Since he’d never played the sort of four-on-the-floor bass that defined Sixties rock, he came to the instrument with a guitarist’s sensibility, adding harmonies and ornate filigrees to guitarist Tony Iommi’s parts. The two formed Return to Forever, one of the Seventies’ premier plugged-in jazz groups, and a band in which Clarke could both, and inspired new-school luminaries like Thundercat (who, , “I thank God that there was a Stanley Clarke as a frame of reference to what is possible with the bass”). His other legacy: his son Patterson, the Drive-By Truckers’ singer and songwriter. “It was the whole body of the bass, the sound and the way it flowed against the drummer,” Dunbar said of first hearing Shakespeare’s playing in the early Seventies. And it’s a grave injustice that Byrne has always gotten the lion’s share of the credit for their accomplishments. He has also recorded with Ozzy Osbourne as a solo artist, GZR, and Heaven& Hell. “James Jamerson became my hero,” Paul McCartney once said, “although I didn’t actually know his name until quite recently.” When Jamerson started his career, the bass was largely seen as a utilitarian support instrument; most players stuck to “stagnant two beat, root-fifth patterns and post–’Under the Boardwalk’ clichéd bass lines,” according to Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson. Dunn’s tenure with the band coincided with their creation of foundational Southern soul records by Otis Redding, Wilson Pickett, and Sam and Dave. Music Me Days. Listen to him chugging away on classic compositions like “II B.S.” and “Better Get Hit in Your Soul,” aligning with drummer and musical soulmate Dannie Richmond, and you’ll get a sense of the strength and grace of his playing, the way he could make a walking line sound both hulking and nimble. Terence Michael Joseph "Geezer" Butler, född 17 juli 1949 i Aston, Birmingham, England, är en brittisk musiker, mest känd som basist och originalmedlem i heavy metal-bandet Black Sabbath.Han har även spelat i GZR och Heaven and Hell.. Biografi. And yet the instrument has its own proud tradition in popular music, stretching from the mighty upright work of Jimmy Blanton in Duke Ellington’s orchestra and bebop pioneers like Oscar Pettiford to fellow jazz geniuses like Charles Mingus and Ron Carter; studio champs like Kaye and James Jamerson; rock warriors like Cream’s Jack Bruce and the Who’s John Entwistle; funk masters like Bootsy and Sly and the Family Stone’s Larry Graham; prog prodigies like Yes’ Chris Squire and Rush’s Geddy Lee; fusion gods like Stanley Clarke and Jaco Pastorius; and punk and postpunk masters like Weymouth and the Minutemen’s Mike Watt. “When it got more aggressive and syncopated … my style was more appropriate,” Dunn would later say. Drawing inspiration from the likes of Jack Bruce, John Entwistle, and Paul McCartney, Squire had a thick, melodic tone that powered everything from Seventies prog classics like “Close to the Edge” and “Awaken” to Eighties pop hits like “Owner of a Lonely Heart.” “Chris took the art of making a bass guitar into a lead instrument to another stratosphere,” Wakeman wrote at the time of his former bandmate’s death, “and coupled with his showmanship and concern for every single note he played, made him something special.… We have now lost who, for me, are the two greatest bass players classic rock has ever known. “Because I was a rhythm guitarist, I’d fill in gaps left by the lead guitarist,” he once said. “Look, have whatever in your collection at home, but everybody needs a little Friday night,” Chic’s Bernard Edwards said in 1979. As flashy a player as he was, he was also a stellar collaborator: From the mid-Seventies through the Eighties — preceding his tragic death at age 35 — Pastorius’ revolutionary four-string approach was a perfect match for everyone from Pat Metheny to Jimmy Cliff, and especially Joni Mitchell’s increasingly adventurous songwriting on albums like Hejira. Lost in the magic of the wilderness. Within a few years, the group was backing Bob Dylan on his first plugged-in tour. When Robert Fripp was reviving King Crimson after a seven-year hiatus, he recruited Levin for the classic Eighties lineup that