| Author | Message | ||
| jos
New Username: jos Post Number: 4 Registered: 4-2009 |
Hi Jimmy! Thanks again. What I respect in a Bass Player (or actually any musicians) is the sound one gets and the feel that is put into the music. I do not care about how many notes are played or if it’s played with thumb, pick, fingers or something else as long as it sounds good…. The first time I did hear you play was at Pori Jazz Festival in 1985 with Lee Ritenour. I did not know what to expect…a thumb player like Louis Johnson or someone like Nathan East maybe? But when you did hit the first note I was so impressed by your playing the sound was sooooo good and the things you did play was so musical. You were actually the first bass player after Jaco that really did touch me, by sound and overall performance. After that I did look for every record I could find with your name on it. I also think that all great players stick with their sound (and the equipment) when they find it. It becomes a trademark by nature. I think the main thing is to know what you want and then find the tools for that. Great instruments make the journey easier and more fun but are not the whole thing. There are so many great African players with poor instruments but still making great music. It’s just nice to know what great players like you are using, but of course, it’s always the man behind the instrument in the end that makes the noise…… and the same instrument really sounds different in different peoples hands. In that way these questions are nonsense… But still nice to know as some kind of sharing thoughts and ideas. I really love your playing, you are a great musician…. Thank you for the answers. | ||
| jimmyj
Member Username: jimmyj Post Number: 53 Registered: 8-2008 |
Danno, that is some funny stuff! I think my tv show would be more about the glamourous lifestyle of touring. Episodes like "Doing Laundry In Your Room" or "How To Sleep In A Van"... Thanks for your support. Jan-Olof, that's amazing that you were there in Pori, thank you for that story. I am continually amazed at the power of music. Every gig we play is meaningful to somebody listening. This is a great thing!! I'm cool with gear talk too. There is always something to learn from the experience and recommendations of others. I'm just saying, take it all with a grain of salt and then find what's right for you. I have a lot of respect for bass players who have many different sounds in their palette and are continually discovering more. I know some studio guys who have trunks full of instruments. They usually end up playing the same one or two on everything ... but if they run into a situation that calls for an unusual sound they can whip it right out. That's pretty cool. My only experience along these lines was when some pals called me to play on some 60's & 70's library music. They started asking me about what basses and amps I could bring and I offered to play whatever instruments THEY brought. I ended up playing a few tracks on a beat up Hofner through an Ampeg B-15. Hilarious! Sure glad that's not my everyday axe though... Thanks again for all the kind words fellas. Jimmy J | ||
| jos
New Username: jos Post Number: 5 Registered: 4-2009 |
Hi Jimmy! Yes that is another story if someone who calls you for a session wants you to use something specific like the Hofner and Ampeg B-15. Take the money and run…. But seriously that is the other side of being professional to be able to work with what is needed for the situation even if it’s not exactly what you would like to have as the first choice. You are however one of the guys who have been able to keep your own sound and identity on the sessions you done. When I listen to a record where there are 2-3 different bass players mentioned on the album cover, I could immediately tell what tunes you are playing on!! There is also another guy I have a lot of respect for called Armand Sabal-Lecco. Whatever instrument he plays he always sounds like him and he has also a very nice approach on the instrument, different from yours but also very good. Of course there is a lot of great players out there but for me it’s a question of great sound, identity, emotions and being able to keep your thing in whatever musical situation there is in a musical way. Your sound is your signature and identity. I love Stanley Clarke as well; he still finds new ways to talk with his instrument… | ||
| jacko
Senior Member Username: jacko Post Number: 2173 Registered: 10-2002 |
Jimmy and jan-Olof. It's interesting that you should both pick up on the fact that most of the time a bassist will usually sound like himself and of course it's absolutely true. in fact, no matter how I tweak the EQ on my navigator, it always ends up sounding like me ;-) A very good example of this is the finale to Stanley's 'Night School' DVD where around 10 'name' bassists each take a chorus of School Days. If you close your eyes you can almost instantly tell who each player is from Flea through to Marcus. Of course, Jimmy, you're in there, and Armand too. must have been a great gig! In fact Jimmy, it looks like you almost missed your turn, having problems with your cable? Naturally, the rest of the DVD is well worth watching too. There are stellar performances from the likes of Stewart Copeland, sheila E and Karen Briggs. At times I feel pretty jealous that I'm not living in the US as we rarely get a chance to see these Artistes over here (and almost never beyond London). Still, only two and a half months till JT ;-) Graeme edit: On the subject of the Hofner, I tried to get to grips with one early in my 'career' and seeing how unmanageable I found it brought a whole new respect for McCartney. (Message edited by jacko on April 15, 2009) | ||
