino's work with D'Angelo. He is a r&b/funk enthusiast whose opinions usually are in sync with mine, but people are people, and sometimes we just can't see what the fuss is about.
 
#97
Dr. Cheese said:
For what it's worth, I know of a frequent poster who said he could never see what was special about Pino's work with D'Angelo. He is a r&b/funk enthusiast whose opinions usually are in sync with mine, but people are people, and sometimes we just can't see what the fuss is about.
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I actually agree with that regarding Pino's work with D'Angelo as well. I was deep into Pino's stuff 10 years before D'Angelo made albums and his playing on D's projects is lowest on my list of his must-listen, IMO. I've accepted the uniqueness of my opinion and keep it quiet usually because culture at large seems to regard "Voodoo" as a sacred document. I know guys that started playing bass because of that record.

Obviously Pino can still deliver to his usual standards, as evidenced by his time with NIN.
 
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#98
20db pad said:
It's almost always fans of The Who that discount Pino's talent simply because his birth certificate doesn't say John Entwistle. They'd throw that rock at anyone that accepted Roger and Pete's job offer, though.
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Personally, I'm both a Who fan and a Pino fan. But it's hard for me to listen to the Who now. That is not a knock on Pino at all, though. I just think it's an unfillable job because Entwistle was a unique player.
 
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#99
20db pad said:
I actually agree with that regarding Pino's work with D'Angelo as well. I was deep into Pino's stuff 10 years before D'Angelo made albums and his playing on D's projects is lowest on my list of his must-listen, IMO. I've accepted the uniqueness of my opinion and keep it quiet usually because culture at large seems to regard "Voodoo" as a sacred document. I know guys that started playing bass because of that record.

Obviously Pino can still deliver to his usual standards, as evidenced by his time with NIN.
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For many, Pino's work sounds simple... and I guess it is until you try to play it authentically. I hear the same thing about bass playing in other genres like Country. It's an almost intangible feel... some get it, some don't. You'd probably have to dissect it down to a 1/32 note level, despite the fact that he's not playing 1/32 notes. It's about the note placement.
 
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#100
dtsamples said:
Just in general a theme of this thread has been him being a team player and not over playing and drawing attention to himself. While I agree he does that sometimes, I'm not sure that that's the case in his latest work with D'Angelo.
Click to expand...

I think he draws attention to himself musically, at least for some people. And you can't overplay if the person who hires you pays you to play that way.

Edit: re: being a team player. My point about him being busy isn't meant to say that he in anyway overstepped his boundaries. I think he did what he was hired to do. Just don't think what he was hired to do in this instance was necessarily to sit back and support the ensemble.
Click to expand...

His way of supporting the ensemble is playing the way he plays. At least in my opinion. I never get the impression that Pino is doing the "hey, look at me" thing so many bassists do. It's more of a just doing what I do vibe. That's how I've always carried myself on projects. It's not about me but I can definitely help move things along in a positive direction.
 
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