Bass-ically Speaking

So You Wanna Be a Blog Star

This could be my new favorite blogger.  Maybe.  I'm still trying to decide.  I definitely like the song.

Impromptu Concert at the Mayo Clinic

They've been married for 62 years. He is 90 years old.

Bassist at the Opera

I'm sure I broke my mother's heart when I adamantly announced I wanted to play rock music, not sing opera as she did.  After all, who sets out to grow up to be just like their mother?

A few weeks ago, my daughter (16) told me she wanted to study opera.  After all, who wants to grow up to be just like their mother? 

My little girl spent the third year of her life dressed like Cinderella. Her grandmother made the dress. I barely got her out of it long enough to wash the darned thing.

That gives you enough background to understand why, last week, when she asked me to take her to the Fort Worth Opera's performance of Rossini's Cinderella, I couldn't very well say no.  It had been years since I attended the opera - something I did on a regular basis as a child, but only a handful of times since flying from my parents' nest.  But, for my little girl, I'd bite the bullet, right?

Well, it was delightful!  Because her student ticket only cost $5, I was able to purchase a much better seat for myself than if I'd paid full price for both of us.  While we couldn't exactly see the whites of the performers' eyes, we didn't get nose bleeds, either. 

The scenery was brilliant! The singers were cast well for their roles and their acting was every bit as fine as their voices. (How do they make their voices do those things!?!?!)  The costumes were gorgeous. The makeup was a bit over-done on a few of the characters, perhaps adding a bit to the comedy, so I won't be too harsh there. Of course, Bass Hall is acoustically perfect. They even provided a screen just above the proscenium arch onto which English translations were projected. It was all quite enthralling and I was thoroughly entertained!

Despite the visual pageantry of the production, I had a hard time peeling my eyes away from the orchestra pit - more specifically the cellists.  Well, cellos look a lot like double basses to me.  You can stick a bassist in front of an opera, but she's still going to listen for the bass lines...and wear jeans.

Maybe I should pass on the set of CD's my mother gave me years ago, before I had kids:  Opera for People Who Hate Opera.  Except my daughter actually likes opera.  If you can keep a secret, I'll confess that I sort of do, too.

Sort of.

Tell me, when was the last time you went to an opera?  What about a different musical event you wouldn't normally attend?  Did you come away with a new perspective or appreciation you didn't expect? 

(Crappy photo taken with my iPhone.)

Interview With Chuck Rainey

Mr. Rainey, thank you for taking the time to reach out to some of your fans here at Bass-ically Speaking.  Your contributions to and influence on the music world and on bassists in particular are so far reaching.  Yet, as a sideman, your contributions to modern music are sometimes under-appreciated.  My hope here is to connect you to my readers and, in some small way, increase their awareness of you as an artist.

Bass-ically Speaking:  Was there a single, defining moment in your life when you said, "Yes! I want to be a musician?"

Chuck Rainey:  Actually no. It seems that I was always a musician, of some sort and was never faced with that decision in that way. I was very aware of music and rhythms as a baby - mostly from the natural sounds of nature and human voices in my immediate environment. 

A strong music foundation was and is embedded in my immediate family and blood relative extensions of uncles, aunts and cousins. In short, just about everyone sang well and/or played an instrument well as a passion or hobby that began at a very early age.


Bass-ically Speaking:  Why the bass?

Chuck Rainey:  Although I ultimately chose the bass, the bass clef actually chose me during the period of time that I was musically involved with singing and learning to function in organized music with various other instruments. 

After switching to several instruments the bass was easier to play, most comfortable or natural to hold and its role in organized music suited my thoughts and ability in being grounded and expressive in the music.>>

Bass-ically Speaking: I notice a real dichotomy between musicians in general, bass players in particular.  One camp maintains it is imperative to study music and music theory. The o ther camp asserts you don't have to know any theory to be a great musician.  What do you say?

Chuck Rainey:  You not have to be 'grounded' in theory to be a great musician! A large ratio of well known and accomplished musicians are not grounded in theory - meaning; (1) they either do not read/articulate notated music at all or maybe at an elementary level, etc., (2) can accurately play through chord changes, at any lev el of performance without theoretically knowing or having the ability to explain in theory what was or is being played.

In word languages, a pre-school child does not learn how to read and write, diagram sentences, etc., until they know how to talk, debate and understand the basic language they are using - then, they are taught what it looks like written and how to express themselves with written theory and rules of the language they are using to express themselves or in receiving information, etc.

There is a good ratio of adults in all environments that speak well and are successful in what ever they are doing - but do not read or write the language they are speaking. Musicians are no exception. Of course ones quality and safety in life as well as in music improves if the rules of harmony and theory are reasonably applied and understood in organized people situations.

Bass-ically Speaking: Looking at your career and scanning down your discography, one can't help noticing the greats you've played with; Aretha Franklin, Quincy Jones, Steely Dan, Joe Walsh, Robert Palmer and on, and on.  I read down the list thinking, "Cool!  Very cool. That's cool, too.  Cool, cool, cool!"  Is there a time in your career that you look back on and think, "That wasn't cool at all.  Wish I hadn't done that.  Wish I didn't have that particular t-shirt!"?