| jakebass
Member Username: jakebass Post Number: 69 Registered: 7-2007 |
He he, "how to sleep in a van". I learned at the tender age of 22 in a frozen east Germany, it was sleep or die (I had been fussy up till then) now I can sleep anywhere. Jimmy it's funny the things you learn on the road. Whenever I fly with bands I always have the smallest bag, never take anything I don't need, always pack tight. Two great tips I have learned along the way: I always stuff my socks and underwear into my shoes, keeps the shoes in shape and saves space. When doing laundry in a room, place wet clothing on a laid flat towel then roll it up into a sausage, stand on one end and twist the other end as tight as you can go (without breaking your wrist) it's a great head start on drying your clothes (and no laundry bill from the hotel :-)) Another van trick for hot weather: in the digs at night ask the host to freeze a bottle of water for you, wrap a flannel around it and place in a cool box, the flannel is very refreshing for neck and face wipes all day on long hot journeys, and as the water melts you have a cool drink. I have enjoyed making the hardships of the road as pleasurable as possible over the years, small luxuries can really make the difference, although these days I tend to have a little better standard than the early days, which is lucky as the glamour soon fades past 40!! Also fascinating stuff about the gear and individual sound from everybody. For me I have found that the basses I have played down the years have always just not quite delivered on what I'm putting in to the instrument, until I found Alembic that is, so I found when I played one that "yep, thats how I should sound". I do like my old Fender Jazz for certain things but I always feel a little like an imitator on it. I play upright also so I'm familiar with the concept of really working an instrument to get the best out of it, Alembic to me are the only electric bass that require the same kind of input from me as a player, and despite there being an 'Alembic sound' I have found them to be very versatile dependent on how you play 'em. Finally, Jimmy I will hopefully make JTs London show. Really looking forward to hearing you guys, that is one helluva band :-) | ||
| jos
New Username: jos Post Number: 6 Registered: 4-2009 |
HI Graeme! Yes the Stanley DVD Night School is fun to watch! But for the School Days jam in the end I think besides of Stanley’s solo Jimmy’s solo is the only solo that make sense…I love all the bass players there but the performances reminds me more of some kind of tradeshow demo playing…. but then, that was probably the idea… just to fool around and not think so much. Nice DVD anyway. I know there was a great performance with Stanley, Armand and Stewart Copeland but unfortunately that was not included in the commercial DVD, I wonder why? Its also great that there are some Jimmy Johnson DVD’s out there like the James Taylor concerts, so many musicians on the stage but still so much space!! Also the old Lee Ritenour DVD is fun (1984 or 1985) even if it’s from the -80`s. Jimmy still sounds fresh and plays great like always.. | ||
| eddievig
New Username: eddievig Post Number: 1 Registered: 4-2009 |
To all, Greetings from New Orleans! I am glad to have found this community of Flim fans. Jimmy, I wasn't in town for your recent Jazz Fest gig with JT, unfortunately. I hope that you had some time to sample some of our great local music and food while you were here. Were there any artists that left an impression with you? I have been a fan since the Wayne Johnson days, and was fortunate to have met you many years ago at a NAMM show (playing with Will Kennedy, Alex Acuna and Dave Garfield at the Paiste booth...Steve Lukather even got in on the action). if I remember correctly, you showed me two versions of the cover art for the upcoming BB's "New Pants" CD. I also remember catching you with Holdsworth a couple of years later at Jimmy's Music Club; what a show! Many thanks for the inspired (and inspirational) playing. I look forward to hearing your upcoming projects. | ||
| jimmyj
Member Username: jimmyj Post Number: 65 Registered: 8-2008 |
Hey Ed, Thanks, I appreciate that. Sorry you weren't at Jazz Fest but funny that you saw us in the Paiste "box" at NAMM so many years ago. Good stuff. Sure is a lot of music in Nawlin's, gotta be at least two bands per block. And the Festival with all 5 stages and 3 music tents going at the same time is just like a larger version of walking around the city. Glad to see so much of the town recovering and hope it continues. Take care, see you around here... Jimmy J | ||
| jacko
Senior Member Username: jacko Post Number: 2315 Registered: 10-2002 |
