Questions and more questions

[Phil W]

John has a new CD out August 11, Space for Bass, you can download a leadsheet for one of his tunes from his homepage. You can hear John's duo CD with pianist Bill Dobbins on last.fm http://www.last.fm/music/John+Goldsby/The+Visit

You can buy his music here: http://www.goldsby.de/john/cd.php

[Jonathan Herrera]

In the interest of participation, here are my answers. BTW, for those that don't know John Goldsby, he is killer in every way...and am thrilled he's into participating in the forum. He's an excellent resource, y'all...

 

BP* What is your idea of a perfect gig?

 

JH: Musically satisfying music for an audience that's paying attention.

 

BP* What is your most treasured possession?

 

JH: Bass-wise, a '75 J-Bass that a friend gave to me. He died about a year later, and I feel close to him each time I pick it up.

 

BP* If you were to die and come back as any musician, who would it be?

 

JH: Wayne Shorter.

 

BP* What is your third all-time favorite record and why?

 

JH: John Coltrane & Johnny Hartman.

 

BP* What is your dream scenario?

 

JC: Joni Mitchell asks if I'd like to collaborate on her next record and do the subsequent world tour w/ Brian Blade and Herbie.

 

BP* What annoys you about the music business?

 

JH: Publicity, distribution, and tour-support is controlled by a corrupt cabal of corporations with profit as their primary priority. So much excellent music goes unheard and mediocrity is rewarded.

 

BP* Who are your musical heroes?

 

JH: Bach, Debussy, Satie, Louis Armstrong, Art Tatum, Miles, Sonny Rollins, Coltrane, Wayne Shorter, Lennie Tristano, Bill Evans, The Beatles, Joni Mitchell, Bob Dylan, Nina Simone, Ray Charles, Donny Hathaway, Jaco, Jamerson, Willie Weeks, Anthony Jackson, Pino Palladino, and many many many more.

 

BP* What was your most recent big mistake?

 

JH: Bringing an amp that I forgot was acting funny to a pretty important gig. It died after 2 tunes, and I had to play through a monitor until set-break, then racing home to grab another rig.

 

BP* What are your goals for the coming year?

 

JH: Becoming a better musician.

[1111000]

BP* What is your dream scenario?

 

JC: Joni Mitchell asks if I'd like to collaborate on her next record and do the subsequent world tour w/ Brian Blade and Herbie.

 

A big +1! Great dream scenario.

[5 string Mike]

I'll give this thing a shot- although my answers are going to be about as interesting as mud on a board fence.

 

BP* What is your idea of a perfect gig?

 

5SM: One I just did for work. With the down economy and all the layoffs, our division had a small party for a corporate award we won, and there were a lot of mixed feelings about doing it. A bunch of us put together a 2 1/2 hour set and performed outside in good weather, and it just boosted the overall morale around here. We received so much positive feedback and appreciation. That's about as close to perfect as I could think of (outside of touring with David Gilmour, maybe....)

 

BP* What is your most treasured possession?

 

5SM: As far as material things, a few little trinkets that my kids made me or gave to me over the years. They are a reminder of how fast kids grow up.

 

BP* If you were to die and come back as any musician, who would it be?

 

5SM: My brother, who passed away in May. He may not have been famous, but he is a legend of sorts in his own right. He faced a lot of adversity in his life with mental and physical health issues, and still managed to write 13 marches, most of those winning awards through the Veteran's Affairs talent contests. His story reminds me of Syd Barret's story in many ways. He truly had a gift, and we lost him suddenly in May at only 50 years old.

 

BP* What is your third all-time favorite record and why?

 

5SM: Fleetwood Mac- Rumours.

 

BP* What is your dream scenario?

 

5SM: Gigging with the likes of Michael W. Smith, Matt Redman and Chris Tomlin.

 

BP* What annoys you about the music business?

 

5SM: As I don't know the inner workings, all I can say is the fruit of the business always seems to cater to the lowest common denominators. The sacriest part of that being the masses eat it up like candy.

