Psst... Ready to join TalkBass and start posting, make new friends, sell your gear, and more?  Register your free account in 30 seconds.

Stanley Clarke

Discussion in 'Bassists [BG]' started by Hary, Sep 22, 2000.


  1. Hary

    Hary Guest

    Sep 19, 2000
    Hungary, Veszprém
    If you like Stanley Clarke, as me, write!
    Albums, songs, solos, everything is a great topic about a great bassist.


    Hary
     
  2. Deynn

    Deynn Moderator Emeritus

    Aug 9, 2000
    Iowa
    Absolutely! Stanly Clark is one the MAIN reasons I am playing bass. There is hardly a day goes by, that I do not listen to his music.
    Now, if I could only have one tenth of his talent.:D
     
  3. brewer9

    brewer9

    Jul 5, 2000
    SC was/is one of my primary influences and inspirations. His first 3 albums are timeless and tremendous. i'm writing everything twice and double in this post, so I'll quit and stop now. see ya and bye bye!

     
  4. Blackbird

    Blackbird Moderator Staff Member Supporting Member

    Mar 18, 2000
    California
    Stanley's great!

    My favorite tracks:

    500 Miles High
    Captain Marvel
    Armando's Rumba.

    Will C.:cool:
     
  5. Here are the Albums with Stanley that were my greatest influences:
    Stanley Clarke
    I Wanna Play for You
    Romantic Warrior(Return to forever live)
    Light as a Feather
    School Days
    Hideaway
    The Rite of strings
    But the last thing that I heard from Stanley was some Lame Movie soundtrack S**t. What's up with that? :confused:
     
  6. Deynn

    Deynn Moderator Emeritus

    Aug 9, 2000
    Iowa
    Here's a couple that I will add to the list.....

    Modern Man
    Time Exposure
     
  7. brewer9

    brewer9

    Jul 5, 2000
    What!? no Journey To Love on your lists? You gotta put that classic album towards the top. JOURNEY TO LOVE.
     
  8. Bass2222

    Bass2222

    Sep 22, 2000
    Does anyone know if Stan is going to do a follow up to the Vertu thing?
     
  9. john turner

    john turner You don't want to do that. Trust me. Staff Member Administrator

    Mar 14, 2000
    atlanta ga
    are you guys talking about this guy?... :D

    [​IMG]

    i got a chance to meet him at the namm show in jan '97, the same show that i first picked up my doubleneck. what a great time. and what a great guy he is, he was really cool about the picture, very friendly. and he's a GIANT. to give you an idea, i'm about 5'9.5" and about 200 pounds in the picture. :eek:
     
  10. john turner

    john turner You don't want to do that. Trust me. Staff Member Administrator

    Mar 14, 2000
    atlanta ga
    very funny and amusing :) :D
     
  11. JimK

    JimK

    Dec 12, 1999
    ...Clarke did do an album post-Vertu:
    It's a McCoy Tyner album w/ Clarke & Al Foster; it's mostly acoustic w/ a couple of electric bass cuts(if you're a member, it's available at BMG or ColumbiaHouse).
    Cool pic, JT.
     
  12. jfsjbb

    jfsjbb

    Aug 29, 2000
    I apologize in advance for scratching the finish off one of your idols. This is just a matter of taste and personal experience.

    I used to be a SC fan, I had some of his records, and I still like them. So I was very curious about a show with SC and "Vertu" that he played at a Jazz Festival.

    I've been working for that festival for more than 10 years (lots of bassists seem to like that kind of work :)), always on or behind the stage, setting up backlines, taking care of the artists, etc. etc. I've had the pleasure and honor to meet many really fine musicians, and I have my personal list of who's nice and who's #$%"/%&$, if you know what I mean.

    Back to SC: His backline list was really huge. Most of the stuff had to be rented, and just SC's backline was about 1k$. Note: That price was just for the bass stuff, no keyboards, drums, guitars whatsoever.

    Stage setup wasn't actually funny, as they made us move that stuff some inches to the right, back again, forward, on the riser, off the riser, :mad: and so on ... When we had finished I just thought "hope we get a lot of sound for a lot of sweat!"

    All we got instead was a lot of bang, awfully loud, far from the HiFi sound on some of the records. I know it's almost impossible to have a studio polished HiFi sound on stage, but the quality difference was beyond any imagination. jbtw: SC got exactly what he had ordered, so the "unfamiliar-equipment-excuse" did not work.

    Disillusioning. :(:(:(

    I hear some of the hardcore SC fans say "It was not his fault, YOU did a bad job with the backline, it must have been the sound engineers who destroyed the performance, ..."

    All of this may be true or false. All I can say is that we worked for him with the very same attitude as we do for any other artist, no matter how famous he/she is. He delivered a bad sounding noise drama. Most others didn't.

    Maybe he just had a bad day, maybe he didn't like the festival, maybe he was just p***ed off for any other reason. But as a pro player (no one can really doubt he is) it's his darn duty to give the best he's got to the audience. If that was his best, goodnight SC :oops:

    P.S.
    Over the years we had lots of bassists with a really detailed list of what they would like to have on stage. When they came to the festival, most of them finally said "Oh, just give me what is on stage already, that's OK for me!" At this year's festival, we had 7 different bass rigs for 7 players backstage. All of them used the very same rig, finally. "Oh, you have that on stage already? Can I use that, too?" It was a classic oldfashioned Ampeg SVT 8x10 stack (the so called phone booth)
     
  13. Deynn

    Deynn Moderator Emeritus

    Aug 9, 2000
    Iowa
    I've heard that SC has been going through some tough personal problems (relationship wise)...and that may account for a bad night. It IS the reason ,that he has had to sell off most of his equipment, including his prized basses.
    Let's hope that all is well soon for him. And in the meantime...I, for one, will give him credit due, for his long history of good works.
     
