He plays several instruments, including tuba, string bass and bass saxophone, and sings in a voice that evokes a less rambunctious Fats Waller.
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From that rose his desire to make an easier and smaller guitar for kids that, like the four-string bass, was easier to learn.
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The opening group (LeVent) is a kickass band fronted by a six-string bass-slapping, German Gwyneth Paltrow-lookalike, so I buy their album.
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He and his musicians (Michael Shapiro on drums, Hussain Jeffry on six-string bass and Bill Cantos on piano and occasional vocals) displayed a comfortable familial bonhomie.
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On "In the Tradition," he performed compositions by Duke Ellington, Fats Waller and John Coltrane accompanied by a standard rhythm section of piano, string bass and drums.
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Mr. Bruner plays a six-string bass; in the deep end his sound is big and crumbly, but he often fingerpicks guitar-like harmonies on the higher strings.
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You're halfway through the album when you hear it — a heavenly harmony of instruments that features a harpsichord, organ, bass clarinet, string bass, sleigh bells, and a wonderful French horn.
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And while, in Mozart's day, a wind serenade was usually an amiable evening piece, he scored this one for an extra-large ensemble, including four horns and a string bass to fortify the harmonies.
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Beginning in the 63s, Mr. Bradley's work on six-string bass and guitar was also featured on records by, among many others, Red Foley, Hank Williams, Elvis Presley, Buddy Holly, the Everly Brothers and Loretta Lynn.
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He also played the piano and the string bass professionally.
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A contrabass guitar is a low-register bass guitar with four, five or six strings. It is often called, simply, a six string bass guitar. The five string bass guitar is rarely called a contrabass guitar, even though it typically has the same lowest note.
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Some bassists use unusual tunings to extend the range or get other benefits, such as providing multiple octaves of notes at any given position, or a larger tonal range. Instrument types or tunings used for this purpose include basses with fewer than four strings one-string bass guitars, two-string bass guitars, three-string bass guitars (session bassist Tony Levin commissioned Music Man to build a three-string version of his favorite Stingray bass) and alternative tunings (e.g., tenor bass). Tuned A–D–G–C, like the top 4 strings of a six- string bass, or simply a standard four-string with the strings each tuned up an additional perfect fourth.
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The organization follows a standard American wind band, including brass, woodwinds, and percussion, plus one string bass.
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Archtop 4-string bass guitars have been manufactured since the use of electric pickups became popular. The most famous example is the Höfner violin bass used by Paul McCartney. Warwick makes a range of archtop 4-, 5-, and 6-string bass guitars. Framus also makes a range of archtop bass guitars.
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In 1976, Alembic built what is believed to be the first modern five string bass (tuned BEADG) for bassist Jimmy Johnson. Alembic's January 21, 1977 price list described the five string bass as a "standard" model, available for $50 more than its four string bass. In 1977, Alembic presented the world's first graphite neck basses with necks supplied by Geoff Gould (later founder of Modulus Guitars) at a trade show; it was bought by John McVie of Fleetwood Mac. Production of graphite-necked instruments ceased in 1985.
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Theodore "Steve" Brown (January 13, 1890 - September 15, 1965) was a jazz musician best known for his work on string bass. Like many New Orleans bassists, he played both string bass and tuba professionally. Brown was the younger brother of trombonist Tom Brown. In his youth he played with his brother's band in New Orleans.
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The five string bass is not an essential part to these genres, as some bands in these genres use standard tuned guitars or downtuned four string basses. Some bassists, such as John Myung from the progressive metal band Dream Theater, utilize a six string bass, which usually adds an additional high "C" above the "G" string of a five string bass. Most metal bassists play with fretted instruments, which have metal frets on the fingerboard. However, there are a few bassists such as Steve DiGiorgio and Jeroen Paul Thesseling who use fretless basses.
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It features an alder Viper body, a maple neck through the body with an ebony fingerboard, a TonePros Tune-O-Matic bridge, locking tuners and one EMG 81 pickup. While playing bass in Unearth and Fear Factory, he would use LTD B-series 5-string bass guitars, but eventually switched to using Ibanez Soundgear 5-string bass guitars in 2013.
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Vrooman was born in Victoria, British Columbia, in June 1968. She attended Kamloops High School, where she played string bass for the school band.
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The Hagström H8 was the world first mass-produced 8-string bass and was produced between 1967 and 1969 for a total of 2199 units.
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The first "King Mortone" double bass appeared in 1934, when H. N. White decided to make a string bass instrument with the same care and attention as was put into making a brass bass instrument. The string bass's fronts were made from the finest straight-grain spruce with very close grain quality, while the rest of the instrument was made of curly maple. Each bass was equipped with an improved geared key mechanism, ensuring rigidity and sensitive tuning. The H. N. White Company claimed that each "King string bass has a greater volume of tone, and carries the vibrations over a longer period of time, than any other string bass ...".
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Dennis Trembly is Professor of string bass at the University of Southern California. He is also one of two principal bassists for the Los Angeles Philharmonic.
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Steuart Liebig, born July 25, 1956, is an American bassist and composer of modern creative jazz and the free improvisational music. He plays 6-string bass guitars.
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The 11 song collection of original compositions features the sounds of his custom Warwick 12 string bass guitar on 5 songs. This unique instrument has an angelic rich tone. The other 6 songs feature Irvine's flowing melodic style on the 4 string bass guitar. Also featured is accompaniment from world-renowned percussionist Gumbi Ortiz, known for his work as percussionist with Al Di Meola for well over 25 years.
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The closing passage on "Safe" was played on the 4-string bass section of a double-neck guitar, using only the pickups of the 6-string guitar section.
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Unlike many bassists who use four and five string bass guitars, Campbell, at one time, played a self-modified three- stringed Guild Pilot bass, excluding the higher G-string.
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Line 6 offered the same technology for electric bass guitars with the 4-string Variax 700 bass and the model 705 5-string bass, but discontinued them in 2007.
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He played a Musicvox Space Cadet 12 String guitar and Yellow Musicvox Space Cadet 12 String Bass on tour with Blue Floyd performing extended 12 string bass solos in his role as second guitarist in the band. The movie Rising Low, directed by fellow bass player Mike Gordon, is a documentary about bass players dedicated to the memory of Allen Woody and features bass players that he respected and knew in his lifetime.
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Hagström were the first company to mass-produce 8 string bass guitars as well as the first to build a guitar/synthesizer hybrid (Swede Patch 2000). The company ceased production in 1983. In 2004 the brand was resurrected and is now in production in China. In 2008 Hagström expanded their line of products and launched their own line of basses including a re-issue of their famous Hagström H8, an 8 string bass.
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Edward Bertram Garland (January 9, 1895 - January 22, 1980) was a New Orleans jazz string bass player. He was commonly known as "Ed Garland", and sometimes "Montudie Garland" (a nickname he disliked).
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He plays different brands and boutique basses, 5–6 strings. Mostly seen live with an unknown 6–string bass, in the studio he uses 4–5–6 string basses, both industrial and handmade.
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Koto concert at Himejijo kangetsukai in 2009 Michiyo Yagi playing a 21-string koto The influence of Western pop music has made the koto less prominent in Japan, although it is still developing as an instrument. The 17-string bass koto (jūshichi-gen) has become more prominent over the years since its development by Michio Miyagi. There are also 20-, 21-, and 25-string koto. Works are being written for 20- and 25-string koto and 17-string bass koto.
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Joe B. Mauldin (string bass) also played on the recording. Initially, only Allison and Petty were listed as the song's authors. At Allison's insistence, Holly was credited as a co-writer after his death.
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George Murphy "Pops" Foster (May 19, 1892 - October 29, 1969) was an American jazz musician best known for his vigorous slap bass playing of the string bass. He also played the tuba and trumpet professionally.