made Discipline. Getting the GZR P/J set is a good start, but as the old saying goes, “it’s all in the fingers” after that. Elsewhere, he could be found just about anywhere forward-thinking, openhearted jazz was being made, whether with Pat Metheny, Keith Jarrett, or Alice Coltrane, in his own politically driven Liberation Music Orchestra, or in a warm, empathic trio with Ginger Baker and Bill Frisell. “I could just kind of cut him loose and stand back and celebrate his choices.”, Charles Mingus was so much more than a bass player — composer, conceptualist, classically trained cellist, social critic — that it’s sometimes easy to forget how much of a force he was on his instrument. He died in 1996 at age 43. Rick Danko’s bass work — spare, stylish, and always situated deep in the pocket — was crucial to the inimitable lope of tracks like “Up on Cripple Creek” and “King Harvest (Has Surely Come).” Danko grew up in rural Ontario listening to the Grand Ole Opry on a battery-powered radio and watching his dad play at barn dances. “There’s a theory that I maliciously worked Stu out of the group in order to get the prize chair of bass,” McCartney told biographer Barry Miles. Whatever you play puts a framework around the rest of the music.”. He’s continued to expand his creative horizons, as on 44/876, his 2018 album with Shaggy, where his tasteful, dubby performances anchor the songs’ relaxed grooves. I can't find anything from a google search. Listen to his quietly descending bass line on the M.G.’s’ instrumental rendering of Sam and Dave’s “When Something Is Wrong With My Baby,” or the loping strut that opens Redding’s “(Sittin’ on) the Dock of the Bay.” Dunn, who Bootsy Collins once called a “brick in our musical foundation,” would go on to play with a who’s who of rock and pop legends — Eric Clapton, Stevie Nicks, Bill Withers, Neil Young — but it was his influential work with Booker T., Steve Cropper, and Al Jackson that redefined popular music. But when he took over bass duties from Lewie Steinberg in 1964, the group hit its stride. Within a few years, the group was backing Bob Dylan on his first plugged-in tour. It's what gave him that signature "fwomp" along with hard plucking and beating the crap out of the strings. “He has played in literally thousands of unique settings and is always able to find something that brings out the best in his associates, while always remaining true to his own very strong sense of identity.”. Terence Micheal Joseph "Geezer" Butler is an English musician and songwriter. It didn’t happen often, but it did happen. The Rock and Roll Hall of Fame bass player started working with EMG founder Rob Turner in 2011, looking to recreate the classic bass … JONATHAN BERNSTEIN & DAVID BROWNE & JON DOLAN & BRENNA EHRLICH & DAVID FEAR & JON FREEMAN & ANDY GREENE & KORY GROW & ELIAS LEIGHT & ANGIE MARTOCCIO & JASON NEWMAN & ROB SHEFFIELD & HANK SHTEAMER & SIMON VOZICK-LEVINSON, Survey the sounds that have defined the vanguard of hip-hop, jazz, R&B, electronica, and beyond during the past decade-plus — including records made by Kendrick Lamar, Janelle Monáe, Flying Lotus, Kamasi Washington, Erykah Badu, Childish Gambino, and more — and you’ll land on one name again and again: Thundercat. If I was ambitious in that direction I’d practice, [but] I don’t.” But while he undersells his talent, his fellow Rolling Stones disagree. More recently, he’s moved into film and TV scoring, turned up on Beck’s understated Grammy winner Morning Phase, and inspired new-school luminaries like Thundercat (who recently said, “I thank God that there was a Stanley Clarke as a frame of reference to what is possible with the bass”). Weymouth was a critical part of Talking Heads’ songwriting team — even if she didn’t always get credited — and she brought an effortless cool to everything they did. Though he was known mainly for his contribution to jazz, he was never bound by it, as shown by his collaboration with Joni Mitchell and his influence on Sixties rock greats like Jack Bruce and Charlie Watts. He anchored a dextrous, versatile rhythm section alongside drummer Al Jackson, mastering urbane pop balladry, country-soul shuffles, and uptempo gospel-infused