Hello Friends!
So, today I was in the mood to share Dionne Farris and her unique blend of Funk, Rock, and Soul. I remember her from her days working as part of "Arrested Development" in the 1990s. Her solo debut album, "Wild Seed - Wild Flower," is excellent with all kinds of gems that would make great stand-alone singles. I remember playing along on bass to "I Know" and loving the music video, as well. Anyway, here's a great tune from the album that I often come back to from time to time for loud groove... Enjoy and Merry Christmas Eve - Eve!
Tuesday, December 23, 2014
Monday, December 22, 2014
#MotivationMonday
Good Monday, everyone!
It's time to suit up and start another week. But, this week is obviously like no other, as this Thursday we will be celebrating the birth of Jesus Christ (at least in my home). The fellowship and family that comes along with this holiday supersedes anything that would serve to chip away at the significance of the time: bills, school or work-related stressors, anxiety about the future, you name it...
I think I have wasted a good portion of my day-to-day life worried about what has or has not come to pass, and it is now time for that to stop, as I bring in the new year. The new year brings in new challenges, new joys and new pains, and that will not change, but the approach to them will...
If there is anything that I have learned about this year is that the joys and pains almost seem cyclical, as I have not had to endure so much discouragement since 2006, when I was fresh out of music school and realizing that the school had failed to prepare me for the business side of the music industry. But, as I am now older and wiser, I can position myself for a slow and methodical re-attack.
So, as I bring in the new year and the tenth anniversary of my relocating to California, the commitment to my musical pursuits have been renewed, and willingness to leave California is also back on the table (once I am finished with my second Master's degree that is in progress). The reality is that I would have faired just as well continuing with private lessons on my own than my particular selection of school, but that is now in the past. So, I ask all who read this to please pray for the author and for this new year. Prayer changes things and a whole lot of (divine) change is needed today. Enjoy and be safe...
It's time to suit up and start another week. But, this week is obviously like no other, as this Thursday we will be celebrating the birth of Jesus Christ (at least in my home). The fellowship and family that comes along with this holiday supersedes anything that would serve to chip away at the significance of the time: bills, school or work-related stressors, anxiety about the future, you name it...
I think I have wasted a good portion of my day-to-day life worried about what has or has not come to pass, and it is now time for that to stop, as I bring in the new year. The new year brings in new challenges, new joys and new pains, and that will not change, but the approach to them will...
If there is anything that I have learned about this year is that the joys and pains almost seem cyclical, as I have not had to endure so much discouragement since 2006, when I was fresh out of music school and realizing that the school had failed to prepare me for the business side of the music industry. But, as I am now older and wiser, I can position myself for a slow and methodical re-attack.
So, as I bring in the new year and the tenth anniversary of my relocating to California, the commitment to my musical pursuits have been renewed, and willingness to leave California is also back on the table (once I am finished with my second Master's degree that is in progress). The reality is that I would have faired just as well continuing with private lessons on my own than my particular selection of school, but that is now in the past. So, I ask all who read this to please pray for the author and for this new year. Prayer changes things and a whole lot of (divine) change is needed today. Enjoy and be safe...
Sunday, December 21, 2014
#SoulfulSunday
Happy Sunday, everyone!
So, I figured it would be a good way to end the week by ending it with some soul as well as finishing off a thread I have been on the last two days. Here is another hit duet number by Alexander O'Neal and Cherrelle that I mentioned in the post from Friday. From the looks of the video, it was shot in England, a country that I have a soft spot in my heart for, for various reasons. Something I probably would have not realized, watching this as a young one on BET's "Video Soul."
Enjoy the day, it is great!
So, I figured it would be a good way to end the week by ending it with some soul as well as finishing off a thread I have been on the last two days. Here is another hit duet number by Alexander O'Neal and Cherrelle that I mentioned in the post from Friday. From the looks of the video, it was shot in England, a country that I have a soft spot in my heart for, for various reasons. Something I probably would have not realized, watching this as a young one on BET's "Video Soul."
Enjoy the day, it is great!
Saturday, December 20, 2014
#SoulfulSaturday
Happy Saturday, everyone!
Such an appropriate selection for today...
The earliest memory I have of this song was always running out of breath in my little lungs every time the chorus of the song started. Another duet that was a hit for Tabu Records artists Alexander O'Neal and Cherrelle, "Saturday Love" was featured on Cherrelle's second album, "High Priority," and I am so glad that the catalog of these two artists, along with the S.O.S. Band and Brainstorm are now available again as reissues. For the longest time, I have had to order vinyl and used import CDs from Europe and Japan just to hear some of the songs that were not fortunate enough to be released as a single and receive radio attention. This, of course, was pre-Napster and pre-iTunes, and when Napster came along, at least it did allow me the opportunity to listen to records that were no longer available in the states, thanks to its peer-to-peer file-sharing platform. Fast-forward to today, collectors, gurus, musicians and patrons of actual music have spawned a niche market for record companies, the "Old-School" market. Without actually knowing the numbers, I hope it has proven a profitable venture to them. If it has, it will encourage them to re-release other gems that haven't tasted the treatment of being released in digital download or CD format for the future generations of listeners to enjoy and be inspired by... This is my hope... Enjoy and be safe!
Such an appropriate selection for today...