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Session musicians on this recording included Reggie Young on electric guitar, Bill Hullett on acoustic guitar, Sam Levine on horns, Clayton Ivey on piano, Bob Wray on six string bass, and Greg Morrow on drums.
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All 6 String Guitar, 12 String Guitar and 4 String Bass. Coronado I: one neck pickup, one volume and one tone control. Dot inlays. Available in either Cherry Red, Sunburst, or any DuPont custom finish.
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Narvin Kimball (March 2, 1909 - March 17, 2006) was a jazz musician who played banjo and string bass and was also known for his fine singing voice. The left- handed virtuoso banjo player was born in New Orleans, Louisiana, the son of well-regarded string bass player Henry Kimball. He was playing music professionally by the mid-1920s with such groups as the bands of Fate Marable and Papa Celestin. He married a fellow member of Celestin's Tuxedo Jazz Band, pianist Jeanette Kimball (née Salvant).
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Gary Willis, Escola Superior de Música de Catalunya Gary Willis uses his signature model Ibanez fretless 5-string bass guitar, Aguilar Amplifiers and D'Addario strings. He is currently an instructor at Berklee's campus in Valencia, Spain.
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To help bands adjust to the new groove, major changes were made in the rhythm section. While the bass drum continued to play a rock-solid four beat pulse, the tuba, commonly used in large dance bands of the 1920s, was replaced by the string bass. During the early years of recording, the tuba was able to project a clear, huffing sound. But the string bass had been replacing the tuba over the rhythmic devices available with it and many players, including Wellman Braud with Duke Ellington’s band, showed that the instrument had a special percussive flavor when the strings were given a pizzicato “slap” (plucked rather than bowed). Change came gradually in the late 1920s, once word had gotten around about how well the string bass worked; many tuba players realized that they’d better switch instruments or lose their jobs.
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The Junior String Orchestra (JSO) is a middle school group composed only of string players (violin, viola, violoncello, and string bass). They are for the least- experienced string players that audition for the Junior Symphony or Orchestra.
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He is known for harmonizing the western 5-string bass riffs with the traditional tabla and drums. After the release of the band's seventh studio album, Dewaar, O'Connell went back to his native land the United States.
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This configuration is sometimes modified by using a second horn replacing the chordal instrument, such as a trumpet and saxophone with string bass and drum kit, or by using two chordal instruments (e.g., piano and electric guitar).
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Squire's original had a four-string fretted neck, a four-string fretless neck, and a six-string tuned in octaves (tuned to aA-dD-gG). This bass is currently on display at the Hard Rock Cafe. Steve Digiorgio used a multiple-necked bass guitar with a fretless neck and another fretted neck. A number of makers have also produced double neck basses with an 8-string bass neck (double courses, tuned in octaves like a 12-string guitar) on top and a 4-string bass neck on the bottom.
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Traditional New Orleans style jazz was based on a two-beat meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet and trombone in a call-response pattern. The rhythm section consisted of a sousaphone and drums, and sometimes a banjo. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. Use of the string bass opened possibilities for 4/4 instead of 2/4 time at faster tempos, which increased rhythmic freedom.
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21, 1914." and began playing string bass while attending Dwight Morrow High School.Stewart, Slam (Leroy Elliot) , Encyclopedia of Jazz Musicians. Accessed February 4, 2013. "Leroy Elliot Slam Stewart was born on September 21st, 1914 in Englewood, New Jersey.
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After McKenzie heard Leverty's guitar he asked Willoughby if he would be interested in building a bass guitar. Willoughby agreed, building the iconic "Guinness Harp" 5 string bass that made its first appearance onstage with McKenzie in 2014.
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Alcide Pavageau second from left playing string bass. Photograph by Stanley Kubrick, published in Look magazine, 6 June 1950 Alcide Louis "Slow Drag" Pavageau (March 7, 1888 – January 19, 1969) was an American jazz guitarist and double-bassist.
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Although Kwan's reputation rests on his guitar playing, for much of his life as a working musician he played string bass in big bands, and this may account for the elements of swing and jazz that flavor his compositions.
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Originally the rhythm is to summon ancestral spirits and let them join the group. The traditional musical instrument of this dance is a self-made string bass from coconut tree and roots which is similar to the guitar or ukulele.
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Dick Wetmore (January 13, 1927 - January 4, 2007) was an American jazz and bebop violinist. He played several musical instruments including the cornet, trumpet and string bass. Wetmore worked primarily as a sideman, but also led his own jazz ensembles.
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When the band's usual string bass player was unavailable for a gig in 1951, the bandmaster asked Lamb if he could play the bass; Lamb immediately said yes, and before long became the band's new string bassist. He credited his tuba experience for giving him the "feel" to pick up string bass quickly without any prior experience. Lamb joined Duke Ellington's orchestra in 1964, and toured with them for three years. Lamb was more of a fan of Miles Davis and Red Garland when he was with Ellington, later saying, “I was very young and very cocky.
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For this song Petrucci used a seven-string guitar. A live version later appeared on Dream Theater's 2001 album Live Scenes from New York. In this version the bass part is played by John Myung of Dream Theater on a six-string bass.
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Henry appeared in the film noir movie, D.O.A. in 1950 as a string bass player in a jazz club. He also played in the house band for the Martin and Lewis television show. He died in Los Angeles at the age of 37.
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The orchestra personnel for the June 23 recordings were: Red Nichols (cornet); Frank Zinzer (trumpet); Ted Vesley, Elmer Smithers (trombones); Mahlon Clark (clarinet); Dent Eckles (tenor saxophone); Harry Steinfeld (oboe); Buddy Cole (piano); Perry Botkin (guitar); Larry Breen (string bass); Nick Fatool (drums).
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Owen moved to Bangor, Maine and played string bass with the Bangor Symphony Orchestra until 1994. Her work is included in the collections of the Library of Congress, the National Museum of Women in the Arts and many universities as well as private collections.
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Emile Joseph Christian (April 20, 1895 – December 3, 1973) (sometimes spelled Emil Christian) was an early jazz trombonist; he also played cornet and string bass. He also wrote a number of tunes, including "Meet Me At the Green Goose", "Satanic Blues", and "Mardi Gras Parade".
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Fotdella is a foot-operated string bass musical instrument. Invented and constructed by Jesse "The Lone Cat" Fuller, an American one-man band musician, who needed an accompaniment instrument beyond the usual high-hat (foot- operated cymbal) or bass drum favored by street musicians.
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This violin tailpiece has one fine tuner on the E string. Bass guitar tailpiece A tailpiece is a component on many stringed musical instruments that anchors one end of the strings, usually opposite the end with the tuning mechanism (the scroll, headstock, peghead, etc.).
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Danelectro (1956), Fender (1961) and other manufacturers had produced six- string basses tuned one octave below a guitar (EADGBE), and Jackson had briefly played a Fender five-string bass tuned EADGC. Jackson first approached various luthiers in 1974 about the construction of his idea for a “contrabass guitar” tuned in fourths BEADGC, and Carl Thompson built the first six-string for Jackson in 1975. He first performed on the Thompson-built bass in 1975, recording with Carlos Garnett and touring with Roberta Flack. He later approached luthier Ken Smith to build him a six string bass before finally playing instruments made by New York-based bass makers, Fodera.
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Through the early 1970s live tours, Rutherford often used a custom built Rickenbacker double-neck that combined a 12-string semi-hollow-body guitar with a 4-string bass (now on display at the Rock and Roll Hall of Fame Museum). For The Lamb Lies Down on Broadway and the first part of the Trick of the Tail tours, he incorporated a Rickenbacker 12-string solid-body guitar and a 6-string Micro- Frets Signature Baritone, equipped with 6-string short scale bass strings. Later he switched to another 12-string solid body/6-string bass combination built from scratch. All these double-neck guitars were made by luthier Dick Knight.