Well, I made it. 35 years after my brother gave me his copies of 'sweet baby james' and 'mud slide slim', I finally got to see James Taylor in concert and boy! was it worth the wait. The entire show was superb - I couldn't fault anyone's performance - and James took the band through just about every style imaginable. His between songs anecdotes and observations were very funny and he came across as a genuinely nice guy. Of course, no posting here would be complete without mention to our bass hero, Jimmy Johnson. His tone throughout the night was sublime, especially when Steve Gadd wasn't bashing his bass drum. I was especially impressed that even when playing fills well above the 12th fret, there was no 'nasal' harshness, just a nice fat buttery series 2 sound. Jimmy makes his playing look effortless (and so he should - he's been doing it so long) and he really looked like he was enjoying himself. I only took my new compact digital to the show so didn't get the quality of zoom shots I would have with my SLR but towards the end of the show we were allowed to get closer to dance near the stage. However, as you'd expect from such a genuinely modest guy, jimmy is very difficult to photograph, preferring to lurk in the background. These few are the best I could manage..    I can only say it was a priviledge to have been there and I'll be sure to go along next time. Hopefully they'll bring the show to scotland, or failing that, I'll be sure to catch the next Holdsworth tour. Graeme (still buzzing) | ||
| davehouck
Moderator Username: davehouck Post Number: 8292 Registered: 5-2002 |
Thanks for the great revue Graeme! | ||
| dadabass2001
Senior Member Username: dadabass2001 Post Number: 1197 Registered: 6-2002 |
Excellent, Graeme! I('m very jealous, and yet happy for your good fortune being this close. I just watched "Pull Over" again 2 days ago. Mike | ||
| jimmyj
Member Username: jimmyj Post Number: 84 Registered: 8-2008 |
Hey Graeme, Glad you could make it down to the gig and thanks for posting those pics (so THAT'S what the stage looks like...). The sound man is in charge of the tone so I'll pass along your positive comments. It is a fantastic bunch of players and singers so I am truly enjoying it and feel fortunate to be along for the ride. I do hope to get back to the UK with Holdsworth at some point, including Edinburgh. Then maybe we could get a chance to hang out and talk shop for a while.. Cheers to all, Jimmy J | ||
| jakebass
Member Username: jakebass Post Number: 81 Registered: 7-2007 |
Nice review Graeme, I'm going to the 02 Show on Monday and am really looking forward to the show, I have seen James twice before once with Jimmy and band and once with just Larry Goldings. Both definitely in my top ten gigs, James is a very special artist in my view. Can't wait. Jimmy, hope you're enjoying your time in the UK. Jake | ||
| jakebass
Member Username: jakebass Post Number: 83 Registered: 7-2007 |
Wow... what a gig! I am genuinely knocked out and have not felt so excited about music since I was a kid. I could talk about the details of why James and his band (led by you Jimmy?) made such an impact but that would miss the point, they are great songs performed by a great artist backed by a great band. And I mean great in the global, historical sense. It makes me doubly excited being an Alembic owner to know that my comments may be read by a member of that 'great great' band. From pin drop poignance to roaring riotousness in a breath, and as far as I can see without fail for every second of the gig every member put the music first. Bravo. If you haven't yet seen this band you are missing one of the best live acts in history. Jimmy, one thing I would like to ask if you could bear the question, do you have a mental approach to that standard of consistency? to my mind you are making an album quality performance each night, does it feel that way to you? or is it as simple as, 'you do what you do'? Thanks Jake (Message edited by jakebass on July 07, 2009) | ||
| bkbass
Advanced Member Username: bkbass Post Number: 206 Registered: 11-2003 |
For Jimmy J., You passsed through the Brooklyn Cruise Terminal. That's my facility. I was unable to meet up with you. If you have the time on the return leg of your journey I would love to meet up and grab lunch in the area. Contact me at bkravitz@panynj.gov look forward to your reply. | ||
| jimmyj
Member Username: jimmyj Post Number: 85 Registered: 8-2008 |
Jake, Man, thanks for that extra kind post, I'm glad you enjoyed the show. You completely GET the idea of this gig and this band - it's all about supporting James and whatever music he chooses to play. When I joined in 1990 Don Grolnick was the MD. I only really knew him as a great jazz musician but he had a deep respect for every kind of music. If James wanted to play some odd cowboy blues song from the 1800's Don would dig in and study everything he could find about the period and then guide us on how to properly respect the tune. It was a real lesson to me. My goal in this situation is not to play something different each night but to play exactly the right note at the right moment in every song every night. It's a different kind of discipline from other more open "blowing" types of gigs but I enjoy this challenge equally. And I still mess up - like leaving my mute switch on at the beginning of one tune at the O2. D'OH! Landau, Goldings and Gadd are amazing musical players and together with James really put the life into this music. It's an honor to be in charge of the bottom note and great fun playing anything with these cats! Thanks again. Hey Barry, really sorry to have missed you as we blew through the Brooklyn Terminal. What a wild coincidence! And I'm sorry to say we are flying home at the end of the tour so the best I can do is wave as we pass over. I don't know if we will ever do that ship crossing again but if we do, next time I'll know there is an Alembic family member in the facility and I'll look you up. Jimmy J | ||