 

BP* Who are your musical heroes?

 

5SM: My brother

 

BP* What was your most recent big mistake?

 

5SM: Letting myself be intimidated at an audition.

 

BP* What are your goals for the coming year?

 

5SM: Learning more theory, getting more/ better gear, and focusing on technique.

[johngoldsby]

I'll give this thing a shot- although my answers are going to be about as interesting as mud on a board fence.

Wow, Mike great post! This is way above the mud-drying category, and you touch on a few things that I think are absolutely essential for musicians.

 

Your experience at the corporate gig is touching. I know a lot of people who are laid off or have shortened hours at the moment. It's heartening to see that musicians make a difference in the day to day attitudes and experiences of real people. Your band played, the people dug it, and it made everyone involved a little richer. Truly a perfect gig.

 

About your kids growing upI really relate to that. This is the first summer that both of my kids are off on their own for several weeks at a time. They are doing great things with great people, but it is quite a different feeling for me from what it was a few years ago.

 

Your brother sounds like a man who also touched a lot of people musically. He made music that got to people, and that is what counts.

 

Thanks for your input . . . :-)

 

[johngoldsby]

One more note for everyone: You are not obliged only to answer the 9 Questions. You can comment on anything you want, answer only one question, pose your own question . . . anything. Okay, maybe not "What kind of strings do you use?" but give us any other questions that might be fun to toss around.

[ReggWash]

Wow John! U opened up whole bunch of topics just from 9 simple questions!! That's what it's all about. New found knowledge!! Also; to the guy that thought I was arrogant; judge once you get there. I don't know you either.

 

Holla...

 

Reggie W.

[johngoldsby]

Hey Reggie! Great to see you here.

 

Fellow LowDowners, please help Reggie feel at home here . . . he's a great cat and wonderful bass player. I would recommend that you check out some of his stuff at http://www.myspace.com/reggiewashington

A double threat . . . acoustic & electric.

 

Stop it Reg :-)

[davio]

That's awesome...I love to see famous people stop by the forum. Nice to hear from you, Reggie! Stick around!

[Bottom End]

This is a really cool topic, I've learned a lot in reading everone's responses.

The closest I'll ever get to being interviewed, so here's mine:

 

BP* What is your idea of a perfect gig?

 

Me: Playing in a band doing a USO tour for the deployed troops. When I was in uniform, I appreciated any artist that came to entertain us, and I played in a band while in Iraq, it was a real break from the "Groundhog Day" aspect of a deployment. I don't think there are any better, more responsive or appreciative audiences than the troops sucking it up around the world, and I'd like to be able to give something good to them.

 

BP* What is your most treasured possession?

Me:Bass-wise, my first Fender Precision Bass, Serial # S-909452. I sold it and have regretted it ever day since then, I'd buy it back in a heartbeat.

 

BP* If you were to die and come back as any musician, who would it be?

Me: James Jamerson, naturally. HE was my idea of the perfect bas player before I even knew his name or what instrument he played.

 

BP* What is your third all-time favorite record and why?

 

Me: The Pretenders first album. It is a great example of a perfect pop band in the way the Kinks were, songs, singing, hooks. The album is killer from beginning to end. Pete Farndon was one of bass players who supported the song without overplaying, but made his mark on each song.

 

BP* What is your dream scenario?

 

Me: Being in a band where we could reasonably play any style of music at a moments notice, like a bar band I used to go see all the time, they rotated song choices between band members nightly, it never got old, and they knew at least 200 songs. I want keyboards, a horn section, and good harmonies as well.

 

BP* What annoys you about the music business?

 

Me: That the recording industry refuses to make its entire back catalog available online. I'll a reasonable price for songs and albums, what do they gain by leaving classic recording out of print in some vault?

 

BP* Who are your musical heroes?

Me: Anyone who has the discipline and determination to make a living playing music. IT's a hobby for me, if I had to rely on music for my income, I'd probably hate the ups and downs that musicians put up with.