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Print, p. 226 "He started that 'strolling' or 'walking' bass", recalls Harry "Sweets" Edison, "going way up and then coming right on down. He did it on four strings, but other bass players couldn't get that high so they started making a five-string bass."Dance, Stanley.
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Retrieved 2020-07-12. told him that he had to be in the marching band in order to be in the school jazz band. At 15, he became a professional musician and joined the American Federation of Musicians, AFL- CIO. At 16, he started playing string bass.
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Jon Button (born February 10, 1971) is an American bass player born in Fairbanks, Alaska, and based in Los Angeles, California. Button has played on commercial, film and television scores and toured with a number of well-known artists. He plays both electric and upright string bass.
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In fact, on Blue Devil Blues, one of only two recordings of Walter Page's Blue Devils, Page begins on tuba before switching to string bass and finally baritone saxophone, playing all three "astoundingly well".Schuller, Gunther. Early Jazz: Its Roots and Musical Development. New York: Oxford University Press, 1986.
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The song is notable for its performers. With Jagger on vocals, acoustic guitar and keyboards, Waddy Wachtel and Ron Wood play electric guitars (Keith Richards is notably absent), Me'Shell Ndegéocello and Pierre de Beauport on bass and six- string bass, respectively, and Stones-recording veteran Billy Preston on organ.
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An eight-string bass guitar is a type of bass guitar with double course strings normally tuned in octaves, with both strings in a course usually played simultaneously. As on a 12-string guitar, this produces a natural chorus effect due to the subtle differences in string timbre.
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Prima moved to California to expand his music. During this time there was a movement for big bands and orchestras. Prima hired Louis Masinter on the string bass, a New Orleans native. He fired McAdams so that he could have Frank Federico, his childhood friend, play the guitar.
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Anthony Jackson (June 23, 1952) is an American bassist known for his many session recordings, live performances, and his role in developing a new design of the six-string bass guitar, which he called a contrabass guitar. He has been described as “one of the masters of the instrument”.
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He has number 270 in that series of 1000 produced. He also occasionally uses a lightly modified custom 4008 eight string bass. He also uses a 1995 mapleglo 4003 fretless bass, a 1973 jetglo 4001, and a single pickup 1972 4000 series bass. His amplification is by Trace Elliot.
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Cuong Vu Trio Meets Pat Metheny is a studio album by Vietnamese jazz trumpeter Cuong Vu and American jazz guitarist Pat Metheny, with additional musicians Stomu Takeishi on fretless five-string bass guitar, and Ted Poor on drums. The album was released on May 6, 2016 via Nonesuch label.
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The Dukes of Dixieland was an American, New Orleans "Dixieland"-style revival band, originally formed in 1948 by brothers Frank Assunto, trumpet; Fred Assunto, trombone; and their father Papa Jac Assunto, trombone and banjo. Their first records featured Jack Maheu, clarinet; Stanley Mendelsohn, piano; Tommy Rundell, drums; and Barney Mallon, tuba and string bass. The 1958 album “Marching Along with the Dukes of Dixieland, Volume 3,” lists Frank, Fred, and Jac Assunto, along with Harold Cooper (clarinet), Stanley Mendelsohn (piano), Paul Ferrara (drums), and Bill Porter (tuna and string bass). During its run the band also featured musicians such as jazz great clarinetist Pete Fountain, Jerry Fuller, and guitar legends Jim Hall, and Herb Ellis.
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Bass Player Magazine. April 1994. Ament on the song: > I already had two pieces of music that I wrote on acoustic guitar...with the > idea that I would play them on a Hamer 12-string bass I had just ordered. > When the bass arrived, one of [the pieces] became "Jeremy"...I had an idea > for the outro when we were recording it the second time...I overdubbed a > twelve-string bass, and we added a cello. That was big-time production, for > us....Rick [Parashar]’s a supertalented engineer-musician...Stone [Gossard, > Pearl Jam’s rhythm guitarist] was sick one day, and Ed, Rick and I conjured > up the art piece that opens and closes the song.
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Retrieved July 1, 2009. In 1937, Marcelli published two instructional books, one for cellists and the other for bass players,Amazon.com. The music educator's basic method for the string bass Basic Method for Cello. Retrieved July 1, 2009. and in 1939 he published an instructional book for orchestra and band.
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Born in Manhattan, Dowd grew up playing piano, tuba, violin, and string bass. His mother was an opera singer and his father was a concertmaster. Dowd graduated from Stuyvesant High School in June 1942 at the age of 16. He continued his musical education at City College of New York.
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George Edward Bruns (July 3, 1914 – May 23, 1983) was an American composer of music for film and television who worked on many Disney films. He was nominated for four Academy Awards for his work. He was also a proficient musician, playing and recording on trombone, tuba and string bass.
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The instrumentation is similar to Copland's Appalachian Spring, with the addition of oboe and horn and the reduction of strings to one on a part (as opposed to pairs): 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 horn, 1 piano, 2 violins, 1 viola, 1 violoncello, 1 string bass.
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All stringed instruments featured in this song, both guitars and basses, are tuned to standard tuning. The original recording of the song is notable for its interesting instrumentation: Asian instruments such as a gong and sitar-like-guitar feature, along with an overdubbed Warwick twelve-string bass. This instrument was only used for effect during the intro to emphasize several accented notes and then a standardly tuned 4-string bass was used as the main bass instrument throughout the remainder of the recording. The song is performed frequently during the band's live concerts, and was performed with the San Francisco Symphony Orchestra (conducted by Michael Kamen) on the live S&M; and its companion DVD, as well as the 2019 S&M2.
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Teisco also produced a six-string bass called TB-64 (or ET-320) in 1964, similar to the Fender Bass VI which was itself an uncommon instrument. Teisco six-string bass followed an unusual body shape that was used on one of their guitars. It had an off-set body shape similar to a Jazzmaster, but with an extended top horn, a 'monkey handle' cutout on the left-facing side of the bridge and a Fender-style headstock with an oversized scroll. This instrument, as well as its regular- scale guitar equivalent, can be heard extensively on Blonde Redhead's early albums of the 90's, where they used its wide range to switch between bass and guitar melodies in the course of single songs.
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All three musicians added handclaps. Other overdubs included McCartney's bass, Harrison on six-string bass, and Lennon playing a snare drum. Harrison played the guitar solo in the instrumental break, while McCartney contributed a high-pitched, single-note solo over the final verse. MacDonald describes the musical arrangement as a "thunderous wall of sound".
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George Sylvester "Red" Callender (March 6, 1916 - March 8, 1992) was an American string bass and tuba player. He is perhaps best known as a jazz musician, but worked with an array of pop, rock and vocal acts as a member of The Wrecking Crew, a group of first-call session musicians in Los Angeles.
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From 1961 through 1967, he played electric guitar and string bass with jazz groups in Tucson. From 1964 through 1967, he played tuba in the Tucson Symphony Orchestra and the Tucson Pops Orchestra. In 1967, Parker received a Bachelor of Music in Composition and a Bachelor of Music Education from the University of Arizona.
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Papa John Joseph (27 November 1877 – 22 January 1965) was an early New Orleans jazz string bass player. Joseph was born in St. James Parish, Louisiana, and moved to New Orleans by 1906. Early in his career he played with Buddy Bolden. He later played in the Claiborne Williams band and the Original Tuxedo Orchestra.
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Jim Fleeting is an English luthier. He is best known for building the UK's first nine-string bass guitar. The Yorkshire Post has described him as "the UK's most talented and innovative young guitar-maker". Fleeting studied at the Roberto-Venn School of Luthiery in Phoenix, Arizona, before establishing his workshop in Yorkshire, England.
