For those interested in studying the electric bass seriously in the past, it would not be uncommon for you to have to work on your fingerboard and musical skills with something out of the Sturm 110 études book for string bass, or the Nanny equivalent. While many of these studies are challenging and helpful to everyone in some way, often times undertaking them ends with tepid results, such as missing the accents as intended because of not using a bow, or having to settle for some sort of archaic fingering to get the job done.

Jim Stinnett, the Berklee College of Music professor most likely to be heard saying “if you master your instrument, the music will just happen” (or, if he’s excited, “folks, let’s just master this thing, alright?”), has made life a LOT easier for all of us by releasing a book of études for electric bass entitled “12 Keys To Success”. Stinnett, who himself has had students learn Sturm études (often with a twist like performing one entirely using two-handed tapping), and studied classical string bass with Ed Barker at New England Conservatory, put together this book to get your hands completely acclimated to the fingerboard of your bass.

Contained in the book are three études in each major and minor key, over 70 in total. To say that this book could essentially improve every aspect of your bass playing would be the understatement of the year. These pieces range from quite easy to “uhhhhh…….come again?”, and that’s just the speed and range I’m referring to, not even trying to remember that you’re sometimes playing with a ton of sharps or flats! So, by the time you get through even a handful of the pieces, your speed, dexterity and hand position should be very much improved.

What is, I think, just as useful here, are the text pieces in the book in the intro, and accompanying every chapter. Jim has trained dozens of world class bass players from their beginning stages, and here he is sharing the wisdom, advice, and plain as the nose on your face directions that you will need to achieve success with your instrument. This is also quite important, as a proper mindset is needed to ensure that you’re approaching the fingerings the right way (it’s almost embarrassing to think that you play a technical piece right, and then realize that your fingering isn’t even close to the intended one), especially if you’re not working on these as part of a lesson plan. These text pieces will help keep you motivated and driven as you work towards your goals of becoming a great bass player.

Also included is a CD featuring many of the études performed by students of Jim’s. Their hard work and perseverance shows, and should be a kick in the pants for you to get moving and learn some of the pieces. If they can do it, you can do it. (You can also order play-along CDs of every étude played at slow, medium, and fast speeds from Jim’s webstore.)

Overall, this is an exciting new addition to the pantheon of GREAT bass instruction methods out there (joining Stinnett’s already well-regarded Creating Jazz Bass Lines). If you want to get serious about your technique and become a truly better player, order this book.

Antifogmatic, the sophomore effort from the New York-based acoustic ensemble Punch Brothers is brimming with an unspoken, yet cutthroat attitude that going forward, music does not need to differentiate between catchy tunes and compositional thought. Led by mandolin badass Chris Thile, who traded in pop-bluegrass licks for Bach’s solo violin pieces and Strokes covers, Punch Brothers flies lean and mean through the 10 tracks on Antifogmatic from Nonesuch Records.

As opposed to the band’s last release, Punch, Thile (along with violinist Gabe “Gabbers” Witcher, guitarist Chris “Critter” Eldridge, banjoist Noam “Pickles” Pikelny, and the most recent addition, bassist Paul “Arco Paulo von Pizzburgh” Kowert) have taken some time off from presenting long-form pieces to bring this collaborative tour de force that has ears perking up everywhere.

Although the bass efforts of previous Punch Brothers bassist Greg Garrison were strong and well appreciated, the addition of Paul Kowert to this ensemble installs an even 20% per member split instrumentally. A student of the already legendary Edgar Meyer at Curtis Institute of Music, Kowert shines throughout the disc, with a masterful sound playing either pizzicato or arco (Paul plays French style bow, for those interested in specifics), many times employing both techniques frequently throughout each song. His reiteration of the main themes on “You Are” and “Rye Whiskey” through lower intensity sections adds a delicateness that helps to even the tunes out. Also crucial are his sweeping arco lines that help to hold up some of the sparseness of the other instruments on “Missy” and the Valentine’s Day/economic crisis ballad “This Is The Song”.