| jakebass
Member Username: jakebass Post Number: 84 Registered: 7-2007 |
Hey Jimmy I'm sure everybody on this site appreciates you taking the time to post, and it's lovely for us to get an insight into the ideas that make for music that many of us want to hear. I was a huge admirer of Don Grolnick and your saying that you learned a lot from him tells me that what I felt had to be true about the integrity of the man was right, and I believe that was audible in his music, he had the ability to make the listener really 'feel' where he was coming from and that place it seems to me was a great, humble, gifted musician. I also had similar respect for Carlos Vega, for me he was the detail guy and I'm sure that you and he had many conversations about what would fit. I think in Gadd and Goldings you have found just the right guys to fill those very big shoes. I also love to play the disciplined gigs, and I totally understand your drive to play the 'right' things. I play lots of gigs where I improvise, but I always strive above all to nail the low end down and be reliable. I draw a little comfort from the fact that you still encounter human error at that level. :0). Last month I was in Germany depping with the virtuoso violinist David Garrett, It was 45 piece orchestra, rock band, click track, all reading with just two rehearsals for 2 gigs, one for the German president and one in a tennis stadium to about 8000 people, oh, and the drummer was a dep too. It was a mighty pressured gig and all the time I had going through my head.. "don't mess up... don't mess up". As you say I GET (well I try) the idea behind supporting an artist, and to be able to share thoughts with the bass player for one of my favourite artists is a real treat. I'm definitely going to make it to a Holdsworth gig sometime and I'll come say hello. Many thanks Jimmy Jake PS I loved the arrangement of down in the hole! (Message edited by jakebass on July 08, 2009) (Message edited by jakebass on July 08, 2009) | ||
| the_mule
Senior Member Username: the_mule Post Number: 727 Registered: 1-2004 |
Hi Jimmy, yesterday evening I saw some footage of the North Sea Jazz festival on TV (unfortunately I couldn't go this year) and I was very impressed by your bass' sound, especially on "You've got a friend". Only a few shots of you playing some tasty notes, for some reason they focused the attention on some singer with an acoustic guitar... ;-) Wilfred | ||
| muller1007
Intermediate Member Username: muller1007 Post Number: 177 Registered: 5-2002 |
Hi Jimmy J, I saw you at the North Sea Jazz Festival with James Taylor last week and it was great! I was standing right in front of the stage and shot some great pictures. Man, I can imagine how amazing it would be to play with James and the other band members. You guys are so fortunate to be able to work together and end up with such an incredible final product. Too bad you guys were on such a tight time schedule last week... We briefly met right after the Allan Holdsworth gig at the "Boerderij" in The Netherlands back in March. You were so kind to sign the Alembic brochure I brought along. You know, every time I go to one of your performances I love to watch your focus, concentration and immaculate technique and of course, I always hope I get to "feel" that Alembic bass sound again. It never fails :-) I was wondering, have you ever owned basses other than Alembics? I was introduced to Alembic basses back around 1985 when I saw a Series 1 being played by Edwin van Huik during a music fair in The Netherlands. I stil have a picture of me as a kid, holding Edwin's huge Alembic. Anyway, I was amazed how that bass sounded different from what I was used to hearing (and feeling!). The sound was larger than life. I was blown away and it always stayed with me. From that moment on I decided I would someday own a Series bass myself. Although my taste of music developed over the years, my longing for that particular bass sound remained. I bought my first Alembic after six years of saving. It was a Signature Deluxe and it was the best bass I've ever owned. Played it for 15 years, until two years ago I stumbled across my current customized '78 Series 1. I've never looked back ever since. The S1 is not my only bass. I also have a Ken Smith BSR5 (fantastic bass!) and a Peavey B-Quad 4 (Brian Bromberg's 90s bass). But my S1 will always remain my premier bass. It was in pretty bad shape when I bought it, but I gave it lots of TLC and it brightened up considerably. It's not perfect (yet), as it needs an electronics upgrade and a refinish but I'll have that taken care of by the Alembic family in the near future. I had a master volume pot put in, which is a great addition and it has the Series 2 led side position markers. Man, I love my Bic! It's on my profile picture. As you mentioned before, it takes the bass player to make any bass sound good and give it your fingerprint sound. I think the Series 1 bass made me find exactly the sound and feel I've been looking for for over twenty years. How did you get infected by the Alembic virus? Duncan Ps Sorry for the long post.... | ||