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NOTE from author: this is an essential part of learning the technique of composing and orchestration. During college he first met Stan Kenton in person in 1961 during the Stan Kenton Band Clinics. Curnow worked his way through college playing the string bass, he graduated from West Chester University of Pennsylvania in May 1963.
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Warwick plays a G&L; L.2500 5 string bass and a Peavey Midi Bass. Peavey amplification. Fx = Electro Harmonix Pog and Big Muff Deluxe, Aguilar Filter Twin, Boss Flanger. He has a 13-year-old son (Cooper Hornby) whose first rock concert was the gig The Whitlams played at The Rocks on Australia Day 2007.
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Curator Eva Respini organized the event. Elliott Sharp selected images to fit the style of each musician and conducted the group. The group consisted of Vernon Reid, Mary Halvorson, and Lee Ranaldo on guitar; Melvin Gibbs on bass guitar; and Sharp on eight-string bass guitar. Each musician had a stopwatch so that the performance would last 40 minutes.
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While an undergraduate at H-SU, McBeth played in the university band. From December 1952 to January 1953, the band traveled with U.S. Camp Shows to Europe. He also played string bass in a jazz combo, which was unusual for the time period due to widespread segregation throughout the South. McBeth married Mary Sue White in 1953.
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The first incarnation of HIM was formed in 1991 by childhood friends Ville Valo and Mikko "Mige" Paananen in Helsinki, Finland.Juho K. Juntunen (2002). "HIM – Synnin viemää" p.23. WSOY Valo played six-string bass, which substituted for guitar, while Mige also played bass, and rotating drummers Sami "Juippi" Jokilehto and Juha Tarvonen rounded-out the initial line-up.
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COYO is a full symphonic orchestra ensemble. The group typically consists of violins, violas, cellos, string bass, flutes, oboes, clarinets, bassoons, French horns, trumpets, trombones, tuba, and percussion. Auxiliary instruments are used according to the instrumentation of the concert repertoire. Common auxiliary instruments are harp, piccolo, E-flat clarinet and bass clarinet, English horn, and organ.
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In 1981, Gibson produced a four-string bass version of the Flying V. Only 375 were produced, most of them black but a few in alpine white, silverburst, or transparent blue. Epiphone also made V-shaped basses. In late 2011, Gibson re-released the Flying V bass under the Gibson name; it was discontinued again in late 2012.
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Tom Brown (June 3, 1888 – March 25, 1958), sometimes known by the nickname Red Brown, was an early New Orleans dixieland jazz trombonist. He also played string bass professionally. Tom Brown in the early 1910s Tom P. Brown was born in Uptown New Orleans, Louisiana. His younger brother Steve Brown also became a prominent professional musician.
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During the Great Depression he supplemented his income from music by repairing radios. He opened up a music shop and a junk shop on Magazine Street. He played string bass in local swing and dance bands. With the revival of interest in traditional jazz he played in various Dixieland bands in the 1950s, notably that of Johnny Wiggs.
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Nosaka was born on May 6, 1938 in Tokyo. She was known for her work with the 20-string (nijū-gen) and 25-string bass kotos, which she helped to develop. The Japanese composers Minoru Miki and Akira Ifukube composed for her. Nosaka joined the Pro Musica Nipponia ensemble in 1965, continuing as an active member for 17 years.
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Terry was born in Bangor, Michigan in 1901. Her parents divorced when she was very young. She moved with her mother to Chicago, where the latter was employed as a servant for the wealthy Runner family. When Terry was given the opportunity to receive musical training with the instrument of her choice, she chose to study string bass.
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Eddy's favored guitar was a Chet Atkins Gretsch 6120. From 1959's "The Twang's the Thang" LP he also used a Danelectro six-string bass guitar. Eddy was the first rock and roll guitarist to have a signature model guitar. In 1961, Guild Guitars introduced the Duane Eddy Models DE-400 and the deluxe DE-500.
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Carles Benavent in August 2007 Carles Benavent plays a Jerzy Drozd custom "Barcelona" type 4-string and 5-string basses, with a high C string instead of standard low B. Instead of sounding lower as is usual among five-string bass players, Benavent uses it higher to do chords and have a piccolo bass, being towards guitar.
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In 1990, Earl began a relationship with the German company Warwick. In 1993, Warwick issued the Jimmy Earl Signature Streamer Stage II five string bass guitar. Other Warwick basses that he has used are a Thumb and a fretless Dolphin. During the 2012 NAMM show at the Anaheim Convention Center, Warwick introduced another Jimmy Earl Signature Bass.
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Thompson, Mat. "The String Bass and the Etchings," "Scotty's Castle was Bessie's Baby." Mat Roy Thompson vertical file, Scotty's Castle Reference Library, NPS: DEVA. By the time the booklet was printed, however, his initials had been removed from all the images but one, which young Mat speculated may have been well-enough disguised as part of the design that they were overlooked.
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Gans, Andrew. " 'Runaways' in Concert presented March 25" Playbill, March 25, 2007 The orchestra consisted of Piano and Toy Piano, String Bass, Congas, Timbales, Bongos, Bell Sirens and Others, Trap Set, Triangle, Glass and Ratchet, Saxophone and Flutes, and Guitar (played by Elizabeth Swados). The musical was presented in 2016 as part of New York City Center's Encores! Off-Center's concert series.
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It is also the first to use a 5-string bass in a metal context. "Warchild" is not the same song that appeared in the band's early demos. "Calico Jack" is about an English pirate of the 18th century. He designed the skull-and-bones pirate flag that was later named the Jolly Roger, which gave the title to the previous album.
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Today Micro Frets guitars enjoy a cult status. Past players include Carl Perkins, Mark Farner of Grand Funk Railroad, Dave Fielding of The Chameleons, and Martin Gore of Depeche Mode. Genesis' Mike Rutherford converted a Micro-Frets into a 6-string bass. Wreckless Eric continues to play the same Spacetone model he has used since the 1970s Micro-Frets Voyager on GuitarPlayer.
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Robert Coleman Shevak, better known as Iggy Shevak, was an American jazz musician who played string bass with several leading jazz figures in the 1940s and 1950s. Shevak is also credited on recordings as Robert Shevak, Bob Shevak, Roger Shevak, Iggy Shevack, and as Richard Shevak.Jepsen, Jørgen Grunnet (1963) Jazz records: a discography, Volume 1. K. E. Knudsen At Google Books.
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Terry married Haar in 1929 and had a daughter, Patti, in 1931. She divorced Haar in 1936 and tried to make a comeback in Chicago. Terry sold her string bass, turned her back on the music profession, and took a job as a knitting instructor. In the 1950s, she moved to Michigan, where she met with Gene Krupa, the drummer for the Playboys.
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Rush On 'Lock and Key'. VH1. Accessed from June 18, 2013. He also said in 1988 that, unlike most songs from Hold Your Fire, he played a 5-string bass for the song: "I find that low string really means more today, because we're living in the world of synthesizers that go lower than basses ever went before."Tolleson, Robin (November/December 1988).
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At age 5, Hemerlein began playing the violin. His father plays the piano and his older brother and younger sister are both musically inclined. He is classically trained and can play a number of instruments including: piano, cello, guitar, violin, and string bass. During the latter years of the 2000s, Hemerlein began teaching music to children and performing in galleries and museums.
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His interest in jazz was stimulated by hearing the London revue Blackbirds, starring Florence Mills, in September 1926. It was an enthusiasm he shared with his friends, the composers Constant Lambert and William Walton and the conductor Hyam Greenbaum. Hughes taught himself double bass (using a German string bass made of tinCarr, Ian and others. The Rough Guide to Jazz (2004) p.