The earliest memory I have of this song was always running out of breath in my little lungs every time the chorus of the song started. Another duet that was a hit for Tabu Records artists Alexander O'Neal and Cherrelle, "Saturday Love" was featured on Cherrelle's second album, "High Priority," and I am so glad that the catalog of these two artists, along with the S.O.S. Band and Brainstorm are now available again as reissues. For the longest time, I have had to order vinyl and used import CDs from Europe and Japan just to hear some of the songs that were not fortunate enough to be released as a single and receive radio attention. This, of course, was pre-Napster and pre-iTunes, and when Napster came along, at least it did allow me the opportunity to listen to records that were no longer available in the states, thanks to its peer-to-peer file-sharing platform. Fast-forward to today, collectors, gurus, musicians and patrons of actual music have spawned a niche market for record companies, the "Old-School" market. Without actually knowing the numbers, I hope it has proven a profitable venture to them. If it has, it will encourage them to re-release other gems that haven't tasted the treatment of being released in digital download or CD format for the future generations of listeners to enjoy and be inspired by... This is my hope... Enjoy and be safe!
Friday, December 19, 2014
#FlashbackFriday
TGIF!
Time for a great jam that is one of my favorites. The three main artists that made up the Tabu Records roster did a wonderful job singing together on each other's records. I am referring to Alexander O'Neal, Cherrelle, and the S.O.S. Band. For example, Alex and Cherrelle sang on the S.O.S. Band's "The Finest," featured on their 1987 album, Sands Of Time.
Being good friends, Alex and Cherrelle also shared other hits together, like "Never Knew Love Like This," and "Saturday Love," and all three of the labelmates launched the successful producing careers of Jimmy Jam (James Harris III) and Terry Lewis, formerly of The Time. The album version of this song is over 10 minutes---definitely designed with the clubs in mind, if you ask me. Enjoy and have a happy and safe weekend...
Time for a great jam that is one of my favorites. The three main artists that made up the Tabu Records roster did a wonderful job singing together on each other's records. I am referring to Alexander O'Neal, Cherrelle, and the S.O.S. Band. For example, Alex and Cherrelle sang on the S.O.S. Band's "The Finest," featured on their 1987 album, Sands Of Time.
Being good friends, Alex and Cherrelle also shared other hits together, like "Never Knew Love Like This," and "Saturday Love," and all three of the labelmates launched the successful producing careers of Jimmy Jam (James Harris III) and Terry Lewis, formerly of The Time. The album version of this song is over 10 minutes---definitely designed with the clubs in mind, if you ask me. Enjoy and have a happy and safe weekend...
Thursday, December 18, 2014
#ThrowbackThursday
Happy Thursday!
So, since I mentioned Alexander O'Neal, it reminded me that I only have two Christmas albums in my collection. The first is the one by Alexander O'Neal entitled, "My Gift To You," and "Give Love At Christmas" by The Temptations. The reason that this is has to mostly do with my boredom with Christmas carols in general, and I appreciate creative new songs to bring in the holiday season, outside of the usual carols we all know and love. Even though there was never an official video promoting this particular song, I do remember Alvin & The Chipmunks covering it during another (updated) Christmas Special hosted by a young Will Smith back in the late 1980s or early 1990s.
When that special would air via syndication in subsequent years, that was a definite highlight, as I did not know where else I would be able to hear it, or who actually made it. Thank God for the All Music Guide's cross-referencing! Anyhow, I hope you enjoy the song. It's funky, different and a lot of fun. More from Alexander later, as he is one worthy of further discussion...
Enjoy and be safe!
So, since I mentioned Alexander O'Neal, it reminded me that I only have two Christmas albums in my collection. The first is the one by Alexander O'Neal entitled, "My Gift To You," and "Give Love At Christmas" by The Temptations. The reason that this is has to mostly do with my boredom with Christmas carols in general, and I appreciate creative new songs to bring in the holiday season, outside of the usual carols we all know and love. Even though there was never an official video promoting this particular song, I do remember Alvin & The Chipmunks covering it during another (updated) Christmas Special hosted by a young Will Smith back in the late 1980s or early 1990s.
When that special would air via syndication in subsequent years, that was a definite highlight, as I did not know where else I would be able to hear it, or who actually made it. Thank God for the All Music Guide's cross-referencing! Anyhow, I hope you enjoy the song. It's funky, different and a lot of fun. More from Alexander later, as he is one worthy of further discussion...
Enjoy and be safe!
Wednesday, December 17, 2014
#WaybackWednesday
Happy Wednesday, everyone!
So, even though I draw most of my musical influence from music primary of the 70s, I was an 80s child, and have a soft spot for not only 70s and 80s R&B/Soul/Funk, but also of the musical British invasion that we had in the 1980s. The first invasion was in the 1960s, with bands such as The Beatles, but for me, I leave my heart with the British synth-pop invasion of the 1980s. Bands such the Eurythmics, Kajagoogoo, Thomas Dolby, Phil Collins, Howard Jones, Tears For Fears, and others have tempted me in the past to leave the bass and learn keyboards. I absolutely love synthesizers and the layers/textures that they contribute to music. I love them almost as much as actual strings and horn sections. So, it is always nice to see that unlike in America, outside America, the nostalgia circuit is much more substantial and if you have an audience, places like Europe and East Asia will make a home for you. The sentiment proved true for many R&B Funk bands that found their audience dwindling as the "Gansta Rap" era of the early 1990s started sweeping the nation, and eventually the world.
Artists such as R&B crooner Alexander O'Neal, who was a 80s hit-maker here in the states, all of a sudden found England to be his adopted home for the better part of the last three decades, as America's attention span in pop culture continues to shorten with each decade. But, the fact that he is still singing and continuing to make records is a great relief and I wish him and the countless other artists and bands in similar situations the best.