| jimmyj
Member Username: jimmyj Post Number: 87 Registered: 8-2008 |
Wilfred, Thanks for that. I think of myself as invisible onstage so if I'm not in the light, not on the screen, and nobody notices me, then my job here is done... Duncan, Glad you enjoyed that North Sea set - that place was jammed! I didn't expect that attentive a crowd at a festival. Very nice. The first bass I owned was a "Kalamazoo" by Gibson. Next was a semi-hollow Guild machine for a minute and then a Gibson Les Paul bass with low impedance pickups into which I installed a Jensen transformer and XLR output - always the DI guy, even at that early age. Then I said to my local music store guy "it would be cool if somebody made a long scale version of this bass..." and he pointed me to Alembic. I think it was '75 when I ordered my first long scale series I (4 string) and fell for THE TONE. The revelation that Alembic could build literally anything sent me off on a design quest which got me into 5-strings in '76 with the knob layout and an early version of the quick release tailpiece which I still have on my current basses. That's the history - not a huge collector but I've been lucky with the instruments that I've ended up with. Thanks again, Jimmy J | ||
| tbrannon
Senior Member Username: tbrannon Post Number: 1063 Registered: 11-2004 |
Jimmy, I have a question for you, hopefully you can satisfy my curiosity.... I've noticed several different headstock shapes on your basses- from the elongated fan headstock seen earlier in this thread to the traditional crown headstock and I've seen at least one bass with the cone headstock. Any reason for the different headstock choices or is simply a 'variety is the spice of life' thing? Toby | ||
| jimmyj
Member Username: jimmyj Post Number: 88 Registered: 8-2008 |
Toby, My original '76 5-string (as seen just above the center on this page) was a fan but all the subsequent basses are cones. I think my reason I switched was: A) I like the straightest pull over the nut. B) the cases I use (first pic on this page) are a tight fit so I think the cone may be the shortest headstock... How's that for a function over form decision? That will make Mica cringe! You may also notice that I now have two tuners on the "B" side and three on the "G" side. That's to give the giant B-string more room to taper before hitting the tuning peg. The G-string doesn't care.. Seeya, Jimmy J | ||
| jos
Junior Username: jos Post Number: 23 Registered: 4-2009 |
HI Jimmy, great idea with the two tuners at the “B side”. My Series 1 5 string is a 34`scale bass like most Alembic basses, but normal long scale strings does not fit the instrument. I need to use extra long scale strings or long scale +. This is actually OK because the bass sounds better this way. I have always been wondering why the headstock of Fender and other basses are like they are. The E string needs more room than the other strings…….not to talk about the B string. This helps a lot when the instrument is a 34`scale. Personally I do not like to play 35 or 36`scale basses even if they do sound good………… J-O-S ps.can you send me your email address? | ||
| chrisalembic
Member Username: chrisalembic Post Number: 55 Registered: 3-2009 |
http://www.youtube.com/watch?v=iycfy6DexyE | ||
| artswork99
Senior Member Username: artswork99 Post Number: 784 Registered: 7-2007 |
I've been listening to Lee for years. Great video, thanks Chris! Very nice Jimmy! | ||
| jimmyj
Member Username: jimmyj Post Number: 94 Registered: 8-2008 |
Oh man, flashback! Lee took us all to Melrose Blvd. in LA to get those "hip" clothes. Haha! Maybe he should have offered acting lessons too... It's always great to hear Carlos, we miss that guy. Interestingly (only to you guys), that is my '82 graphite necked bass which only had frets for a couple years and then became my backup fretless. In the end I missed the dynamics of wood and preferred the compression of graphite for fretless. Funny that the bass was captured here... Jimmy J | ||
| davehouck
Moderator Username: davehouck Post Number: 8517 Registered: 5-2002 |
Nice solo Jimmy!!! | ||
| davekoch
Member Username: davekoch Post Number: 60 Registered: 1-2003 |
Jimmy, OMG, what a pleasure to read your comments. You ARE my all-time favorite bass player. Taste, simplicity/complexity, and what my high-school/college band directors used to refer to as "note value". You and Chet Atkins have the best note value of all musicians that I've ever heard. As a geezer, I've heard a lot of music. I continue to get goose bumps from the James Taylor Live CD. You and Carlos are my favorite rhythm section of all time, as well. Dave Bloomington MN p.s. Gordy tuned our piano a while back and was simply charming. Your parents must be so proud of you both. (Message edited by davekoch on August 10, 2009) | ||
| jacko
Senior Member Username: jacko Post Number: 2368 Registered: 10-2002 |
That's a really nice solo Jimmy. very musical - makes a change from all the tuneless slapped triplets one hears these days. graeme p.s. you look very young in that clip ;-) | ||
| georgie_boy
Senior Member Username: georgie_boy Post Number: 910 Registered: 8-2005 |
That video was SUPERB!! What Graeme said above re the slap crap Graeme..of course he looks young.............he was only 4!! Seriously though...I can now see why he is the bass player that the best seek!! George | ||