For those with a few extra dollars to spend, though, fans of this young bass upstart will be most pleased with the instrumental EP that accompanies the deluxe edition of Antifogmatic, entitled All of This is True. On this set, Kowert gets his most room to stretch out, ducking and darting his solos through the complex rhythms and colorful chord changes, with his most direct face time coming on the head of the bouncy “Curtigh”, although the other three tracks hit hard as well. (The deluxe edition also includes a DVD of the band performing over two nights in spring 2009 at the Living Room, in NYC’s lower east side.)

Punch Brothers have been bubbling under the music world’s surface since it was made aware that Thile would be ending his commitment with turn of the century sweethearts Nickel Creek, but Antifogmatic evidences that they are ready to sweep through the music world like a wildfire, showing all who will listen that well-thought out music is never going to go out of style, and will always have a place in every generation of music.

Albums by Punch Brothers can be purchased directly from Nonsuch Records.

The event will feature Jim Stinnett and Grant Stinnett as the main faculty, with special guests Brent Rusinow and Shane Allessio appearing as well. Topics to be covered will include tecnique, walking lines, slap bass, tapping, reading, improvising, practice techniques, and transcription skills.

Jim Stinnett has been teaching at Berklee College of Music for well over 20 years, and has earned the title of full Professor in the college’s Contemporary Writing & Production department. In 2001, Jim created the Bass Workout in Candia, NH, where he sought to provide students with a serious environment to help them work towards personal growth in their playing. The Bass Workout now runs several times a year at multiple different levels and with Workouts dedicated to specific goals, such as the Slap/Tap Workout, the Todd Johnson Workout, and the Recording Workout. 2010 saw the institution of the inaugural Bass Workout Austria as well as the Bass Workout California. Jim also runs the Stinnett Music Nonpareil online school which offers classes such as The Music of Paul Chambers, Contemporary Techniques for Electric Bass, and Music Theory.

Tuition for the event is $425 USD, and registration is available at http://www.bassworkout.com. For directions and lodging information, contact BWOA director Albin Palasser at: palasser@aon.at.

Bakithi Khumalo

Bakithi Kumalo is a name that you may or may not have really heard. However, he is a bass that you have certainly heard. Most people will instantly know his forward/backward bass fill on “You Can Call Me Al”, from Paul Simon’s landmark album “Graceland” (to which he contributed to entirely). In addition to that great album, Bakithi’s signature fretless sound, double-stops and all, have been heard on a wide variety of records with Gloria Estefan, Chaka Khan, Harry Belafonte, Cyndi Lauper, Randy Brecker, Mickey Hart, Josh Groban, Chris Botti, and Herbie Hancock. Bakithi’s latest solo effort, Transmigration, is a display of a wide variety of styles including some beautiful bass melodies.

In addition, Bakithi will heading out as the bassist on the currently postponed Simon & Garfunkel tour, and will be playing the UBass, made by our friends at Kala. The bass is right up Bakithi’s alley, making it sound as only he can.

Tango Grill By Pablo Aslan

This CD is made for Tango in a very special way, indeed! It maintains the deep traditions of the style and form of these classic songs while improvising over the themes – all the while looking positively forward. Pablo’s Arco-laced acoustic contra bass approach is spicy and playful, and he gives a wonderful pizzicato performance (and a great solo!) on “La Trampera” – one of my favorite tunes! Yeah! If you have ever longed to study this music, I can’t think of a better disc to listen to over-and-over. This is a great study of listening within music over song forms!

Must hear cuts, “El Marne” / “Rencor” / “La Trampera”

Let The Games Begin By Derek Frank

LA-based P Bass wielding Derek Frank leads the listener on a romp that includes instrumental versions of Hall & Oats “I Can’t Go For That (No Can Do)”, and Soundgarden’s “Black Hole Sun”, and includes a version of Curtis Mayfield’s “Pusher Man”! Wait. That’s the “1,2,3 – 4,5 – 6,7,8,9,10 – 11,12” (“Pinball Number Count”) jam from Sesame Street?! Okay…LOL! Party Central! This crew even dances into the disco zone, and there are lots of handclaps and horn-hits on the gigantic ONE! Throughout Let The Games Begin, Derek leads the large studio ensemble (including session drummer great Steve Ferrone and saxophonist/flutist Katisse Buckingham) with his wit and willingness of musical engagement. His funky P Bass bumps, thumps and pumps throughout the disc and this one is all about the head-bob! Funky pentatonic solos, and lots of room – best listened to in a car full of friends on a sunny day, on the way to “the water!”