One band that I found to be a true success story is Kajagoogoo. The band's synth-pop that took the world by storm, with hits such as "Too Shy," "Ooh To Be Ah," and "Hang On Now." The quintet eventually disbanded due to conflicts in managerial advice and musical direction. Limahl, the lead vocalist and co-writer/vocalist/bassist Nick Beggs began to clash as Limahl was beginning to emerge as a successful solo artist. He indeed became successful. I know him fondly for singing of the eighties title song of the movie soundtrack, "The NeverEnding Story," an 80s classic. After Limahl left the group to launch a solo career, Nick shortened the band name to Kaja, and continued to write, record and perform with the remaining members. Eventually, the 80s were over and so was the band. However, Nick continued to be a sought-after bassist for high-profile performances with other bands as well as for session work. For example, I remember seeing him performing with another 80s band, ABC, during the "Prince's Trust" concert honoring super-producer Trevor Horn some time ago.
Fast-forward to the early 2000s, and one has the VH1 TV Show, "Bands Reunited," where the host goes in search of finding the different members of the bands that have made their mark in the gran musical narrative, and unites them in hopes of performing a one-off concert in front of loyal fans. Fortunately, the show has brought the likes of bands like Kajagoogoo back together and allowed them to "clear the air" and start anew. Some stories were a success, some not so much. And so here we are, and Kajagoogoo are back and at it again. They have released new records since the reunion in addition to some new "Greatest Hits" compilations, including DVDs of their early music videos. Here they are performing one of their biggest hits in London. One of the few songs with the distinction of having a prolonged bass intro to start off the song... Enjoy and be safe!
So, even though I draw most of my musical influence from music primary of the 70s, I was an 80s child, and have a soft spot for not only 70s and 80s R&B/Soul/Funk, but also of the musical British invasion that we had in the 1980s. The first invasion was in the 1960s, with bands such as The Beatles, but for me, I leave my heart with the British synth-pop invasion of the 1980s. Bands such the Eurythmics, Kajagoogoo, Thomas Dolby, Phil Collins, Howard Jones, Tears For Fears, and others have tempted me in the past to leave the bass and learn keyboards. I absolutely love synthesizers and the layers/textures that they contribute to music. I love them almost as much as actual strings and horn sections. So, it is always nice to see that unlike in America, outside America, the nostalgia circuit is much more substantial and if you have an audience, places like Europe and East Asia will make a home for you. The sentiment proved true for many R&B Funk bands that found their audience dwindling as the "Gansta Rap" era of the early 1990s started sweeping the nation, and eventually the world.
Artists such as R&B crooner Alexander O'Neal, who was a 80s hit-maker here in the states, all of a sudden found England to be his adopted home for the better part of the last three decades, as America's attention span in pop culture continues to shorten with each decade. But, the fact that he is still singing and continuing to make records is a great relief and I wish him and the countless other artists and bands in similar situations the best.
One band that I found to be a true success story is Kajagoogoo. The band's synth-pop that took the world by storm, with hits such as "Too Shy," "Ooh To Be Ah," and "Hang On Now." The quintet eventually disbanded due to conflicts in managerial advice and musical direction. Limahl, the lead vocalist and co-writer/vocalist/bassist Nick Beggs began to clash as Limahl was beginning to emerge as a successful solo artist. He indeed became successful. I know him fondly for singing of the eighties title song of the movie soundtrack, "The NeverEnding Story," an 80s classic. After Limahl left the group to launch a solo career, Nick shortened the band name to Kaja, and continued to write, record and perform with the remaining members. Eventually, the 80s were over and so was the band. However, Nick continued to be a sought-after bassist for high-profile performances with other bands as well as for session work. For example, I remember seeing him performing with another 80s band, ABC, during the "Prince's Trust" concert honoring super-producer Trevor Horn some time ago.
Fast-forward to the early 2000s, and one has the VH1 TV Show, "Bands Reunited," where the host goes in search of finding the different members of the bands that have made their mark in the gran musical narrative, and unites them in hopes of performing a one-off concert in front of loyal fans. Fortunately, the show has brought the likes of bands like Kajagoogoo back together and allowed them to "clear the air" and start anew. Some stories were a success, some not so much. And so here we are, and Kajagoogoo are back and at it again. They have released new records since the reunion in addition to some new "Greatest Hits" compilations, including DVDs of their early music videos. Here they are performing one of their biggest hits in London. One of the few songs with the distinction of having a prolonged bass intro to start off the song... Enjoy and be safe!
Tuesday, December 16, 2014
#TakeMeBackTuesday
Good day!
Of the nine albums that I can proudly say that I own of the band Lakeside, "Your Wish Is My Command" is, without a doubt, my favorite. The title track is the funkiest I can think of, with more on the record as strong contenders. The quarter-note funk of Fred Alexander, Jr. on drums, combined with the strong statement on bass by Marvin Craig (Fred Lewis doubling his line on synth bass) is enough to make me wish that the song filled up the entire A side of the LP. With this album digitally remastered for CD, the joy is made even more convenient for fans.
When I was younger, I do remember seeing them live in the mid-1990s and noticed that Fred used an electronic drum kit, except for the snare and cymbals. Fred Lewis was doubling the bass on a KORG Prophecy and Marvin was stroking a MusicMan StingRay. To my knowledge, KORG no longer makes the Prophecy.
With other favorites on this album such as, "Special," "Magic Moments," and "Urban Man," the record is a must-own for any fan of the band.
Enjoy your Tuesday!
Of the nine albums that I can proudly say that I own of the band Lakeside, "Your Wish Is My Command" is, without a doubt, my favorite. The title track is the funkiest I can think of, with more on the record as strong contenders. The quarter-note funk of Fred Alexander, Jr. on drums, combined with the strong statement on bass by Marvin Craig (Fred Lewis doubling his line on synth bass) is enough to make me wish that the song filled up the entire A side of the LP. With this album digitally remastered for CD, the joy is made even more convenient for fans.
When I was younger, I do remember seeing them live in the mid-1990s and noticed that Fred used an electronic drum kit, except for the snare and cymbals. Fred Lewis was doubling the bass on a KORG Prophecy and Marvin was stroking a MusicMan StingRay. To my knowledge, KORG no longer makes the Prophecy.