| jimmyj
Member Username: jimmyj Post Number: 98 Registered: 8-2008 |
Thanks you guys, I appreciate it. "Funk" soloing is not exactly my speciality! Apparently in '84 (when I was um, yeah, 4) neither was coming down front to solo (sorry Lee) nor even smiling while attempting to get down with my bad self... I do not even have a learner's permit to use my thumb but I have tremendous respect for all you fully licensed guys that have that technique down. I just never got it going. So in these situations I often end up comping for myself as in that clip; play a phrase, then play some bass, play another phrase, play some more bass. Haha! Funny stuff! Dave thanks for those comments, "note value" is a nice way to put it. Carlos indeed made everything easy and it was my good fortune to connect with him on so many different projects. My dad definitely had the last laugh when both sons ended up pro bass players like him. Jimmy J | ||
| chrisalembic
Member Username: chrisalembic Post Number: 60 Registered: 3-2009 |
http://www.youtube.com/watch?v=V020XgCqHFo listen at about 1:20... now this is THE bass tone!!..one day I will own a big series alembic.. one day...:-) | ||
| richbass939
Senior Member Username: richbass939 Post Number: 1056 Registered: 11-2004 |
Jimmy, great walking line on that one. That song (Damn This Traffic Jam) sure brings back memories. The first time I remember hearing it was in the early 1980s in the Denver area. About 3 or 4 A.M. a trucker hauling torpedoes for the Navy flipped his truck and dumped the load right in the middle of the intersection of two interstate highways near downtown, shutting down both highways. It took until mid afternoon to get the mess cleared away. The morning traffic had to filter through all the residential streets. What an ordeal. The local radio stations tried to help everyone get through the morning commute. That song was perfect for it. Ricn | ||
| muller1007
Intermediate Member Username: muller1007 Post Number: 178 Registered: 5-2002 |
Jimmy, One of my all time favourite bass lines is the one on "Los Cabos" on The Rippington's Kilimanjaro album. Especially the ad libs you play are mind blowing. It's not just the bass line itself, but also the bass tone that's out of this world. It sounds to me that it's a graphite neck bass you're playing. I was wondering, did you play that same fretted graphite five string that you used on the Rio Funk video? Duncan | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 103 Registered: 8-2008 |
Thanks for the story Rich. A good lyric will have different meaning for different people - although that one is pretty obvious. Hey Duncan, Thanks for that. Um, I don't have that record and can't remember directly. And the funny thing is, the online music services seem to disagree which tune is which on that recording. Haha! But if we're talking about the fast latin tune, that's definitely me... Since that record came out in '89 I think the fretted graphite bass from the Rit clip above had already been transformed to a fretless, so I suspect this is my main studio bass the '87 fretted series II, all wood. Interestingly, on this particular track there is a chorus effect on the bass throughout. I can imagine I suggested they put something on the bass for the little solo near the front of the tune and then they liked the sound and just left it on for the whole thing... I guess it worked because you like it too! thanks, Jimmy J | ||
| muller1007
Intermediate Member Username: muller1007 Post Number: 179 Registered: 5-2002 |
Thanks for that insight, Jimmy. I noticed something different about the bass sound compared to the basic sound of a wooden Series bass. I ascribed it to the graphite neck, but it was a chorus all along. Great! A twenty-year mystery solved. | ||
| michael85
New Username: michael85 Post Number: 1 Registered: 8-2009 |
Hey Jim, do you use any particular 3 finger technique ? I've been trying out different right hand techniques from people like Gary Willis, Steve bailey and sheehan but somehow i feel that the index and middle seems to have the most consistent tone and attack. do let me know. Thanks Jimmy! rgds, Mike | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 113 Registered: 8-2008 |
Hey Mike, Welcome to the forum. The guys you mentioned would all be great sources for this kind of technical info, I'd listen to them! My thoughts? Everybody's hands are different, some have long thin fingers, some short and stubby (and some play with a pick). It all comes down to whatever works for you, whatever allows you to get the sound you want or even reach the notes you want to get to. Unless I run into some crazy written line that forces me to think about my right hand I seldom know what it's doing... But since you asked, let me try to describe what I think is happening - for what it's worth. I wouldn't go so far as to "teach" this as a legit method - it's just what happened to develop for me. I think my thing stems from trying to keep everything quiet. When the bass is on and I am not playing, my thumb is resting between the B and E-strings (muting both), my index finger is on the A, middle finger on the D and ring finger on the G. From there, if I want to play a C on the A-string followed quickly by a C on the G-string, or even sound them together, I will use my index finger and my ring finger. And that's