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"Kaiserbass" (tuba in B♭) and cornet The tuba has been used in jazz since the genre's inception. In the earliest years, bands often used a tuba for outdoor playing and a double bass for indoor performances. In this context, the tuba was sometimes called "brass bass", as opposed to the double bass (string bass). Many musicians played both instruments.
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Gordon grew up in Jones Town, Kingston, Jamaica as one of eight children. He went to Kingston's Catholic Alpha Boys School, where he learned to play trombone and string bass. He began his career in 1964 with The Skatalites. He became the main trombonist of Studio One and he recorded for all major producers of Jamaican music in ska, rocksteady and reggae.
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Bassist Niclas Etelävuori used a five string bass on Circle, which was tuned a whole step down. Regarding the writing and recording process, guitarist Esa Holopainen stated: Koivusaari further explained that the band needed to make a change to the recording process to maintain its inspiration. The band chose a "peaceful place" in the countryside to record, which, Koivusaari felt, led to the distinctive atmosphere.
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He first played this style in 1969, though nothing was recorded until several years later. In the mid-1970s, Yoshizawa recorded three albums for solo bass. Later in the decade he had a fruitful collaboration with alto saxophonist Kaoru Abe, which led to the recording of one album, Nord. In the 1990s, Yoshizawa began experimenting with an effects-laden, five-string bass of his own design.
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Steve Ryals wrote in New Age Retailer, August 1998: 'Kaur and Stadler bring the healing mystery of the fairy folk to life. Kaur's voice soars like fairies dancing on gentle night breezes, with lyrics and pure vocalizations. Stadler composed most of the music and contributed string bass and cello to his keyboards and piano. The 16-page cover booklet is filled with entrancing art and complete lyrics.
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212 Another singer, Jacqui McShee, began performing with the two guitarists and, with the addition of Danny Thompson (string bass) and Terry Cox (drums), they formed the group Pentangle.Harper, C., pp. 212–13 The venue evolved into a jazz club, but by then the group had moved on. Interview with Bert Jansch on his 60th birthday On 19 October 1968, Jansch married Heather Sewell.
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David Gogo (born March 18, 1969), is a Canadian blues guitarist, singer- songwriter and bandleader who is currently signed to the independent Cordova Bay Records label. He was formerly signed to EMI Records. Between 1994 and 2014, he released 12 solo albums. As of 2014, his touring band includes a Hammond organ/piano player, an electric bass player (with a five-string bass) and a drummer.
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The Serenade No. 10 for winds in B-flat major, K. 361/370a, is a serenade by Wolfgang Amadeus Mozart scored for thirteen instruments: twelve winds and string bass. The piece was probably composed in 1781 or 1782 and is often known by the subtitle "Gran Partita", though the title is a misspelling and not in Mozart's hand.See Leeson, 222 It consists of seven movements.
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Originally available only in the two lipstick pickup configuration, later models would include a humbucking pickup in the bridge position. Later solid body 3 lipstick pickup variations were also produced. A twelve string and four string bass version were also created and are highly collectible. A double neck 12 string/6 string model was made in very small numbers and is now also highly collectible.
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In developing their sound they focused on three-part vocal harmonies. Jeff Donoghue used a Fender Bass VI (six string bass guitar), as part of his performance. For over three years, they were the resident band at a Geelong Saturday dance venue, Surf City, later renamed, Teen Scene. They also worked at many surf club dances along the Victorian southern coast, near the Great Ocean Road region.
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ESP LTD TA-200 is an electric bass model distributed by ESP. It is the mass- produced version of the custom signature model ESP Tom Araya, endorsed and used by Tom Araya of Slayer. The four-string bass guitar features passive pickup set jointly designed and produced by ESP and EMG and a fixed bridge. Electronics are controlled by master volume, master tone and pickup balance knobs.
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The work is a septet for the following instruments: Flute, Clarinet, Bassoon, Violin, Viola, Violoncello, and String Bass. The work can be divided into three “movements” as indicated in the score. It runs a total time of about three minutes and 40 seconds. The first movement, ‘Vivement” begins with the clarinet and bassoon, and then expands to add the strings and flutes after four measures.
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Providing a more "Gibson-scale" instrument, rather than the Jazz and Precision, Fender produced the Mustang Bass, a scale-length instrument. The Fender VI, a 6 string bass, was tuned one octave lower than standard guitar tuning. It was released in 1961, and was briefly favored by Jack Bruce of Cream. Gibson introduced its short-scale EB-3 in 1961, also used by Bruce.
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Guitarist Gabriel Marin plays a double-neck guitar customized with MIDI pickups and a fretless neck. He employs sweep picking and various synthesized instruments on his guitar which he controls with three pedalboards. Bassist John Ferrara plays a Fodera five-string bass and utilizes slap bass, slide, and tapping. On drums, Jeff Mann plays a range of styles from heavy double-bass to Indian tala rhythms.
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None of these groups have a corresponding in-school class that students have to attend. Both the Concert and Symphonic Bands at Sir Winston Churchill are composed of woodwind, brass, low woodwind, low brass, and percussion instruments. The only string instrument in the band is the low string bass. The Jazz Army and Blue-Jazz bands also have an electric bass and sometimes an electric guitar.
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Folk Singer is the fourth studio album by Muddy Waters, released in April 1964 by Chess Records. The album features Waters on acoustic guitar, backed by Willie Dixon on string bass, Clifton James on drums, and Buddy Guy on acoustic guitar. It is Waters's only all-acoustic album. Numerous reissues of Folk Singer include bonus tracks from two subsequent sessions, in April 1964 and October 1964.
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Their most recent studio album is Tiara, released in 2018. Blomqvist's playing style frequently incorporates techniques such as fretboard tapping and sections of fast arpeggios, such as his bass solo in Walking Tall from Waiting in the Wings. He primarily uses a 6-string Bass Guitar for recording and live performances. On the song Long Way Home from The Great Escape, he played a fretless bass.
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45 with an accentuated backbeat, almost always provided by a snare drum.P. Hurry, M. Phillips, and M. Richards, Heinemann advanced music (Heinemann, 2001), pp. 153–4. Classic rock and roll is usually played with one or two electric guitars (one lead, one rhythm) and a double bass (string bass). After the mid-1950s, electric bass guitars and drum kits became popular in classic rock.
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He used a custom five-string bass from a guitar and bass repair shop in San Francisco, as well as a Minimoog analog synthesizer for other bass lines on the album. D'wayne used a Microtech Gefell UM70 for his lead vocals and an AKG 414 for his background vocals. He played a vintage Gibson L6-S and a Fender Coronado guitar, modified with Gibson burst bucker pickups.
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The personnel on "I've Got a Gal in) Kalamazoo": Tex Beneke, Marion Hutton, the Modernaires (vocals), Billy May, John Best, Steve Lipkins, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank D'Annolfo (trombone), Lloyd "Skip" Martin, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward "Doc" Goldberg](string bass), and Maurice Purtill (drums).
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In November 2011, Rob Arnold and Matt DeVries posted statements saying they had left Chimaira to play in Six Feet Under full-time. However, in 2012, DeVries moved on to Fear Factory, replacing longtime bass guitarist Byron Stroud. The vacant position was subsequently filled by the ex-Brain Drill 7-string bass guitarist, Jeff Hughell. The band's ninth studio album, Undead, was released on May 22, 2012.
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Nuclear Rabbit is a California band, started in Novato. The band's music has been called metal, more specifically "avant-garde" metal, but incorporates a variety of other styles, making the classification even more difficult. Known for its unusual sound and the lyrics, as well as bassist Jean Baudin's 11-string bass. Nuclear Rabbit has a large fan base despite being a perpetually underground and independent band.
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Abie Baker was an American session musician, arranger and bandleader responsible for playing string bass on many R&B;, jazz and pop recordings in New York City, especially in the 1950s and early 1960s. He was sometimes credited as Abe Baker or Abie "Available" Baker. Few details of his life have been published. Around 1936, he was a member of Claude Hopkins' touring orchestra.