With other favorites on this album such as, "Special," "Magic Moments," and "Urban Man," the record is a must-own for any fan of the band.
Enjoy your Tuesday!
Monday, December 15, 2014
#MotivationMonday
Greetings!
He is Mike Oldfield, the British multi-instrumentalist that took the world by storm with his 1973 hit "Tubular Bells."
He was already playing professionally by age 14 for various groups, playing bass for one band of note, and lead guitar for another. The now billionaire Richard Branson gifted the young Oldfield studio time, which begat "Tubular Bells," a 49-minute composition that is broken up into two parts, filling both sides of the original LP. Oldfield played virtually every instrument on the composition, consisting of over 30 instruments, according to the All Music Guide.
After being turned down by record labels here and there, Branson decided to found his own label and with "Tubular Bells" came the launch of Virgin Records and the genre of "New Age" music. The genre of New Age is known for its fusion of progressive rock, folk, experimental electronic textures and world rhythms. The album eventually sold over 16 million copies, globally. My first run-in with the song was in middle school, when I ordered the "Pure Moods" compilation, which was a compilation of New Age songs that have made a global impact in just about every commercial aspect imaginable, from being featured on "Quiet Storm" radio stations to TV and film soundtracks It is my hope that this beautiful song motivates you all to have a great and safe week ahead.
He is Mike Oldfield, the British multi-instrumentalist that took the world by storm with his 1973 hit "Tubular Bells."
He was already playing professionally by age 14 for various groups, playing bass for one band of note, and lead guitar for another. The now billionaire Richard Branson gifted the young Oldfield studio time, which begat "Tubular Bells," a 49-minute composition that is broken up into two parts, filling both sides of the original LP. Oldfield played virtually every instrument on the composition, consisting of over 30 instruments, according to the All Music Guide.
After being turned down by record labels here and there, Branson decided to found his own label and with "Tubular Bells" came the launch of Virgin Records and the genre of "New Age" music. The genre of New Age is known for its fusion of progressive rock, folk, experimental electronic textures and world rhythms. The album eventually sold over 16 million copies, globally. My first run-in with the song was in middle school, when I ordered the "Pure Moods" compilation, which was a compilation of New Age songs that have made a global impact in just about every commercial aspect imaginable, from being featured on "Quiet Storm" radio stations to TV and film soundtracks It is my hope that this beautiful song motivates you all to have a great and safe week ahead.
Sunday, December 14, 2014
#SoulfulSunday
Happy Sunday, Everyone!
For today's entry, I actually had something different planned, but after running into this interview while "cyber-window shopping," I decided to pause and listen to what legendary Earth, Wind & Fire keyboardist Larry Dunn had to say. It is always fascinating and insightful to listen and learn from the ones that have "made it" in the industry, and just like the interview that I shared with Verdine White, he echoed some of the same sentiments in terms of learning ones craft and doing it with integrity. He also reminded me of how blessed I was to be able to grow up during a time where music was taught and nurtured in public school. Admittedly, I am about 22 years removed from the first day that I walked into my middle school orchestra class and assumed the first chair in double bass, but the thought of that experience no longer being available to the ones that have come behind me gets under my skin.
Music education is one of the most fertile areas of creation for a child. The absence is especially noticeable now, as we are living in an era where modern technology--although beneficial---has stifled imagination and creativity. Not only does music education allow for creativity, but also instills discipline and good work ethic. After all, one is not going to be good at the instrument one plays without practice.
But, with all of that said, regardless of practice and discipline, one simply cannot achieve the desired musical ambitions alone. It actually starts at home, with hopefully a loving and supportive family unit. Without that support, the discouraging aspects of the musical journey can be overwhelming, and that has led a lot of gifted musicians down the wrong path.
Enjoy the interview and be safe!
For today's entry, I actually had something different planned, but after running into this interview while "cyber-window shopping," I decided to pause and listen to what legendary Earth, Wind & Fire keyboardist Larry Dunn had to say. It is always fascinating and insightful to listen and learn from the ones that have "made it" in the industry, and just like the interview that I shared with Verdine White, he echoed some of the same sentiments in terms of learning ones craft and doing it with integrity. He also reminded me of how blessed I was to be able to grow up during a time where music was taught and nurtured in public school. Admittedly, I am about 22 years removed from the first day that I walked into my middle school orchestra class and assumed the first chair in double bass, but the thought of that experience no longer being available to the ones that have come behind me gets under my skin.
Music education is one of the most fertile areas of creation for a child. The absence is especially noticeable now, as we are living in an era where modern technology--although beneficial---has stifled imagination and creativity. Not only does music education allow for creativity, but also instills discipline and good work ethic. After all, one is not going to be good at the instrument one plays without practice.
But, with all of that said, regardless of practice and discipline, one simply cannot achieve the desired musical ambitions alone. It actually starts at home, with hopefully a loving and supportive family unit. Without that support, the discouraging aspects of the musical journey can be overwhelming, and that has led a lot of gifted musicians down the wrong path.
Enjoy the interview and be safe!
Saturday, December 13, 2014
#SoulfulSaturday
Happy 12-13-14, Everyone!
For this, all I can say is "Yes, Lawd!" Not
only is the late, great George Duke playing his butt off, but you have
Sax-Master David Sanborn and his long-time collaborator Marcus Miller on
bass. Miller performed with and produced Sanborn back in the 1970s and
1980s. They also worked together on a short-lived music television
show, Night Music. Miller was
the music director for the first season, and George Duke for the second season. Sanborn and Miller were also part of the Saturday Night Live house band, as well. Miller and Duke also worked together on Miles Davis’ phenomenal Tutu album. Another must-own,
if you do not have it already... Enjoy, and be safe out there!