about as organized as it gets... HA! Once I need to play other things my thumb kind of floats around, sometimes resting on the B or even floating above it when I'm playing low notes. Like I said, it's unclear to me what is actually going on down there! You are right that each finger sounds slightly different but I've never purposely incorporated that (except for the occasional big soft low note plucked with my big soft thumb). I will say that if asked to play straight eighth-notes I try to play them all with one finger instead of alternating - always sounds more even to me... It's my understanding that James Jamerson did all that great playing with only his index finger. So there you go, whatever works for you is the way to do it! Cheers, Jimmy J | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 1658 Registered: 6-2002 |
Hi Jimmy it's interesting you sharing your string damping technique. I was showing a student of mine how I personally damp the strings recently as she was having some trouble keeping things quiet. When using a five string bass I damp the B with the pad of my thumb on top of the string, E with my little finger, A with Index finger and D with middle finger. The G is damped with my left fretting hand. I tend to play mostly with my index and middle finger or thumb and index with the edge of my hand resting on the strings when i need a more percussive and muted sound. As I move down the strings to play the D and G strings my thumb tip ends up on the A string whilst resting against the B and E strings to keep things quiet. On a 4 string I either anchor my thumb on the bottom of the neck, neck pickup or both thumb and little finger on the E string, the index and middle fingers on A and D-strings and G damped with fretting hand. I don't recall ever consciously developing these methods but I guess they have evolved sub consciously and work well for me. jazzyvee | ||
| sonicus
Advanced Member Username: sonicus Post Number: 334 Registered: 5-2009 |
Rocco Prestia has an effective lesson plan regarding damping or muting in his instructional video " FINGER STYLE FUNK". | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1293 Registered: 9-2002 |
I was struck watching clips from Eric's Crossroads Festival in Dallas how a LOT of the participants made a point to be in the wings and watch James (and you) work. Having backed lots of front-man-singer-with-box-guitar, could you talk a little about playing behind a guy like that who really has a commanding acoustic technique? From the outside looking in, it appears you all follow his lead, obviously, but that his guitar work is way more part of the chart than most. I've always appreciated you and Anthony for playing to the song, and leaving the Bass Player Olympics to others. Any fool can rush in, machine-gun the chart, and earn NAMM Show Gig points while running the tune off into the ditch. Playing what fits is what separates the men from the boys. | ||
| mario_farufyno
Advanced Member Username: mario_farufyno Post Number: 276 Registered: 9-2008 |
You're not asking me, but I'll tell my way if you don't mind. I've never learned how to damp using multiple fingers, so I only mute the low strings with the side of my thumb. I let it "floating" and just touch the strings by its side as I never anchor it on the strings. If I play the B string and have to move to upper strings, my thumb naturaly damps it as my hand move up. This works fine with B, E and eventualy A (but I don't think A and D strings really needs to be damped as the fingers are always passing over them). The G I also damp with left hand's fingers. | ||
| michael85
New Username: michael85 Post Number: 2 Registered: 8-2009 |
Many thanks to Jim and Mario. sure helped me alot in my playing. For some reason... Bass players are really nice people. I'm emailed guitarist like andy timmons but they never seemed to reply. lol. I emailed sheehan and he sent me a post card. Gary always replies me on the "ask willis". Man.. ain't it great to have a conversation with bass greats! Thanks alot Jim. you're simply amazing. rgds, Mike | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 114 Registered: 8-2008 |
Interesting to hear everybody's different muting styles. Wish I could train my right-hand pinky to do something! I'm pretty sure my left hand is involved in muting too but I am unable to describe its contribution... Joey, thanks for the comments. Yes, James is an ideal combination of great singer-songwriter and great player. The general public may not realize what a fine guitarist he is but players generally recognize his great technique and identifiable sound. He is essentially playing all our parts, including the bass notes ... so our job is to simply expand on what he is already doing. His general tendency is to play the bass note with his thumb before he plays the chord, often before the downbeat. So when he teaches us a tune, the main decision for me is how many of those anticipations should be caught and how many skipped in favor of the downbeat. This is a really subtle bass player thing that only folks like us in here will even be aware of, but you guys know what I'm talking about. As far as those Alembic Olympic moments, well, I do enjoy trying to step out and blaze now and again (can't do it like the true LEAD bass guys we all know) but there is also much joy to be had in playing a simple groove with a great band. I can dig getting together with a drummer and just trying to groove on G for 45 minutes. Mike, no problem, bass players are a nice lot - maybe not as social as drummers, but... Thanks for the nice comments and good luck to you too. Jimmy J | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1296 Registered: 9-2002 |