soul all the same. McCartney’s bass could be a cool, steady support, as on “Lucy in the Sky With Diamonds” and “Dear Prudence,” or a colorful lead character in its own right — see “Paperback Writer,” “Rain,” and “A Day in the Life,” all songs where his playing conveys the yearning for a freer or more exciting life behind everyday lyrics. But despite his obvious skill, Butler has always downplayed his ability. “You see, because I had studied classical guitar I knew the bass formula, although the songs I was playing in lessons were country & western songs,” he said recently. And his chunky solo on “My Generation” inspired countless teenagers to pick up the bass, though emulating his playing was a near-impossible task. “And as a drummer in a band in those days, I didn’t even notice his singing.”. Bassists are often overlooked and undervalued, even within their own bands. EMG Pickups has unveiled the GZR-P and GZR-PJ signature bass pickup sets for Black Sabbath 4-stringer Geezer Butler.Designed with Butler, the pickups are made to reproduce the bassist’s tone during his earlier years in the band.. — that would inspire a generation of hip-hop producers. “This reason alone makes him a musical guru.”, A whole generation of bassists — from Dave Holland with Miles Davis to Miroslav Vitous and Jaco Pastorius with Weather Report and Rick Laird with the Mahavishnu Orchestra — helped to wed the sophistication of Sixties postbop with the power of arena-scale rock. Whether in his own playfully eccentric songs or in one of his countless guest appearances, his signature six-string sound — fat and buttery, but with plenty of bite — always shines through. This is the first time Geezer has been willing to put his name to a set of pups and if they’re good enough for him, then maybe we should give them a try! Alongside fellow session legends like Charlie McCoy, Buddy Harman, Ray Edenton, and Hargus “Pig” Robbins, Moore’s sophisticated stylings helped transform Nashville into one of the nation’s musical power centers when artists like Patsy Cline, Chet Atkins, and Brenda Lee began to infuse country with piano-driven pop and jazz in the Fifties and Sixties. The 40s also brought us the Slinky, Velcro, Jeep, Tupperware and Frisbee. “He has played in literally thousands of unique settings and is always able to find something that brings out the best in his associates, while always remaining true to his own very strong sense of identity.”, “My name is John Francis Pastorius III, and I’m the greatest bass player in the world.” That was Jaco Pastorius’ opening line to Joe Zawinul when he met the Weather Report keyboardist backstage at a 1974 Miami show. Add a bit of OD and use a wah to filter the high end out. The former Police frontman learned to simultaneously sing and play by listening to records at 78 rpm, so he could hear the bass parts more clearly. “He wanted the bass way up front and the drums, too,” Watt said of Boon. But that’s just a fraction of his overall output: During the past 60-plus years, he’s also elevated the bands, sessions, and performances of giants like Sarah Vaughan, Paul Simon, and Igor Stravinsky. And his imaginative parts — the off-kilter strut that leads off “Cygnus X-1 Book I: The Voyage”; the wiry 7/4 bridge riff in “Tom Sawyer”; the lean dance-pop vamp of “Scars” — often acted as hooks in and of themselves. Mar 22, 2019 | Geezer's Journal. Since he’d never played the sort of four-on-the-floor bass that defined Sixties rock, he came to the instrument with a guitarist’s sensibility, adding harmonies and ornate filigrees to guitarist Tony Iommi’s parts. He just liked my sound and the way I moved around the fretboard.”, Bootsy Collins — or “Bootzilla,” “Casper the Friendly Ghost,” or “The World’s Only Rhinestone Rock Star Doll, Baba,” depending on the song — redefined soul and funk bass playing in the Seventies and, by proxy, rap and pop in the Eighties and Nineties. “I mean I could never play like Jack Bruce. The first thing you hear in the opening seconds of “Lonely Woman” — Ornette Coleman’s 1959 out-jazz masterwork that captivated a young Lou Reed along with an entire generation of open-minded listeners — is Charlie Haden strumming a