Friday, December 12, 2014
#FunkyFriday
Happy Friday!
Even though yesterday I write about Bootsy Collins and Verdine White, it is difficult to articulate not only the number of musicians that have inspired but also the degree to which each one has had the impact on my musical journey. For the most part, I find my motivation stemming from musicians that are not bass players, such as the great George Duke, or drummer Philip Gould (of Level 42 fame). But, if I were to highlight bass players, it would be Louis Johnson (Brothers Johnson, Quincy Jones), Larry Graham (Sly & The Family Stone, Graham Central Station), and Bernard Edwards (CHIC). The three mentioned masters of the low frequencies would be what I would deem my "Big Three."
Louis Johnson, a bass player that caught the attention of super-producer Quincy Jones, quickly became a highly sought-after session bass player, playing on just about anything produced by "Q" in the 1980s. Louis and his brother George formed the Brothers Johnson and became chart-toppers themselves. Famous for his fierce live performances that highlighted his development of the slap-bass technique for electric bass in parallel with Larry Graham, curiosity began to grow about this novel approach to playing bass and he recorded two instructional videos for Star Licks/Hal-Leonard. The first video is still available on DVD. He is also reason number one as to why playing the MusicMan StingRay bass is such a strong part of my own identity. He was one of the first endorsees of the bass that was developed by bass guitar inventor Leo Fender, after Fender sold the company of his namesake and started the MusicMan company in the 1970s.
Larry Graham, someone I became hip to later in life, thanks to my former private teacher, is considered to be the first to record a song using the slap-bass technique. It first featured in the hit "Thank You (Falettinme Be Mice Elf Agin)," by Sly & The Family Stone. When he left the group to form his own Graham Central Station, "Hair" became his signature thumpin' monster. He also did sessions and collaborations with various artists, most notably Prince. I also recall seeing his name on the inside jacket of comedian Eddie Murphy's single "I Was A King" on bass, as well. In his 70s, he is still traveling the world, dancing around on stage while singing and playing the bass, a true blessing.
Then, there is Bernard Edwards, I can not say enough about him. CHIC is definitely the band that I would say that makes me wish I was born in the 1950s; that way I would be old enough to enjoy the funk/disco era as it was happening. Fortunately, Nile Rodgers is keeping the band alive, as Bernard, along with original drumming powerhouse Tony Thompson are no longer with us. Nile Rodgers, his main partner in crime, has a blog as well. I would encourage you to visit and be enlightened at http://www.nilerodgers.com/
Nile just recently announced that he is combing through old material that he along with the original lineup had recorded that is yet to be released, and I can't wait to hear what the world has yet to musically experience. Bernard's rhythmic, percussive, and elastic playing style is another great example of what I reference in my own finger-style playing technique, whereas the other two mentioned inspired more of my slap-style---even though all three bass players play both styles equally well. Perhaps only for the last album that marked the reunion of CHIC in 1996, he recorded heavily using either a Fender Precision Bass or a MusicMan StingRay, as well. Reason number two, as to why I love the MusicMan StingRay Bass... Enjoy the links below and have a great Friday!
Even though yesterday I write about Bootsy Collins and Verdine White, it is difficult to articulate not only the number of musicians that have inspired but also the degree to which each one has had the impact on my musical journey. For the most part, I find my motivation stemming from musicians that are not bass players, such as the great George Duke, or drummer Philip Gould (of Level 42 fame). But, if I were to highlight bass players, it would be Louis Johnson (Brothers Johnson, Quincy Jones), Larry Graham (Sly & The Family Stone, Graham Central Station), and Bernard Edwards (CHIC). The three mentioned masters of the low frequencies would be what I would deem my "Big Three."
Louis Johnson, a bass player that caught the attention of super-producer Quincy Jones, quickly became a highly sought-after session bass player, playing on just about anything produced by "Q" in the 1980s. Louis and his brother George formed the Brothers Johnson and became chart-toppers themselves. Famous for his fierce live performances that highlighted his development of the slap-bass technique for electric bass in parallel with Larry Graham, curiosity began to grow about this novel approach to playing bass and he recorded two instructional videos for Star Licks/Hal-Leonard. The first video is still available on DVD. He is also reason number one as to why playing the MusicMan StingRay bass is such a strong part of my own identity. He was one of the first endorsees of the bass that was developed by bass guitar inventor Leo Fender, after Fender sold the company of his namesake and started the MusicMan company in the 1970s.
Larry Graham, someone I became hip to later in life, thanks to my former private teacher, is considered to be the first to record a song using the slap-bass technique. It first featured in the hit "Thank You (Falettinme Be Mice Elf Agin)," by Sly & The Family Stone. When he left the group to form his own Graham Central Station, "Hair" became his signature thumpin' monster. He also did sessions and collaborations with various artists, most notably Prince. I also recall seeing his name on the inside jacket of comedian Eddie Murphy's single "I Was A King" on bass, as well. In his 70s, he is still traveling the world, dancing around on stage while singing and playing the bass, a true blessing.
Then, there is Bernard Edwards, I can not say enough about him. CHIC is definitely the band that I would say that makes me wish I was born in the 1950s; that way I would be old enough to enjoy the funk/disco era as it was happening. Fortunately, Nile Rodgers is keeping the band alive, as Bernard, along with original drumming powerhouse Tony Thompson are no longer with us. Nile Rodgers, his main partner in crime, has a blog as well. I would encourage you to visit and be enlightened at http://www.nilerodgers.com/
Nile just recently announced that he is combing through old material that he along with the original lineup had recorded that is yet to be released, and I can't wait to hear what the world has yet to musically experience. Bernard's rhythmic, percussive, and elastic playing style is another great example of what I reference in my own finger-style playing technique, whereas the other two mentioned inspired more of my slap-style---even though all three bass players play both styles equally well. Perhaps only for the last album that marked the reunion of CHIC in 1996, he recorded heavily using either a Fender Precision Bass or a MusicMan StingRay, as well. Reason number two, as to why I love the MusicMan StingRay Bass... Enjoy the links below and have a great Friday!