 

BP* What was your most recent big mistake?

 

Me: Not keeping up on sight reading, it's a perishable skill. Last year I was doing well, now I'm back to counting spaces and lines on the staff; my knowledge of theory has suffered as well.

 

BP* What are your goals for the coming year?

Me: Find some folks to play with while I'm deployed, improve my reading and theory, learn to sing while playing, and nail all the songs transcribed in "Standing in the Shadows of Motown."

[johngoldsby]

Okay, who has the Precision Bass, Serial # S-909452?

 

Playing for the troops is a great thing to doI can only imagine what kind of audience that is . . .

[1111000]

Sorry complety off topic but who is John? And how come he is a Moderator I've never heard about him?

 

Correct me if I'm wrong but didn't John contribute several Woodsheds the last couple of years (and then stop some time last year)? I remember a column that talked about the harmonic structure of A Night In Tunisia...

 

If this is the same John, I really liked your Woodshed articles! Nice work.

[Wally Malone]

In what issue month & year was the Night In Tunisia article?

 

Thanks,

 

Wally

 

Sorry complety off topic but who is John? And how come he is a Moderator I've never heard about him?

 

Correct me if I'm wrong but didn't John contribute several Woodsheds the last couple of years (and then stop some time last year)? I remember a column that talked about the harmonic structure of A Night In Tunisia...

 

If this is the same John, I really liked your Woodshed articles! Nice work.

[1111000]

Um... gosh, I think it was over a year ago. And I have 24 issues stored in the "archives" back in Missouri because I just moved to Colorado, so sadly I can't look it up.

 

The article was pretty simple in nature, but it had some good ideas about memorizing changes, as I recall. ANIT was just used as a common example of the bigger picture. I understand your interest in the song though, it's such a fantastic standard.

 

He wrote lots of woodsheds (again pending on confirmation that this is the same person) and his picture was of his face next to his upright bass neck & headstock. The lessons were always relatively basic but tended to included lots of neat little insights if you read the full article.

[Wally Malone]

Thanks Joshua, I have to dig back and look for it around that time frame.

 

Wally

[johngoldsby]

Thanks Wally & Josh . . . I have actually been contributing to Bass Player since 1990. Regular woodshed columns like The Tradition, Mastering Jazz, and Jazz Concepts, plus features on Mingus, Ray Brown, Ron Carter, and the recent pieces on Paul Chambers and Kind of Blue.

 

Lately I've been doing a series of Woodsheds on Funk, plus the new 9 Questions Soapbox column. You can check out some of the recent columns here at Bass Player. I've also got some of my earlier articles archived on my website.

 

At the moment, I am working on an upcoming feature on Scott LaFaro. There is a newly released CD of never-before-heard material from LaFaro with Don Friedman. I transcribed a solo on "Green Dolphin Street" from that CD for the piece. Plus there is a new biography of LaFaro's lifeand I am talking to a lot of the people who knew Scott LaFaro way back when, including his sister, Helene, who authored the book.

 

If you have any comments or suggestions about my Bass Player work, just let me know.

 

You can check out the current "9 Questions" Soapbox online here at bassplayer.com

Coming soon, Rodney "Skeet" Curtis will be the next up with his response to the "9 Questions."

[1111000]

I knew that was you! Good stuff.

[johngoldsby]

Here we go! A new 9 Questions, this time with Rodney "Skeet" Curtis. You probably know Skeet from his work with Parliment Funkadelic, Maceo Parker, Dennis Chambers, and many others. Check him out in the September issue of BP.

 

BP * What is your idea of a perfect gig?

 

Skeet Curtis: One the starts on time, ends on time and everybody leaves feeling that theyve gotten their moneys worth.

 

BP * What is your most treasured possession?

 

Skeet Curtis: I have a Fernandes Jazz bass knockoff that I bought in Japan in 1980it brings back memories of the Atomic Dog Tour in 1983.

 

BP * If you were to die and come back as any musician, who would it be?

 

Skeet Curtis: James Jamerson . . . my greatest influence.