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The danzón-mambo was created by the musicians and arrangers of Antonio Arcaño's charanga, Arcaño y sus Maravillas, which was founded in 1937 (Orovio 1981:324). According to Santos (1982), > The main forces behind Arcano's mambo were the Lopez brothers, Orestes ... > and Israel (the great "Cachao") ..., who did most of the composing and > arranging for the group, and played the 'cello and the string bass, > respectively.
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Fifth, I play in multiple tunings, and sometimes replace the sixth string bass with a high sixth string treble (of the same gauge employed for the first string). The banjo player will realize that I use my thumb on the bass strings to obtain drones, much as a clawhammer player uses the banjo’s high fifth string; indeed, when I string the guitar with a high treble in place of the sixth- string bass, it is partly to imitate the fifth string of the banjo. In many of the tunes, I keep multiple drones going, on different strings. To sum up, in my version of clawhammer guitar, the thumb plays off the beat, even when it plays harmony bass notes or bass lines; no strings are ever plucked; with respect to the right hand, only the index finger and the thumb sound notes, but never at the same time.
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In addition to holding undergraduate chapel services and numerous large special events such as Commencement and the annual Talent Show, Edman Memorial Chapel is the Conservatory's primary large ensemble performance venue. The auditorium seats 2400 and houses a 70 rank Casavant organ, Opus 3796, installed in 2001. A backstage addition was completed in 2009 including a new instrumental rehearsal hall and instructional space for harp, harpsichord, percussion, and string bass.
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Dawg Duos is a collaborative bluegrass album by David Grisman and 12 different artists, released in 1999. Each of them performs a duo with Grisman on mandolin or mandola. The instruments are as diverse as drums, accordion, autoharp, besides banjo, guitar, string bass, and violin. []. This album can be compared with similar effort by Béla Fleck, Double Time, where Grisman performs duo with Fleck on one of the tracks.
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Darling was born in Elkhart, Indiana. He was interested in music from an early age, beginning piano when he was four, cello at ten, and string bass in high school. He studied classical cello at Indiana State University and after graduating remained there another four years as a teacher. He worked as a studio musician in Nashville, Tennessee and was a member of the Paul Winter Consort until 1978.
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"Peggy Sue" is a rock and roll song written by Jerry Allison and Norman Petty, and recorded and released as a single by Buddy Holly in early July of 1957. The Crickets are not mentioned on label of the single (Coral 9-61885), but band members Joe B. Mauldin (string bass) and Jerry Allison (drums) played on the recording. This recording was also released on Holly's eponymous 1958 album.
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"Chicago style" is often applied to the sound of Chicagoans such as Jimmy McPartland, Eddie Condon, Muggsy Spanier, and Bud Freeman. The rhythm sections of these bands substitute the string bass for the tuba and the guitar for the banjo. Musically, the Chicagoans play in more of a swing-style 4-to-the-bar manner. The New Orleanian preference for an ensemble sound is deemphasized in favor of solos.
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After a visit home he went to Paris and took up his old chair in Legrand's orchestra. He also recorded with the Jazz Dixit and his own Septuor a Cordes (string septet) from time to time. Both of these units were made up of other musicians in the Legrand organization. The septet was very unusual in having four violins (including Warlop), two guitars and a string bass as its basic makeup.
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It was sometimes played by the tuba or string bass player rather a member of the sax section. American bandleader Boyd Raeburn (1913–1966), who led an avant-garde big band in the 1940s, was a sometime bass saxophonist. In Britain, the leader of the Oscar Rabin Band also played it. Harry Gold, a member of Rabin's band, played bass saxophone in his own band, Pieces of Eight.
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Kunzel was born to German-American immigrant parents in New York City. At Greenwich High School in Connecticut, he arranged music and played the piano, string bass and timpani. Initially a chemistry major, Kunzel graduated from Dartmouth College with a degree in music, where he was a member of Phi Delta Theta, then studied at Harvard and Brown universities. He conducted the Brown University Glee Club for at least two years.
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George Martin's arrangement is lush, and intentionally so. Lennon is said to have wanted the song to sound "real cheesy", like a Gordon Jenkins- esque Old Hollywood production number. The orchestra consisted of 12 violins, three violas, three cellos, one harp, three flutes, one clarinet, one horn, one vibraphone, and one string bass, played by 26 musicians. The Mike Sammes Singers also took part in the recording, providing backing vocals.
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Los Donneños were a 1950s Mexican Norteño duo formed by Ramiro Cavazos and Mario Montes and named after Donna, Texas.arhoolie.com Bio They were native from General Teran, Nuevo León, México.Accordion Dreams: Pioneers And Innovators Ramiro Cavazos was the lead singer and played the bajo sexto, while Mario Montes was second voice and played the accordion. On some recordings they were joined by a string bass player, Rafael Gaspar.
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He taught younger Chicago musicians (including Milt Hinton) his "slap" style of string bass playing. He made many recordings in Chicago in the late 1920s. He notably says "Oh play that thing" into the horn during the recording of "Dippermouth Blues" in 1923 with King Oliver's Creole Jazz Band. Johnson continued to play with various jazz bands and orchestras into the early 1950s, sometimes working under other names.
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6-string bass may as well refer to bass guitar tuned as a typical guitar with an octave down, such as Fender Bass VI). It is also a common slang term for a regular guitar. 7 inch : See 45 in this list. A seven-string electric guitar, the Ibanez RG7321BK 7-string (or seven-string) : An electric guitar with seven strings, which often means the addition of a low "B" string.
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Old & In the Way was a bluegrass group formed in 1973. It was composed of Peter Rowan (guitar, vocals), Vassar Clements (fiddle), Jerry Garcia (banjo, vocals), David Grisman (mandolin, vocals), and John Kahn (string bass). When the group was forming, it was intended that John Hartford would be the fiddle player. Based on Hartford's engagements, and Clements' reputational stature in the bluegrass community, Clements became the group's fiddler.
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Plant later described it as "a cry of survival" and speculated the group would not make another album like it. The ten-minute opening song, "Achilles Last Stand", was first recorded on 12 November, when the basic backing track was laid down. Jones played an Alembic 8 string bass on the track, giving it a distinctive tone. Plant wrote the lyrics based on travelling across Africa in mid-1975 with Page.
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By early 1934, the group consisted of Leonard Slye, Bob Nolan, and Tim Spencer on vocals, with Nolan playing string bass and Slye playing rhythm guitar. During that time, fiddle player Hugh Farr joined the group, adding a bass voice to the group's vocal arrangements. He also sang lead on some songs. Later that year, the "Pioneers Trio" became the "Sons of the Pioneers" through a radio station announcer's chance remark.
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For When Dream and Day Unite, Dream Theater's debut, Myung played a modified Music Man StingRay four-string bass and a Fender Jazz Bass. The StingRay (his main live instrument in that period) was customized with an added front pickup driving a clean bass amp, while the bridge signal was sent to the effects chain. A four-string Spector NS-2NS-2 was used for tracking 1992's Images and Words.
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Jeff Hughell (born December 4, 1979) is the former bassist for Asylum, Vile and Brain Drill, and the current bassist for Six Feet Under and Reciprocal. He has also released three solo albums: I Came To Hate, Chaos Labyrinth, and Trinidad Scorpion Hallucinations. Hughell is currently endorsed by Warwick bass guitars, Seymour Duncan pickups and Dean Markley strings. He is a prominent user of seven-string bass guitars.