Thursday, December 11, 2014
#ThrowbackThursday
Happy "Over The Hump" Day!
When I moved to the Los Angeles area to see what I could do to break into the music industry, one of the first well-known figures that I met (that I actually cared about meeting) was James Brown/Parliament/Funkadelic bassist Bootsy Collins back in 2008. He is such a warm and approachable guy; one that you could definitely see yourself meeting at a cafe and chatting with for hours. I remember when I met him he seemed surprised at how such a "young kat" such as myself knew so much about his early career start with James Brown. Never did I think that meeting him would be the beginning of meeting other living legends of musical inspiration. Over the course of the next three years or so, I ran into the likes of the late, great Wayman Tisdale, George Duke, Alphonso Johnson, Lee Sklar, Tony Levin, Nathan Watts, Mark King and the current lineup of Level 42, and many more. Needless to say, these chance encounters are what kept me going in an industry where rejection is commonplace, and discouragement is an aspect that one has to quickly learn to confront by having an unwavering attitude of determination to persevere.
In one of my recent searches on YouTube, I ran into an interview with Bootsy and Earth, Wind & Fire bassist Verdine White that was recorded on the John Lennon Educational Tour Bus that was in attendance at the 2012 Winter NAMM Convention in Anaheim, California. NAMM, which is the National Association of Music Merchants, has an annual convention every year in January that is closed to the public, where music retailers and buyers, manufacturers of musical instruments, and anything and everything else music-related converge to debut and demo new products expected for release in the coming year. The convention is a place where artists that are sponsored on a particular company's roster will be present to not only try out new gear for themselves, but to also demo the products on behalf of their sponsors to crowds of buyers and retailers via various scheduled appearances that vary in size and scope. If one is fortunate to have access to such an event, all one has to do is follow the crowds or any commotion. One might run into Jazzman Herbie Hancock trying out some of the new synths with KORG, or John Taylor (bassist of Duran Duran) over at the PEAVEY booth. You never know...
Anyhow, in the interview, both of the living legends discuss the nature of the music business, the practical realities of what a working musician deals with in the day-to-day grind, and how important it is for them to give back to the younger generation of musicians that are up and coming. Watching this clip was what began my own motivational refueling process some weeks ago, leaving me with the desire to get back out there and play again after a hiatus of some years... Enjoy, and be inspired...
When I moved to the Los Angeles area to see what I could do to break into the music industry, one of the first well-known figures that I met (that I actually cared about meeting) was James Brown/Parliament/Funkadelic bassist Bootsy Collins back in 2008. He is such a warm and approachable guy; one that you could definitely see yourself meeting at a cafe and chatting with for hours. I remember when I met him he seemed surprised at how such a "young kat" such as myself knew so much about his early career start with James Brown. Never did I think that meeting him would be the beginning of meeting other living legends of musical inspiration. Over the course of the next three years or so, I ran into the likes of the late, great Wayman Tisdale, George Duke, Alphonso Johnson, Lee Sklar, Tony Levin, Nathan Watts, Mark King and the current lineup of Level 42, and many more. Needless to say, these chance encounters are what kept me going in an industry where rejection is commonplace, and discouragement is an aspect that one has to quickly learn to confront by having an unwavering attitude of determination to persevere.
In one of my recent searches on YouTube, I ran into an interview with Bootsy and Earth, Wind & Fire bassist Verdine White that was recorded on the John Lennon Educational Tour Bus that was in attendance at the 2012 Winter NAMM Convention in Anaheim, California. NAMM, which is the National Association of Music Merchants, has an annual convention every year in January that is closed to the public, where music retailers and buyers, manufacturers of musical instruments, and anything and everything else music-related converge to debut and demo new products expected for release in the coming year. The convention is a place where artists that are sponsored on a particular company's roster will be present to not only try out new gear for themselves, but to also demo the products on behalf of their sponsors to crowds of buyers and retailers via various scheduled appearances that vary in size and scope. If one is fortunate to have access to such an event, all one has to do is follow the crowds or any commotion. One might run into Jazzman Herbie Hancock trying out some of the new synths with KORG, or John Taylor (bassist of Duran Duran) over at the PEAVEY booth. You never know...
Anyhow, in the interview, both of the living legends discuss the nature of the music business, the practical realities of what a working musician deals with in the day-to-day grind, and how important it is for them to give back to the younger generation of musicians that are up and coming. Watching this clip was what began my own motivational refueling process some weeks ago, leaving me with the desire to get back out there and play again after a hiatus of some years... Enjoy, and be inspired...
Wednesday, December 10, 2014
#WaybackWednesday
Happy Wednesday!
So, in wanting to know more about the origins of the
"Behind The Mask" song featured on Greg Phillinganes' album
"Pulse," I decided to check out the original by the Japanese
electronic Trio, the Yellow Magic Orchestra. According to the All Music
Guide, they are second only to Kraftwerk in pioneering electronic
music influence. However, I will admit, I am liking these guys more. In watching live clips on YouTube, I swear it is like listening
to Chick Corea's Rock/Jazz/Fusion Return To Forever, Herbie
Hancock's Funk/Jazz/Fusion Headhunters, and early Gary Numan mashed all into
one band. Each member, a solo artist in their own right, came together and made
the machines sound about as human as possible... Check out this early live
clip... It made me take a trip down to Amoeba Music in Hollywood to do some
digging...