Must hear cuts, “Breakout” / “Lunchbox” / “Smack Dab”

Copacabana by Nilson Matta

Nilson Matta plays acoustic contra bass the way I wish everyone played! His is the clearest sounding, and most well played acoustic bass since the late, great Niels-Henning Ørsted Pedersen! A master at driving from the backseat, Nilson’s grasp of structure, harmony and melody shine through again-and-again on this unforgettable Brazilian jazz outing. Anne Drummond, Klaus Mueller, and especially drummer Mauricio Zottarelli tear it up on this CD! The band couldn’t have been more specialized, and the tunes are a study in “how to write a great tune!” Copacabana is another unbelievably good CD from this master bassist!

Must hear cuts, “Baden” / “Copacabana” / “I Can See Forever” / “Asa Branca Baiao”

Bankers Gangsters Black 47

Uh…Black 47 reminds me a lot of an Irish Bruce Springsteen with traditional instruments. Bassist Joseph “Bearclaw” Burcaw pumps his Ernie Ball basses with 8th note conviction – not always an easy task – and adds very E Street Band (Gary Tallent) sounding fills…even if this release (the band’s 13th) is all about NYC’s Celtic Punk-Rock best!

Must hear cuts, “Celtic Rocker” / “Wedding Reel”
 
 
 

Welcome to summer in hot steamy Nashville, TN! I hope you guys that are located in hot places are staying hydrated! It is beyond hot here in Nashville at this time. The temperature often dips to 87 F at night (LOL)!

Dave Fowler, Editor In Chief, Bass Frontiers Magazine

Anyway, heat…what a good subject! What will you do when the heat is on you? Will you deliver or will you crumble? I heard my pastor say a while back that to purify silver it has to be heated to a very high level to get out all impurities and sometimes I think that may be how God treats us to remove our impurities…think about it.

When the heat is on it will usually show who we truly are. How we react in those situations is always a direct result of who we are.

How do you want people to remember you? Will you rise and be counted or fold when the pressure is on? I would like to think that I would find quick resolve in any conflict and stay strong under extreme heat, but so often times being human I have a hard time with this. I have my moments around here at Bass Frontiers.

I would like to encourage each of you to always know where you are headed and be aware that at every turn some form of adversity could be lurking to trip you up and at that moment you will need to be ready to “Stand the Heat”. You can always choose how you will find resolve in this and it would be my wish that you would opt to find the right and honorable way to show great character in finding that resolve with whatever lays before you. I feel that being a tour manager for many years on the road has really helped me in so many ways with these situations. Responsibility is a very good teacher, trust me I know!

So when faced with adversity and “heat” stare it in the face and find a way to take it and use it for your good instead of it whipping your butt! This would directly apply to playing bass and traveling with others etc.

On a different note I want to say that I was very saddened by the death of Paul Gray of Slipknot last month. While I am in no way shape or form a fan of the band, it just breaks my heart when a person loses all hope. Let me just say in closing that hope is NEVER completely lost. If it were, we would certainly be in terrible shape. If we can ever be a help to anyone who feels there is no hope all you have to do is reach out to us. As I have stated time and again we want to be more than your magazine we want to be your friend and help you in any way we are able.

Bless you all!

Dave Sharp's Secret Seven

First of all… anyone who writes a tune called “Boop Bwee Ahh” gets my vote for “Coolest Title of the Year”! Doubler Dave Sharp is a bad boy, and “Chrispy Underground” shows off his formidable acoustic contra groove. This CD sounds like it was recorded in a very comfortable club setting, and the band sound really at ease within this particular musical environment – which goes a long way in producing a vibe this big, fat, and wide. There’s just enough Latin and Middle Eastern to satiate the most urbane of musical tastes while leaving enough of a “jammy thing” for the rest of us! This is a great disc to throw on at a house party. I know… did it!

Must hear cuts, “Africano” / “Boop Bwee Ahh” / “Blackout”