yearning, pulsing bass melody over Billy Higgins’ double-time ride cymbal. Butler is best known as the bassist and primary lyricist of the heavy metal band Black Sabbath. The prog-rock giants could survive without titans like keyboardist Rick Wakeman and guitarist Steve Howe, but Squire’s work was the bedrock of their sound. My favorite thing about Geezer (and the Geezer/Bill Ward combo in particular) was the heavy jazz influence in the rhythm section, especially on the early records. Photographs used in illustration by AP/Shutterstock; Joseph Okpako/WireImage; Elaine Thompson/AP/Shutterstock, “The bass is the foundation,” session legend Carol Kaye once said, “and with the drummer you create the beat. “What I have to do on record is make sure that I’m complementing the singer,” he once explained. Terence Michael Joseph Butler is part of the Baby boomers gener… “I went to see Cream mainly because of Clapton … and I was mesmerized at Jack Bruce’s playing. In 2009, he formed Atoms for Peace with Thom Yorke, showing his versatility on songs like “Before Your Very Eyes…” and the schizophrenic “Reverse Running.” But it’s his playing with the Peppers that’s made him so beloved, from his Bootsy Collins–inspired slapping work (“Higher Ground,” “Sir Psycho Sexy”) to his poignant melodic moments (“Soul to Squeeze,” “By the Way”). In the racist oppression of the apartheid era, Makwela took that second-hand bass and completely remade South African music. Hood remains modest about his accomplishments. Once the Band got underway, Danko established himself as the group’s trusty secret weapon, a position he’d hold during both their initial run and their prolific reunion era. P.S. “He wanted it like a redistribution of wealth … I was into that. “It’s not so easy to describe exactly what it is, but, in simple terms, it’s finding just the right notes and playing them with just the right feel.”, Nothing exemplifies groove quite like the rhythmic interplay between Meters bassist George Porter Jr. and drummer Zigaboo Modeliste, a relationship that required extreme tightness to evoke the laid-back party atmosphere of their New Orleans hometown. Prior to Motörhead, he was a rhythm guitar player who switched to bass to play with space rockers Hawkwind. Edwards built upon his devout study of jazz and classical to become disco’s most influential bassist, turning any minute into Friday night with his bandmate and longtime friend Nile Rodgers and soundtracking thousands of dance floors in the late Seventies and beyond. “His presence makes you play the best you can possibly play, because you don’t want to let him down. (“It’s like waking up one day and realizing you’re in love with a co-worker,” she, of picking up the instrument.) “My bass is my crutch, but the best crutch I could have.”, Prior to joining Guns N’ Roses, Duff McKagan had barely touched a bass. Here are a few tips to help you along: Geezer Butler: the truth behind that bar brawl (Image credit: Simon Gane) One of the most bizarre chapters of Black Sabbath ’s long and often bizarre career came in January 2015, when Geezer Butler was arrested and thrown in jail following a bar brawl in California. The bassist had been playing with a rival metal group, and when they saw him play a jaw-dropping bass solo, they wanted him in Metallica so badly that they relocated from Los Angeles to his native Bay Area at his request. Use a P bass, pluck as hard as you can over the fingerboard itself to get that really round sound. Tony Levin has contributed his unmistakable style to everyone from John Lennon to David Bowie to Cher. Mingus’ career spanned multiple eras of jazz, and his command on the instrument made stylistic divisions seem irrelevant: That’s why he sounds equally at home swinging with Lionel Hampton’s big band in the late Forties (on his own “Mingus Fingers”), jamming with fellow bebop royalty in the Fifties (on the famed Jazz at Massey Hall album, which featured bass parts overdubbed in the studio by the famously exacting Mingus), and carrying on a lively, percussive conversation with his musical idol Duke Ellington in the Sixties (on the immortal Money Jungle). Play hard over the end of the neck, very far away