Also, another version of the same song in 1983. The change from the disco/funk sound in '79 to more of the eighties sounds is obvious, especially with the drums and the utilization of the electronic drum kit, an 80s hallmark... Adaptation...
Tuesday, December 9, 2014
#TakeMeBackTuesday
Happy Tuesday!
So, while reflecting on the earliest origins of my own musical inspiration, I was fortunate enough to remember one of the first music videos I could ever recall watching as a child. It was primarily due to my father watching music video shows on BET, as well as Soul Train and the like, recording them on VHS at every available opportunity. Prolific session keyboardist Greg Phillinganes was an artist that I had a hard time placing until I remember asking my father about him, and he could not recall his name either until one day in the mid-90s, when we were watching my recorded copy of one of Sinbad's Annual Summer Jam: 70's Soul Music Festival concerts that the comedian hosted and organized. Greg was behind the keyboards supporting different acts, and eventually was given special recognition by Sinbad himself in between acts. My father immediately recognized him, and I was off to the races in trying to locate a copy of Greg's album, or at least this song. Fast forward to a couple of weeks ago, and I get the curiosity to find out if this video that I have not seen in over twenty years has made it to YouTube. It sure enough has! Although not in the best of quality, it is as I remember it.
Greg, like many other session musicians that make a living supporting other artists in the studio or on the road decided to try to rack up a few hits himself, as bandleader. This is not uncommon. For examples, one can just look at the likes of Toto, Mr. Mister, or jazz quartet FourPlay. All are groups comprised of seasoned road and session players. With "Behind The Mask" specifically, I remember being blown away at the size of the drum kit that the drummer in the video is behind, and thinking that I would love to do that!!! I also wanted to know how they did that cool "robotic voice," too. Later, of course I found out...
If you could picture a 6-year old boy dancing and singing along with this song, that was me. I used a slim MAG-LITE flashlight which resembled the microphone that Greg is using in the video to sing along. The last memory I have of this song was its ending. I absolutely loved the last four bars of the song. I do not know if it is the ending rhythm, synth swells, Greg's little dance he does at the end, or a combination of the three. But, needless to say that videotape of ours was worn out! I always loved doing the little dance at the end with Greg. I am fortunate that it was recorded, because I do not recall ever seeing that video aired again. Back in the day, at least as far as I remember, music videos weren't aired as repetitively as they are now.
Now that "Black Friday" for this year has passed, I have been the owner of the reissue of Greg's second album "Pulse" for a couple of weeks, and the info jacket gives interesting insight into the source of the song and how it came to be in the hands of Greg. It was originally written and recorded by a Japanese Electronic Trio known as the "Yellow Magic Orchestra." Michael Jackson, on Greg's version of the song, is given credit for adding additional lyrics. It was also originally presented as a possible contender by Quincy Jones for being on Michael Jackson's "Thriller." When the song did not make the cut, it was given to Greg. Greg asked Michael for the song during the selection process, and Michael agreed to give it to Greg if he did not use the song.
Staying true to the original melodies of the YMO recording, the lyrics were embellished and the song, as a whole, was rendered into a catchy pop tune for Greg to perform. Even though it did not quite make as big of a splash as other tunes in the mid-1980s, the song---as well as the album---was a critically-acclaimed effort. Enjoy!
So, while reflecting on the earliest origins of my own musical inspiration, I was fortunate enough to remember one of the first music videos I could ever recall watching as a child. It was primarily due to my father watching music video shows on BET, as well as Soul Train and the like, recording them on VHS at every available opportunity. Prolific session keyboardist Greg Phillinganes was an artist that I had a hard time placing until I remember asking my father about him, and he could not recall his name either until one day in the mid-90s, when we were watching my recorded copy of one of Sinbad's Annual Summer Jam: 70's Soul Music Festival concerts that the comedian hosted and organized. Greg was behind the keyboards supporting different acts, and eventually was given special recognition by Sinbad himself in between acts. My father immediately recognized him, and I was off to the races in trying to locate a copy of Greg's album, or at least this song. Fast forward to a couple of weeks ago, and I get the curiosity to find out if this video that I have not seen in over twenty years has made it to YouTube. It sure enough has! Although not in the best of quality, it is as I remember it.
Greg, like many other session musicians that make a living supporting other artists in the studio or on the road decided to try to rack up a few hits himself, as bandleader. This is not uncommon. For examples, one can just look at the likes of Toto, Mr. Mister, or jazz quartet FourPlay. All are groups comprised of seasoned road and session players. With "Behind The Mask" specifically, I remember being blown away at the size of the drum kit that the drummer in the video is behind, and thinking that I would love to do that!!! I also wanted to know how they did that cool "robotic voice," too. Later, of course I found out...
If you could picture a 6-year old boy dancing and singing along with this song, that was me. I used a slim MAG-LITE flashlight which resembled the microphone that Greg is using in the video to sing along. The last memory I have of this song was its ending. I absolutely loved the last four bars of the song. I do not know if it is the ending rhythm, synth swells, Greg's little dance he does at the end, or a combination of the three. But, needless to say that videotape of ours was worn out! I always loved doing the little dance at the end with Greg. I am fortunate that it was recorded, because I do not recall ever seeing that video aired again. Back in the day, at least as far as I remember, music videos weren't aired as repetitively as they are now.
Now that "Black Friday" for this year has passed, I have been the owner of the reissue of Greg's second album "Pulse" for a couple of weeks, and the info jacket gives interesting insight into the source of the song and how it came to be in the hands of Greg. It was originally written and recorded by a Japanese Electronic Trio known as the "Yellow Magic Orchestra." Michael Jackson, on Greg's version of the song, is given credit for adding additional lyrics. It was also originally presented as a possible contender by Quincy Jones for being on Michael Jackson's "Thriller." When the song did not make the cut, it was given to Greg. Greg asked Michael for the song during the selection process, and Michael agreed to give it to Greg if he did not use the song.