Chuck Rainey:  Yes, but I was wrong most of the time - my ego had those wishes, not me!


Bass-ically Speaking: One of my readers wants to know, "Out of all the session work you've done with Steely Dan, what stands out as most memorable?"  It's a great question and I'm eager to know as well.

Chuck Rainey :  Very difficult to name the most memorable - too many sessions over a 10 year period and a of the songs were recorded several times. All sessions were musical with very talented musicians and it was pleasurable 'work'!


Bass-ically Speaking: The electric bass is strongly emerging from a sideman position to that of a more notably recognized solo instrument.  What upcoming bass solo artists have you been impressed with recently to whom you recommend bassists give a serious listen?

Chuck Rainey:  I am somewhat of a traditionalist - I more or less have my attention to a rhythmic groove from the bass and pay less attention to the instrument as a solo instrument. 

But having said that, I do appreciate the solo skills of players like Jeff Berlin, Steve Bailey, Jaqo, Brian Bromberg, Victor Wooten, and Chris McBride. So I guess I could recommend any artist that have these players involved in their music.


Bass-ically Speaking: Your lesson book series _The Complete Electric Bass_ has been a valuable learning tool for so many bassists.  I first learned about it from my own bass instructor.  He, and I'm sure many others, are interested in knowing whether you have plans to offer similar instruction books that include audio and/or video tools for students of bass?

Chuck Rainey:  I have 4 new books set to be available late Fall of this year and they do include audio and/or video.


Bass-ically Speaking: You've already accomplished more in your career than most musicians aspire to. What's next for Chuck Rainey?

Chuck Rainey:  Finishing up a new solo CD project to support [my] Europe and Japan tour this winter and next Spring!

Bassi-ically Speaking:  I'm really excited about the upcoming CD and the new book set.   (With audio and/or video?  Can't wait!)  Please let us know when we can get our hands on these upcoming releases.

And I thank you again, Chuck.  It's been a privilege to get to know you!

Dear Readers, please join me in thanking Chuck via your comments below.

For more on the Godfather of Groove:

Chuck Rainey: The Official Website

Interview with Will Lee, February '97

Chuck Rainey on FaceBook

Introducing the Godfather of Groove

(photo used with permission, courtesy C. Rainey)

Introducing The Godfather of Groove

Sometimes, there is a song that grabs the attention of your soul and creates a response within that is just plain physical.  Perhaps the melody is catchy or the lyrics speak to you. The rhythm may even grab you, but there's a deeper element that you don't immediately identify.  You just connect with a feeling and you know you'll never find a word to describe what's happening.  So you settle for a euphemism like 'cool' or 'great', but it just falls short.

The first time I remember such an experience, I was plugged into my headphone, listening to my new Steely Dan album, Katy Lied.  My friends were enamored by Can't Buy a Thrill, but I wasn't as impressed with Steely Dan until Pretzel Logic.  Up to that point, my musical experience had been shaped by my dad's country & western tastes and my mom's opera singing.  I chose, therefore, to listen to Jimi Hendrix, Cream, Led Zeppelin, Traffic and Janis Joplin.  But, of course.

Track One:  Black Friday.  Listened.  Enjoyed. Wasn't disappointed. Looked forward to hearing the rest of the album.

Track Two:  Bad Sneakers. 

I think I listened to Bad Sneakers four or five times before moving to Track Three.  This is the song I described at the beginning of this post.  The one that made my soul sit up and say, "Hey!  What's up with this?"  It wasn't the melody, the lyrics or the guitar. Remember, this wasn't even my favorite genre of music. I was into Led Zeppelin and Pink Floyd at that time.  It was something else . . .  an entity lying under the surface that gave the song its saucy backbone, its attitude, it's soul-catching groove: 

It was the bass.

It wasn't until years later, when I walked away from the piano and put my guitar in the closet to pick up the bass, that I was made aware of a bassist named Chuck Rainey.  By then, I'd owned Steely Dan's Aja for years; one of my all time favorite albums.  Of course I'd paid scant attention to the names of the sidemen; I was oblivious like that. And it took me a while to connect the name Chuck Rainey with my beloved Bad Sneakers.

Jackson Browne, Rickie Lee Jones, Marvin Gaye, Aretha Franklin, Robert Palmer, Leo Sayer, Dave Mason, Tom Jones, Etta James, Fats Domino,  Joe Cocker, Ray Charles and many others paid attention, though.  And Chuck Rainey was studio bassist for them as well as many, many, MANY other artists.

As a bassist, Mr. Rainey is the best in the business.  Hands down.  Versitile, creative, intuitive, inspiring, influential, truly among the greatest musicians to have shaped modern music. Given the  soul-touching depth of his musicianship, "The Godfather of Groove" is an apt moniker.