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The Glenn Miller Orchestra recorded the song on February 5, 1940 in New York. The personnel on the Glenn Miller recording: Saxes: Hal McIntyre, Tex Beneke, Wilbur Schwartz, Jimmy Abato, Al Klink; Trumpets: Clyde Hurley, John Best, R. D. McMickle, Legh Knowles; Trombones: Glenn Miller, Tommy Mack, Paul Tanner, Frank D'Annolfo; Piano: Chummy MacGregor; String Bass: Rowland Bundock; Guitar: Richard Fisher; Drums: Moe Purtill.The Essential Glenn Miller. Recording Information, p. 30.
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" "Sweet Cleo Brown", one of the two Brubeck originals on the album, is dedicated to pianist Cleo Patra Brown, who had a great influence on him. Brubeck first met her in 1941, during a performance in a club. "She had the fastest left hand I've ever heard, except for Tatum's. [...] It was mostly from her I learned the importance of the left hand fulfilling the role of the string bass.
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M. Chvasta, formerly of Light Pupil Dilate and Palaces, playing 6-string bass, formed the band with Avril Che (keyboards) in 2013. Chad Williams of Magnapop later joined on drums in 2014. The band released a three- song demo, TRVNS BLK, in 2014, and then opted to self-release their debut LP, Fiber, on cassette and CD in 2016. Throne Records announced it will be releasing Fiber on vinyl in 2017.
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Lambert is best known for his very fast playing style utilising a three-fingered picking technique with a six string bass. This fast picking technique was essential during his time in DragonForce to be able to play at the high tempos that the band is known for. He is also known for playing guitar style solos on the bass and for using slap and pop and two-handed tapping techniques.
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Son Huasteco is performed in the states of Tamaulipas, Veracruz, Hidalgo, San Luis Potosí, Querétaro and Puebla, an area known as La Huasteca. Son huasteco is also called huapango. It is played by a trio of musicians: one playing jarana huasteca (a small five-string rhythm guitar), a quinta huapanguera (an eight-string bass guitar) and a violin. The two guitarists sing coplas or short poetry stanzas, alternating verses between them.
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Symphonic Songs is scored for piccolo, flutes 1-2, oboe 1, oboe 2 (dbl. Eng. horn), bassoons 1-2, E clarinet, Solo-1st-2nd-3rd B clarinets, E alto clarinet, B bass clarinet, E alto saxophones 1-2, B tenor saxophone, E baritone saxophone, B trumpets 1-2, Solo-1st-2nd-3rd B cornets, F horns 1-2-3-4, trombones 1-2-3, euphonium, tuba, string bass, drums, and timpani.
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Joan Baez included this song on her 1965 album Farewell Angelina. In the UK the song was issued at the same time as a single. Baez' version, though only about half as long as Dylan's recording, was very similar in structure and showed her moving away from pure folk music with the use of string bass accompaniment. Baez has often included performances of the song in her concerts, from 1965 through the 2010s.
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They perform works composed for mandolin family instruments, or re- orchestrations of traditional pieces. The structure of a contemporary traditional mandolin orchestra consists of: first and second mandolins, mandolas (either octave mandolas, tuned an octave below the mandolin, or tenor mandolas, tuned like the viola), mandocellos (tuned like the cello), and bass instruments (conventional string bass or, rarely, mandobasses). Smaller ensembles, such as quartets composed of two mandolins, mandola, and mandocello, may also be found.
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Or you would simply have that instrument double another instrument - the string bass could play the tuba part, for instance. Also, bigger was better, and even though there would normally be three clarinet parts, many university concert bands would have 20 or 30 clarinets, or more. Fennell turned these practices around. The Eastman Wind Ensemble would have one player on each part, and used only the instrumentation for each piece specified by the composer.
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Under the direction of Major N. Clark Smith, a retired military bandleader who provided Page his first formal training in music, Page took up the string bass in his time at Lincoln High School. In an interview in The Jazz Review, Page remembers Major Smith: > Major N. Clark Smith was my teacher in high school. He taught almost > everybody in Kansas City. He was a chubby little cat, bald, one of the old > military men.
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This region has not been extensively studied by academics. The most traditional dance and music of the region is called the Huapango or Son Huasteco. It is played by a trio of musicians: one playing a small, five-string rhythm guitar called a jarana huasteca, one on an eight-string bass guitar called a quinta huapanguera and another playing a violin. The two guitarists sing coplas, or short poetry stanzas, alternating verses between them.
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The licensed orchestration follows the orchestration that was used in the West End production: three keyboards, bass, guitar, drums, percussion, two woodwind parts, two trumpets, trombone, and solo violin. The first keyboard part is played by the conductor. The bass part doubles on electric bass, double bass, fretless bass, and 5-string bass. The guitar doubles on electric, acoustic, nylon-string, Hollow Body archtop and 12-string guitars, as well as mandolin.
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In 1927 he moved to New York City, where he played in the Paul Whiteman Orchestra until 1931. During this time he began recording on bass saxophone, mostly with small jazz groups from the Whiteman band under Beiderbecke and Frankie Trumbauer. He worked later in the 1930s with Lennie Hayton and Eddie Duchin, mostly on string bass. In 1936 he played in the group The Three T's, with Trumbauer, Jack Teagarden, and Charlie Teagarden.
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After a disagreement over money, Snowden was forced out of the band and Duke Ellington was elected as the new leader. They were booked at a Times Square nightspot called the Kentucky Club for three years where they met Irving Mills, who produced and published Ellington's music. Hardwick occasionally doubled on violin and string bass in the 1920s, but specialized on alto sax. He also played clarinet and bass, baritone and soprano saxes.
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Charlie Whitney used an EDS-1275 as his primary stage instrument while in Family (1968-73). Family was noted for their unusual instrumental line up, which at times featured violin, reeds, vibraphone, and/or keyboards, and sometimes bassist John Wetton using a Gibson double-neck EBS (which pairs a 4-string bass with a 6-string guitar). Whitney continued using in while playing with Streetwalkers, along with Fender Telecasters and pedal steel guitars.
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He also recorded guitar duets with Leon Roppolo, but these unfortunately were never issued. He returned to New Orleans with the Rhythm Kings in 1925, and made further recordings with them. He also played with the Halfway House Orchestra (with which he recorded on both tuba and string bass), the New Orleans Harmony Kings, and the New Orleans Swing Kings. In the 1930s, Martin worked as a staff musician at WSMB radio.
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Born in Farmersville, Texas, and raised in the suburbs of Dallas, Ellis first heard the electric guitar performed by George Barnes on a radio program. This experience is said to have inspired him to take up the guitar. He became proficient on the instrument by the time he entered North Texas State University. Ellis majored in music, but because they did not yet have a guitar program at that time, he studied the string bass.
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That's What is one of the more idiosyncratic releases by solo steel-string guitar artist Leo Kottke. It is distinctive in its jazzy nature and "talking" songs ("Buzzby" and "Husbandry"). It reached #24 on Billboard's Top New Age Albums charts, Kottke's highest charting position on Billboard. The song "Little Snoozer" is played on a Charvel demo model of a Danelectro 6-string bass guitar tuned one octave lower than a standard 6-string guitar.
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In the 1990s, Palladino alternated between fretless bass and fretted and 4-string and 6-string bass. He played with Melissa Etheridge, Richard Wright, Elton John, and Eric Clapton. Steve Jordan, John Mayer, and Pino Palladino He played on Mike Lindup's first solo album, Changes with Dominic Miller on guitar and Manu Katché on drums. In 1999, he began working with Richard Ashcroft of The Verve on Ashcroft's debut solo album, Alone With Everybody.
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In Hot Rize, Sawtelle played the bass until he replaced Mike Scap on guitar. Sawtelle also worked behind the scenes to ensure Hot Rize maintained a professional demeanor. After the members of Hot Rize went their separate ways in 1990, Sawtelle formed the band Charles Sawtelle and the Whippets, including Fred Zipp (mandolin, vocals), Jim-Bob Runnels (banjo), and Dan Mitchell (string bass, vocals). Sawtelle also performed and recorded with Peter Rowan.