  14. jfsjbb

    jfsjbb

    Aug 29, 2000
    Sorry to hear that ...

    I understand this <B>can</B> impair one's musical performance, although it <B>should</B> not. After all it's not the audience's problem.

    I think I'll start a new thread on this issue.
     
  15. Deynn

    Deynn Moderator Emeritus

    Aug 9, 2000
    Iowa
    I totally agree and was NOT making excuses for Stanley. A pro SHOULD be able to play above one's problems. But then, we are all human at times.:)
    It would be interesting to hear how others deal with playing and giving one's best...even when not feeling up to it. I've had to do it....so I know personally...that it IS possible.
     
  16. JimK

    JimK

    Dec 12, 1999
    This was a Vertu concert, right?
    If so, then it makes sense...
    First, I have heard mostly bad stuff about that album(everything that's "bad" about Fusion can be heard on that cd).
    Second, a major issue about WHY Fusion "failed" is that the Jazzers/Fusioneers are not as adept as handling/managing volume as their Rock counterparts(especially in a large arena or outdoor venue). Back in the day, I remember hearing the Mahavishnu Orchestra & Return To Forever in a Rock environment...it kinda sucked 'cause what they were playing was just too loud & muddled; chops galore, yes...just didn't mesh with the extreme volume.
    In a small club, the Fusioneers would sound awesome(IMO)...their superior "chops" & musicality would be able to be heard. Jazzers, IMO, rely more on nuance in their playing...I feel some of that gets lost whenever the volume gets outtahand; I dunno, just my opinion.

    I do know in my relative/pathetic existence...if it's too loud, I play differently(& usually more poorly, if that's even possible).
    Fact is, I just recently turned down an opportunity 'cause I know the stuff is goin' to be way L-O-U-D!
    ...118 db "stage volume" hurts! :D
     
  17. shirky

    shirky

    Apr 7, 2000
    Reading, PA, USA
    First off, I think Stanley Clarke is an amazing player.

    My question is (forgive my ignorance):

    What exactly is a "backline"? Does this mean that when a jazz musician plays a gig at your festival, you have to go out and rent bass gear for him/her? Don't they want to bring their own equipment?

    Assuming that this is the case, sounds to me like you should just rent the setup for whatever bands is first, and save some money if everyone will just use that stuff.

    Matt
     
  18. jfsjbb

    jfsjbb

    Aug 29, 2000
    shirky,

    ignorance forgiven! :)

    Backline is the stuff people use on stage. That ranges from amplification for basses, guitars, keyboards to drums, percussion, ..., the lot.

    Your second question: Yes, it is quite common that musicians bring only their instruments but not the amps. "My" festival is in Europe, and it's and expensive difficult to fly drumkits, bass amps, double basses etc. .. from USA to Europe. So the musicians (even more the musicians' management) send us stage plans and backline orders to tell us what they need.

    If we get these orders in time, it's no problem to get all the stuff, but sometimes they send a fax "from the airport", and that's when trouble starts.

    Just to give you an example, this is the backline order for James Brown (I hope this isn't classified information, but anyone who saw that concert saw all that stuff on stage :)):

    2 Ampeg SVT Stacks with 8x10“
    4 Fender Twin Reverb
    1 DX7
    1 D50
    1 M1
    2 Keyboardstands
    1 Hammond B3 & Leslie 122
    2 GMS Drumsets incl. Hardware
    2 Paiste Cymbal Sets (2 x Crash, 1 x Ride, HiHat) incl. stands
    2 Congas LP
    2 Timbales
    10 Cymbal Stands
    2 Kettle Drums (Timpani)
    1 Set Bongos
    1 Percussion Table
    6 Walkie Talkies
    6 ClearCom Headphones

    That's quite a lot to rent, but it's possible. And: if something is missing, it's the organizer's fault, not the artist's.

    Shirky, of course we try to rent all the stuff for the "most demanding" band. Problem is if they want their drums to be tuned at soundcheck and untouched until their gig. You have the choice: Saving money and embarassing the drummer (just an example, sorry, drummers) or spending the money for an additional drumkit and giving the band the impression that all their demands are met.

    In my experience it's better to spend the money, because if the artists feel good, they are more willing to cooperate and make our work easy "Oh, fine, you have the custom drumkit that I wanted to have. But if it makes iteasier for you I think I can use the kit that's already on stage. Take it easy!"

    That also saves lots of time for the sound engineers, for there's no need for another drum soundcheck if the kit is not moved. (same applied for basses and guitars, at least to a certain degree).

    hope this helped
     
  19. shirky

    shirky

    Apr 7, 2000
    Reading, PA, USA
    Jfsjbb, thanks for the info. How about that, I actually learned something from Talkbass today! Going back and reading your original post, $1k to rent Stanley's gear seems pretty outrageous.
     
  20. john turner

    john turner You don't want to do that. Trust me. Staff Member Administrator

    Mar 14, 2000
    atlanta ga
    i think it is pretty extreme to attempt to invalidate a 30+ year music career based on a single performance, regardless of reason.

    nobody can be 100% on every night. combine that with traveling overseas, and the potential for travelling sickness and just play off nights.

    i mean, cut me a break, the guy's been a touring, respected pro and master of his instrument for 30 years.