 

BP * What is your third all-time favorite record and why?

 

Skeet Curtis: Number three would be Darling Dear by the Jackson 5 which is a tremendous display of bass playing by James Jamerson. Two is Aint Nothin' Like the Real Thing by Marvin Gaye and Tammi Terrell, and my number one favorite is Hair by Graham Central Station

 

BP * What is your dream scenario?

 

Skeet Curtis: I show up at a gig . . . the equipment is exactly what I asked forI can hear everything clearly and the stage volume is such that I dont need to wear ear plugs

 

BP * What annoys you about the music business?

 

Skeet Curtis: Music is becoming less and less emphasized in the music business.

 

BP * Who are your musical heroes?

 

Skeet Curtis: Dennis Chambers, Maceo Parker, Will Boulware, Prince, and George Clinton, and specific to bassJames Jamerson, Rocco Prestia, Jaco, Larry Graham, Stanley Clarke, Marcus Miller and Victor Wooten.

 

BP * What was your most recent big mistake?

 

Skeet Curtis: I accepted a gig based on what I was told the parameters would be. They werent and I ended up being under-prepared.

 

BP * What is your goal for the coming year?

 

Skeet Curtis: I want to continue doing what Im doing, which is traveling the world playing funky music.

 

 

[johngoldsby]

Here we go! A new 9 Questions, this time with double bassist Rufus Reid. You probably know Rufus from his work with Dexter Gordon, Eddie Harris, James Moody, Dizzy Gillespie, and many others. He is also the author of The Evolving Bassist, one of the standard works of bass books. I first met Rufus in the late '70s when I had the privilege of participating in some workshops with him. I later heard him often in New York jazz clubs. He was and continues to be an inspiring player, teacher, and role model. Check him out in the current issue of BP.

 

BP * What is your idea of a perfect gig?

RR: Playing with great players and being paid what was agreed.

 

BP * What is your most treasured possession?

RR: My family!

 

BP * If you were to die and come back as any musician, who would it be?

RR: Me!

 

BP * What is your third all-time favorite record and why?

RR: Nancy Wilson / Cannonball Adderley [Capitol Recxords, 1961]. I never get tired of hearing it swing so hard!

 

BP * What is your dream scenario?

RR: When recording music, the headphone mix works, the music is great, the other musicians make you play better than ever, and everything is done in one take!

 

BP * What annoys you about the music business?

RR: The inconsistencies and lack of knowledge from most of the individuals who make decisions about who should receive notoriety.

 

BP * Who are your heroes?

RR: Eddie Harris, Ray Brown, Benny Golson, Thad Jones

 

BP * What was your most recent big mistake?

RR: Trying to answer all of these questions!

 

BP * What is your goal for the coming year?

RR: To compose a full symphonic work with a jazz ensemble embedded within the orchestra!

 

 

***************************************

 

As always, feel free to comment on Rufus's answers. Give us your own answers. Ask a new question. Let me know what new questions I should be asking our bass friends out there.

[tnb]

Rufus Reid is a bass playing beast that has consistently been raising the bar for all bass players for at least the last 35 years. His book "the Evolving Bassist" is a must have for any serious bass student. His work with drummer Akiri Tana is sublime and should be considered required listening for every jazz bassist and drummer.

 

Yeah, I'm a huge fan.

[Phil W]

Yeah, great sound and walking. I have a solo he did on a Dexter Gordon record that I listened to about a thousand times too.

[BassmanBarry]

Rufus is the man! What more can you say. His book changed my musical life 20 + years ago.

[Nicklab]

I've got The Evolving Bassist sitting on my bookshelf. And reading this has me thinking it might be well worth breaking the book out for some much needed woodshedding.

[Basshappi]

My copy of The Evolving Bassist was given to me by my first bass teacher, Mike Roberson and it is one of my most cherished possesions (Mike went on to join the Joe Ely Band who subsequently went on tour as the opening act for The Rolling Stones!).