from the bridge, and lots of pentatonic runs, and a lot of bluesy bends. Commenting on the unfairness of jazz critics’ polls, he once said, “I don’t want none of them damn polls. “He played melodies up high, which was a big influence when I picked up fretless.” His aggressive yet buoyant style defined the mbaqanga groove on classics from the Mahotella Queens’ “Umculo Kawupheli” to Mahlathini’s “Ngicabange Ngaqeda.” The Makgona Tshole Band reunited in the Eighties, when the world finally discovered mbaqanga via Graceland and the pivotal compilation The Indestructible Beat of Soweto. I really like the bass sound on those two albums. Zawinul scoffed at the time, but he wasn’t laughing a few years later, once Pastorius had joined the group and helped turn them into bona fide fusion superstars. Electric, acoustic, upright, and otherwise. “At first he took chances and let himself go, and then it just became natural for him, and in the process he changed the course of bass playing.”. Almost like reggae meets Steve Harris (before Steve became famous). He only took up his signature instrument when he was asked to join the Warlocks, the first version of the Dead. Greaves’ “Take a Letter, Maria” — had one thing in common: bass player David Hood. I’d think so at the time - then when listening to it back sober, I’d have to redo everything” By Amit Sharma ( Bass Guitar ) 28 February 2019 “When the call came to play with the Who I was working with Erykah Badu and D’Angelo, and I had to change my whole style,” he said. White tends to be modest in interviews, throwing much of the credit for his playing style to others. And that’s not even including her myriad movie and TV show themes — she gave the title songs for everything from Batman to Mission Impossible their uniquely groovy backbone. Davis is at his best in intimate settings, where his profoundly empathic playing can shine, whether he’s playing stirring arco lines in a duet with Dolphy on Duke Ellington’s “Come Sunday,” providing a warm rhythmic bed for Bruce Springsteen’s tale of a small-time criminal in “Meeting Across the River,” or conjuring impossibly poignant phrases to complement Morrison’s poetry on tracks like “Beside You.” “[F]or me, it was Richard all the way,” Astral Weeks producer Lewis Merenstein said, reflecting on the record 40 years later. McVie got his start with John Mayall and Bluesbreakers in the mid-Sixties, and he transferred that bedrock drive to Fleetwood Mac (a band co-named for him), forming an unshakeable bond with fellow band namesake Mick Fleetwood in their jam-heavy Peter Green days that carried over into the high-flying Buckingham-Nicks era. As with our 100 Greatest Drummers list, this rundown of the 50 greatest bassists of all time celebrates that entire spectrum. “You grab it, slide around on it, and feel it with your hands,” Red Hot Chili Peppers’ Flea once said of his signature instrument. Gordon had never played the instrument before when she co-founded the band in the early Eighties, and by her own admission, her skills never reached virtuoso level. You’ll find obvious virtuosos here, but also musicians whose more minimal concept of their instrument’s role elevated everything that was going on around them. Following the end of the war, it was the start of the Baby Boomer years and technology advancements such as the jet engine, nuclear fusion, radar, rocket technology and others later became the starting points for Space Exploration and Improved Air Travel. He picked up the ball and ran with it for a touchdown every time.”, Tom Copi/Michael Ochs Archives/Getty Images, Richard Davis’ Sixties résumé reads like a survey of some of that decade’s most challenging and enduring musical statements, from progressive-jazz landmarks like Eric Dolphy’s Out to Lunch! He brought it all to Earth, Wind, and Fire’s elegant, breathtakingly complex, million-selling albums. “I create a melodic line each time.”, Some of the funkiest records of the Sixties and Seventies — the Staple Singers’ “I’ll Take You There,” Etta James’ “Tell Mama,” Aretha Franklin’s “Oh No Not My Baby,” R.B. Since then, she’s evolved into one of the bass’s most visible 21st-century ambassadors, picking up four Grammy