Staying true to the original melodies of the YMO recording, the lyrics were embellished and the song, as a whole, was rendered into a catchy pop tune for Greg to perform. Even though it did not quite make as big of a splash as other tunes in the mid-1980s, the song---as well as the album---was a critically-acclaimed effort. Enjoy!
Monday, December 8, 2014
#MotivationMonday
Hello,
A great deal of my inspiration (other than from GOD) as a young adult has stemmed from the ones younger than I. As one adds years to their journey through life, it becomes increasingly difficult to retain that youthful and romantic enthusiasm for life. I have found that a good way to retain as much as possible has been through community service---giving back. Whether it is through church or any other extracurricular activity, in order to foster the next generation of ones that share the same passion for the activity in which one is so active, it is important to reach out to the youth in whatever that particular niche may be. For example, not only am I a musician, but also a competitive cyclist. I have found that supporting and volunteering whenever and wherever I can in the sport, particularly with the junior riders, to be both a source of motivation and reward. As a musician, it has never been any different, as I was once the youngest guy in the band, and someone reached out to me and motivated me in the same manner. Each one reach one, each one teach one...
So, for #MotivationMonday, I wanted to share with you a young musician that is, at 12 years of age, already generating quite a following. His name is Igor Falecki, from Poland and the link below is a clip with him taking some advice from drumming powerhouse Eric Moore of Suicidal Tendencies and Infectious Grooves. Enjoy! :D
A great deal of my inspiration (other than from GOD) as a young adult has stemmed from the ones younger than I. As one adds years to their journey through life, it becomes increasingly difficult to retain that youthful and romantic enthusiasm for life. I have found that a good way to retain as much as possible has been through community service---giving back. Whether it is through church or any other extracurricular activity, in order to foster the next generation of ones that share the same passion for the activity in which one is so active, it is important to reach out to the youth in whatever that particular niche may be. For example, not only am I a musician, but also a competitive cyclist. I have found that supporting and volunteering whenever and wherever I can in the sport, particularly with the junior riders, to be both a source of motivation and reward. As a musician, it has never been any different, as I was once the youngest guy in the band, and someone reached out to me and motivated me in the same manner. Each one reach one, each one teach one...
So, for #MotivationMonday, I wanted to share with you a young musician that is, at 12 years of age, already generating quite a following. His name is Igor Falecki, from Poland and the link below is a clip with him taking some advice from drumming powerhouse Eric Moore of Suicidal Tendencies and Infectious Grooves. Enjoy! :D
Sunday, December 7, 2014
The Origins of My Groove...
Hello Everyone,
Welcome to my first blog! I decided to start a blog after weeks of anchoring various
childhood and young adult memories that have inspired me both to become and
rekindle my love for studying, performing and collecting music on my Facebook
page via daily posts. Using the
daily hash tags that have become commonplace on social media, I would share
stories with my Facebook friends of different personal memories to which I have
associated certain songs, performances or artists. With embedded links from
YouTube or any other audio/visual medium, I wanted to hopefully remind others of
similar memories that they have of their own. Perhaps others
might have similar “life soundtracks.”
With the
encouraging response I have received, I decided to take it a step further and
share my memories with a broader audience. The objective is to share artists
that have both risen to the height of fame and are well-known and well-regarded
as well as the ones that are just as prolific, talented and inspirational that
may not have been as famous, but might have even played an inspirational role
to other artists that did attain a significant level of notoriety. In other words, highlighting some
of the underdogs in music that may have been given the credit they have
deserved.
My earliest memories of playing music start when I was
around age 7. My late
grandmother noticed my fascination with the drums at church, and before I knew
it, she seized on this musical interest.
The next thing I knew, I had a full five-piece TAMA drum kit. Unfortunately, with little to no
support and encouragement from anyone in the family other than from my
grandmother, the kit eventually become nothing more than an overpriced
toy. My love for music and
instruments in general continued, however performing did not start again until
I was 11 years old and starting the 6th grade.
When it came time to register into my new school for the
1993-1994 school year, I wanted to take computers for my elective class. However, as it was told to me, my
father---who was a high school history teacher---ran into one of his co-workers
at my new school while registering me for classes. His co-worker was the high school orchestra teacher that
would be teaching at my school, as well.
Both schools were literally a five-minutes’ drive from each other. As they say, “the rest is
history.” My orchestra teacher
quickly became one of my favorite and most inspirational male role models in my
young middle school life. I
quickly bonded with the acoustic bass, as soon as I learned how to play “JAWS”
with the bow and there began my formal education in music performance.
Later that year and into my 7th grade year, I
remember my teacher (who was also a working bass player around town) bringing
in his electric bass, and he allowed me to try it out in class. I will never forget it. It was a G&L 2000 with a Fender
Jazz Bass neck on it. Something
happened to the original neck. I
think it was exposed to extreme temperatures at some point that caused it to be
unserviceable. I remember that
bass sounding killer! To me, it
weighed a ton but that tone was worth the aching shoulder. He eventually brought it more steadily
for his 1st chair bassist to play, and I even used it during one of
our concerts.
Learning the electric bass along with playing the upright bass more pizzicato style (playing with fingers), and staying after school to study jazz and practice became the norm. Then, it was all over once I was
introduced to the likes of Stanley Clarke, Marcus Miller and Larry Graham. I absolutely obsessed over the Clarke’s
album “School Days.” My teacher
let me borrow his CD and I made a tape of it. What was particularly inspiring
was the fact that I was a “doubler“ like him, playing both upright and electric
bass. And that is how I became a
bass player. I would dabble with
other instruments much later out of functional necessity in later projects...
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