 

Mike and I worked many hours on the lessons in Mr Reid's book and much of my early progress was due to Mike's patient guidence and Mr. Reid's fantastic book.

 

Thinking about it now I realize it's been a decade since I opened those covers.........I'm feeling the need to Reid!

[davio]

I'm feeling the need to Reid!

Tom?

[Basshappi]

That's Mr. Maverick to you.

[jeremy c]

Mr. Goldsby:

 

I read your article about Cold Sweat. I've been playing that song since it came out and I know that the line you wrote is the correct line.

 

However, I've always played the song in bands with no horn section (gtr, bass, dr, keys, vocal) and it just does not work if I don't hit the F on the first beat of the measure. (2hd measure of the bridge etc.)

 

What sayest thou?

[johngoldsby]

Mmmm . . . I wouldn't say that it "can't" work if you don't play the downbeat. I'd just say that everyone really has to play in timeeven if you are playing with no horn section. On the original, everything is on the upbeats and the band is very tight (no downbeat from the bass player). I think part of the appeal to the bridge is that moment of anticipation when no one is playing the "one." That's my take on it.

 

That being said, you've probably played the tune a lot more than I have. Whatever works in a particular situation or with a particular band is the best way to play a line.

 

I prefer leaving the downbeat out, but if it feels better for the band to have you nail it down . . . then, you gotta' nail it down.

[johngoldsby]

Greetings All!

 

In the latest issue of Bass Player, I had the chance to interview Oneida James. Feel free to comment on Oneida answers, suggest new questions, or give your own answers to the BP questions . . .

 

Since 2001, Oneida James has filled the bass chair with living legend Joe Cocker. Her stellar groove and sound can be heard on Joe Cocker AVO Sessions, 2007 [AVO] as well as on her solo tracks at www.myspace.com/oneidajames. In 2006, James released her bass method Groove Mastery, The Bassist Guide to Time, Rhythm and Feel [Hal Leonard] which she supports with an interactive online learning program [www.groovemastery.com].

 

 

BP * What is your idea of a perfect gig?

 

Oneida James: I feel extremely blessed and happy with the gig with Joe Cocker . . . gig that allows me to be creative, grow as musician, happy and well, well-compensated, cause theres no romance without financeespecially if the romance is with music!

 

BP * What is your most treasured possession-musical or otherwise?

Oneida James: I have and 1958 Gibson ES355 guitar that I inherited from my father when he passed.

 

BP * If you were to die and come back as any musician, who would it be?

 

Oneida James: It would be my father, for many reasons, but in this instance it could mean that he could follow his dream to be a musician and not just tinker around with it on the sidelines.

 

BP * What is your third all-time favorite record and why?

 

Oneida James: Thats a very hard question; I have a hard time naming a favorite or third favorite anything musical because I love music. Having said that . . . Quincy Jones, Sounds...And Stuff Like That!! [A & M], specifically Tell Me a Bedtime Story, featuring Herbie Hancock.

 

BP * What is your dream scenario?

 

Oneida James: To have enough mailbox money to be able to go on tour, stay home and write, record and/or teach, work on some home beautification projects, spend time with my family . . . or not.

 

BP * What annoys you about the music business?

 

Oneida James: What bothers me about the music business is that it is run by people who dont give a shit about music. Their bottom line is money and, thus the conundrum; the mess of a music business that we have today!

 

BP * Who are your heroes-musical or otherwise?

 

Oneida James: Its cliché for a bass player, but I have to say musically, Marcus Miller, the musicians musician.

 

BP * What was your most recent big mistake?

 

Oneida James: Thinking I could come home from tour and quickly jump into record mode with a new studio setup with new learning curve.

 

BP * What is your goal for the coming year?

 

Oneida James: Finish up several recording projects, start new book project; and have a great tour with Joe Cocker.

 

 

 

[tnb]

Not familiar with Oneida James, I'll have to spend some time on her myspace page. Kudos to her "Tell Me A Bedtime Story" pick - that is some Jackson/Gadd fueled magic right there!