I am appreciative of the many ways he has reached out to touch the lives of his fans and has influenced other bassists.  His series of instructional books, The Complete Electric Bass Player, has helped educate and shape the playing of many bassists.  He continues to teach and tour and record, leaving his unique legacy for the benefit and enjoyment of the musical world.

I am honored (and way excited!!) that Mr. Rainey granted me an interview that I will share in my next blog post. 

Please join me in welcoming Chuck Rainey!

Interview here.

(Photo used with permission, courtesy C. Rainey)

Megatar

I've been checking out this new-to-me instrument called a Megatar.  Having never held one myself, nor having seen on up close and personal, I'm still trying to decide what to think.  Out here in Far Western Suburbia, where folks follow country music and think Megatar is some sort of monster truck, I'm not likely to encounter one by chance any time soon.  We're cutting edge and hip that way.

Apparently - okay, obviously - this is a stringed instrument. Twelve strings.  Six bass and six treble.  Unlike other stringed instruments, the megatar requires no plucking, picking or bowing of the strings.  It is played by tapping them.  From what I can tell, the technique is akin to playing a piano in that the touch of the finger results in the sound.

Piano, by the way, is a stringed instrument. Someone actually had to tell me that.  I'm slow that way.

Like a guitar or other instrument in which the finger comes into direct contact with the string, the strings are set parallel to each other on a neck and tuned to fourths, with tonal intervals adjacent to each other on its respective string. If that makes any sense at all, I'll be surprised.

Here's an enjoyable video that demonstrates the playing of a megatar. (That's one cool cat! The musician is good, too.)

The Mobias Megatar site has more videos and information. Definitely worth a look.  The Megatar Megablog provides updates, specials, audio clips, posts about the making of megatars and more.  And you can follow Megatar Man, Traktor Topaz on Twitter.  (Who is just itching to get one of these things into my hands!)

Carol Kaye

Not to belabor a point or anything, but . . .

Electric Bass Fishing

Bass-ically Speaking Lives On

I'm working to resurrect and re-launch Bass-ically Speaking.  Nothing kills a blog like a bit of neglect.  I've done more than a bit.

A blog is like a gig; if there's no audience, what's the point?  I am, therefore, inviting you to the gig.  I'd be honored to have you attend. 

Here are some ways you can do so:

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• Recommend musicians for interviews. Email me with contact info and I'll be happy to take it from there.
• If you're a musician with a perspective of value to share with others, let me know.  Feel free to email me! (I link to, interview, feature and invite musicians to guest post.)
• Comment!!  Please let me know you stopped by. It's great to know my audience is actually awake out there.
• Invite me to YOUR gig!  Let's trade links and encouragement as we share the love of the music!  (Let's start a band, right?)

No, you don't have to do ALL of those. Which would you like to do?

If you're a musician (or the parent of a young musician) could you take a moment to introduce yourself?  Be sure to leave your URL and/or Twitter profile below. 

You're Too Old to Play in a Band When . . .

• 1. Its more important to find a place for your fan than your amp.
• 2. You get to the gig looking like you just woke up or just left the gym. 
• 3. All your fans leave by 9:30 
• 4. All you want from your groupies is a foot massage and a back rub.
• 5. You love to take the elevator because you can sing along with your playlist.  Anything to keep you off the stairs.
• 6. Instead of adding another musician, the band wants to spring for a  roadie.
• 7. You lost the directions to the gig.
• 8. You need your glasses to see the amp settings. 
• 9. You've thrown out your back jumping off a one foot stage.
• 10. You feel like hell before the gig even starts.
• 11. The waitress is your daughter.
• 12. You stop the set because your Ibuprofen/Pepcid fell behind the speakers.
• 13. Most of your crowd just sway in their seats.
• 14. You find drink tokens from last month's gig in your gig bag.
• 15. You refuse to play without earplugs.
• 16. You ask the club owner if you could start early to quit early.
• 17. You check your favorite team's game schedule or when hunting season starts before booking a gig.
• 18. Your gig stool has a back.
• 19. You're related to at least one member in the band.
• 20. You let anyone sit in as long as you can get off the stage for a little while.
• 21. You need a nap before the gig.
• 22. After the third set, you bug the club owner to let you quit early.
• 23. During the breaks, you go to the van to lie down.
• 24. You prefer a music stand with a light.
• 25. You hope the host's speech lasts forever.
• 26. You don't recover until Tuesday afternoon.
• 27. You buy amps considering their weight and not their tone or cool factor.
• 28. You feel guilty looking a hot men/women at the bar because they're younger than your son/daughter.
• 29. You can remember seven different club names for the same location.
• 30. You have a hazy memory of when you could physically handle 10 gigs in 7 days.
• 31. Your date couldn't make it because she couldn't find a baby sitter for the grandkids.
• 32. Set lists are one per page with very large fonts and key signatures.
• 33. Your now vintage gear was new when you bought it.
• 34. You have to leave in the middle of a set to pee.
• 35.  In order to make it through the gig, you decline the club's comp drinks and consume the caffeine instead.