wins along the way. Sign up for our newsletter. His bass became the lead instrument in Joy Division, driving doom-y classics like “Transmission” and “No Love Lost.” He credits singer Ian Curtis for making him play high on the neck, for his distinctive tone: “My excuse for playing high was that I couldn’t hear the bass when I played low — our amps were that bad — but Ian liked it.” As Joy Division evolved into New Order, with dance-floor hits like “Age of Consent,” he became the era’s most-imitated bassman. All that I did was just take the step and create my own band.”, Although Willie Dixon is best remembered as one of history’s most influential bluesmen, whose songs were sung by Howlin’ Wolf and Muddy Waters, that’s just a portion of his legacy. Can you do a gig at the Hollywood Bowl in three days’ time?’ You don’t turn down something like that. “I always wanted to be John Entwistle, but since that place was taken, I became a lesser version.”, Sting has received so much attention for his songwriting skills and singing chops over the years that his technique as a bassist sometimes gets overlooked. Hiking. It's really pronounced in Fairies Wear Boots. “The manager said, ‘John [Entwistle] is dead. Starting as a violin prodigy, Spalding found her way to the bass by accident in high school. Él también comparte su casa en los Angeles con varios gatos, de los cuales ha publicado fotos en su sitio web. “The Red Hot Chili Peppers are Flea,” Anthony Kiedis told Rolling Stone in 1994. Want more Rolling Stone? But his bass playing, tough and sinewy yet beautifully nimble and accented with just the right amount of daredevil flash, is what’s made him a legend to fans of forward-thinking rock, and one of the key links between Sixties pioneers like Jack Bruce and John Entwistle and Nineties innovators like Les Claypool and Rage Against the Machine’s Tim Commerford. “This reason alone makes him a musical guru.”, Memphis native Donald Dunn — whose father gave him his lifelong nickname “Duck” while the two watched Disney cartoons together — wasn’t an original member of the influential Stax house band Booker T. and the M.G.’s. “I’m still trying to do that.”, “There must be hundreds of better bass players than me,” Bill Wyman told Rolling Stone in 1974. Listen to him chugging away on classic compositions like “II B.S.” and “Better Get Hit in Your Soul,” aligning with drummer and musical soulmate Dannie Richmond, and you’ll get a sense of the strength and grace of his playing, the way he could make a walking line sound both hulking and nimble. “I think I play like nobody else does,” he once said. That’s Moore, who estimated he’s played on roughly 17,000 sessions throughout his career. The lanky Primus captain treated the bass more like a lead than a rhythm instrument, driving songs with everything from hyperactive left-hand fretboard tapping (that Morse code-like intro to “Jerry Was a Race Car Driver”) to lightning-quick strumming (“Pudding Time”). Throughout his life, Mingus constantly spoke out against those would tried to limit or underestimate his artistry. It’s nice to leave the top of the beat for the vocal and spread the other parts around the beat. Makwela had the first electric bass in South Africa — he bought it from a white guy who imported it after seeing the Shadows live. Because [Fifties and Sixties jazz legend] Paul Chambers didn’t get around the instrument the way she does,” Carrington said of Spalding. Davis is at his best in intimate settings, where his profoundly empathic playing can shine, whether he’s playing stirring arco lines in a duet with Dolphy on Duke Ellington’s “Come Sunday,” providing a warm rhythmic bed for Bruce Springsteen’s tale of a small-time criminal in “Meeting Across the River,” or conjuring impossibly poignant phrases to complement Morrison’s poetry on tracks like “Beside You.” “[F]or me, it was Richard all the way,”, , reflecting on the record 40 years later. Whenever he's not doubling Tony's riffs, he usually seems to be improvising his lines. All Stars, would end up serving as a direct template for the Staples Singers’ smash “I’ll Take You There” three years later. 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