One of my favorite things is playing behind acoustic guitars, up the neck, when the chart lets you ride that McCartney-esque territory where your holding the groove and you can insert the occasional doubled line or harmony. I know on road gigs you're at the mercy of the sound contractor, though I'd be surprised if James' tours don't travel with one company for the length of the dates. As you play direct, Jimmy, do you find any certain power amps you prefer, or is it hard to hear much difference from one to the next? Do you have any luck with in-ears? Me too, floating right-hand thumb on the B/E gap, the fingers choking the A/D/G. And I'll kill some notes with the fret hand. On occasion I've killed a LOT of notes with my fret hand . . . I HATE going to the Clam Buffet! | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 115 Registered: 8-2008 |
Hey Joey, With JT I use in-ear monitors and have gotten used to the good and bad of it. One of the "goods" being the ability to keep the overall level low even if I'm standing right next to the drums, trying to get many more years out of these old ears. Also, the less bass you have flying around onstage leaking into vocal mics, etc, the cleaner the bass sound is in the PA. James uses Clair Brothers on the road, they're great soundies. I don't have a specific power amp preference although if I tested a few it might become apparent. When I am doing that direct to power amp to monitor wedges thing, I think the speaker cabinets are the biggest variable. In those situations my goal is only to be able to hear myself over the drums so even a pair of relatively low-end self-powered wedges can work. Even in a tiny club I am not trying to fill the room with sound from my position onstage - I count on the PA to do that. I'm just using what I have next to me to hear what I'm playing. So, as it's just a monitor for me I might be less specific about it's sound and confident that the bass sounds good in the house. Yes, the clam buffet - been there. Jimmy J | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1297 Registered: 9-2002 |
Rewinding back thru the length of this thread, I'm struck by your chasing one tone, evidently arrived at by you with the fewest items (amps, cabs, effects) inline between you and the wedges: Would you mark this down to growing up around an upright player, the type of guy(s) that chase a single tone from the right acoustic instrument? I understand you've even stayed with Boomers all these years, again in a way reducing new variables to a minimum. I, too, have always chased one tone in my head. After way too much money spent, I still sound like me, it's in my damn hands and between my ears. I s'pose the mutiple instrument/tone thing is not as widespread among electric bassists, though there are several session guys here in NashVegas who show up for sessions with quite a selection . . . although I always wonder if it's really for tone or playing the dog+pony show for the today's producer-de-jour. Been a hoot to visit with you, hope to meet you one day. My best to you and yours. | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 116 Registered: 8-2008 |
Joey, My dad was also a piano tuner and I think it was hanging out under the grand piano while he used his karate chop on the bass notes that might have altered my brain. Ha! No kidding, I think it's more of a acoustic piano thing for me. Having wound up here with a wide open Alembic tone has allowed me to fit into several different musical scenarios because the sound is not very electric-bass-like, its more like an acoustic instrument. My sound seems to get along well with piano or acoustic guitar. Any Quiet Riot or Billy Idol appearances must be considered purely accidental - that's not really where I live (fun visiting though). I also got into commercial recording work pretty early on and at that time, in the studios I was working in, DI was the thing. So I got used to it. Yeah, it's wild, everybody sounds like themselves pretty much regardless of their gear. I've seen this played out over and over again. But the gear changes DO make a difference to the player. Moves that seem subtle to others may be huge to you, and there is always room for improvement. Just like there is always some new combination of notes to discover on the instrument. And I'm saying that after plunking away on it for about 40 years! Yikes! Thanks man, seeya somewhere, Jimmy J | ||
| byoung
Senior Member Username: byoung Post Number: 1240 Registered: 12-2004 |
Jimmy, I just found out that James Taylor (and Band) are playing the Puyallup Fairgrounds on Saturday. Will you be there? Bradley | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 118 Registered: 8-2008 |
Oops, pardon the late reply Bradley. Yes, it was a nice night at the fair - cool but no rain. Good crowd. Great fried anything on a stick. Under the grandstands next to the taffy, kitchen gadgets, roofers, and tool salesmen, the local distributor for Eminence Speakers had a booth set up... State fairs are full of surprises. Jimmy J |