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See: string sextet and piano sextet. In jazz music a sextet is any group of six players, usually containing a drum set (bass drum, snare drum, hi-hat, ride cymbal), string bass or electric bass, piano, and various combinations of the following or other instruments: guitar, trumpet, saxophone, clarinet, trombone. In heavy metal and rock music, a sextet typically contains, but is not restricted to, a lead vocalist, two guitarists, a bassist, drummer, and keyboardist.
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A lowebow is a variation of the cigar box guitar, created by John Lowe in the 1990s. It involves a cigar box with two wooden rods projecting from it. Each wooden rod typically holds one string: a bass string attached to one rod and a standard acoustic guitar string attached to the other. This allows the player to pluck a one-string bass and a one-string guitar at the same time.
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The bass player doubles on the upright bass, the electric bass, and the 5-string bass guitar. The first reed doubles on alto sax, clarinet, flute, and piccolo. The second reed doubles on soprano sax, baritone sax, tenor sax, flute, bass clarinet, and clarinet. The original Broadway orchestration included an additional trumpet, an additional trombone/tuba, two more violinists, one more cellist, and two more reed players, and an additional acoustic bass player.
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Allmusic awarded the album 4½ stars and the review by Scott Yanow states: "This program finds him showing off his considerable writing chops with the help of an all-star group... His focus on the upper registers and the polyester tone of his five-string bass guitar will continue to annoy those who prefer to hear the bass played dark, low and woody, but there's no denying the consistent inventiveness of his playing or the charm of these compositions".
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Allmusic awarded the album 4 stars and the review by Rick Anderson states: "This program finds him showing off his considerable writing chops with the help of an all-star group... His focus on the upper registers and the polyester tone of his five-string bass guitar will continue to annoy those who prefer to hear the bass played dark, low and woody, but there's no denying the consistent inventiveness of his playing or the charm of these compositions".
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A bass player himself and a fan of bassist Joe Osborn, Lakin contacted Osborn after reading an article about him in Bass Player magazine. Osborn, known for his 1960 Fender Jazz Bass, collaborated with Lakin and a team that included luthier Michael Tobias on what would become a vintage Jazz bass-style 4-string bass known originally as the Joe Osborn Signature model and equipped with Lindy Fralin pickups.Lakland 44-60 (Vintage J) . Retrieved 2011-02-24.
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In 1958, their first records, "I Like Love" and "Right Behind You Baby" were released by Parlophone, with Tony Sheridan (Lead Guitar), Tony Harvey (Rhythm Guitar), Brian 'Liquorice' Locking (String Bass), Lou Brian (Piano) and Brian Bennett (Drums). In 1959 "Brand New Cadillac" was released. On 19 August 1960, Palette Records Ltd. released "I'll Be Your Hero" and the famous "Jet Black Machine" with Tony Harvey (Lead Guitar), Johnny Vance (Bass), Alan Le Claire (Piano) and Bobby Woodman (Drums).
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Ampeg manufactured the Portaflex SB-12 model amplifier from 1965-1971. This lightweight (67 pound) cabinet incorporated the flip-top design of other larger Portaflex amplifiers of the time. Although the SB-12 isn't as well known as the more powerful B-15, it is still highly sought after by musicians who use it mainly for studio recording. The 'SB' in SB-12 stood for string bass; the '12' indicates the diameter of the speaker in inches.
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Buck Page (June 18, 1922 — August 21, 2006) founded the first western band known as Riders of the Purple Sage. Page, a native of Pittsburgh, Pennsylvania, began performing on local radio at age 11. He played string bass and rhythm guitar for a western band, The Valley Ranch Boys. Two years later he formed a staff band for Pittsburgh radio station KDKA that he named Riders of the Purple Sage after the title of the Zane Grey novel.
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Smothers Brothers performing in August 2004 The Smothers Brothers are Thomas ("Tom" – born February 2, 1937) and Richard ("Dick" – born November 20, 1939), American folk singers, musicians and comedians. The brothers' trademark double act was performing folk songs (Tommy on acoustic guitar, Dick on string bass), which usually led to arguments between the siblings. Tommy's signature line was "Mom always liked you best!" Tommy (the elder of the two) acted "slow", and Dick, the straight man, acted "superior".
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The International Society of Bassists (ISB) is a 501(C)(3) not-for-profit organization for anybody who enjoys the double bass. The society was founded in 1967 by Gary Karr as the International Institute for String Bass (IISB). After a two-year hiatus of the IISB, the International Society of Bassists was launched with Barry Green as executive director, and the society maintains that name today. The president of the Society from 1982-1991 was Jeff Bradetich.
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Colley invited Lyons to play the two-string bass and sing in the newly formed band. The group later changed its name to Vapors of Morphine, and they had been playing weekly in Atwood’s Tavern, a small venue in Cambridge, Massachusetts, since the spring of 2009. Lyons also performs regularly for children at schools, libraries and special events. In 2014, he released a solo album called Make it Better, and beside his work with Vapors of Morphine.
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He recorded with the band under Johnson's leadership in 1932, and switched to string bass in 1933. In 1934, Palmer joined Dewey Jackson on the riverboats, and performed with him until 1941. Beginning in 1941, Palmer took a job at Scullin Steel, where he joined the company's 45-piece big band, which performed for the employees in the cafeteria during the daily lunch hour. He additionally began performing with George Hudson's first band in 1941, continuing until 1947.
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While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
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The Steamboat Willie Jazz Ensemble usually consists of a rotating and varying combination of clarinet, trombone, tuba, string, bass, piano and/or drum players; in addition to Stoops leading on trumpet or cornet. He sings most vocals. In 1997, Stoops appeared with Larry Hagman in an episode of the television series, Orleans, on CBS. After Hurricane Katrina devastated the city in 2005, Stoops went on a "relief tour" to several university and college towns around the country.
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Overdriving a bass signal significantly changes the timbre, adds overtones (harmonics), and increases the sustain. In the 1980s and 1990s, overdriven bass was associated with hardcore punk, death metal, grindcore and Industrial bands. Bass distortion is generally achieved by hard clipping of the bass signal, which leaves in "harsher high harmonics that can result in sounds that are heard as jagged and spikey." Demonstration of the overdrive effect on a 6 string bass with a Darkglass pedal.
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The track has an early example of guitar distortion. Session guitarist Grady Martin, used a faulty channel in the mixing desk for his six-string bass, for the bridge section and brief reprise right at the end, to create a distorted fuzzy sound. Although Martin did not like the sound, Robbins' producer left the guitar track as it was. The sound was eventually reverse-engineered and developed into the Maestro FZ-1 Fuzz-Tone, manufactured by Gibson.
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The string bass is the most commonly used bass instrument in bluegrass music and is almost always plucked, though some modern bluegrass bassists have also used a bow. The bluegrass bassist is part of the rhythm section, and is responsible for keeping a steady beat, whether fast, slow, in , or time. The bass also maintains the chord progression and harmony. The Engelhardt-Link (formerly Kay) brands of plywood laminate basses have long been popular choices for bluegrass bassists.
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The Yamaha TRB JP2 is the signature bass of John Patitucci, known for his work with Chick Corea, B.B. King and many other artists. This 6-string bass features a double cutaway body made out of maple, ash and alder which allows for access of all 26 frets of the maple neck.Tone, power, presence - TRB JP2 specifications yamaha.com The neck's ebony fretboard also features custom mother of pearl and abalone inlays and pearl and gold tuners.
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The original combo consisted of Augie Colon on percussion and birdcalls, Arthur Lyman on vibes, John Kramer on string bass, and Denny on piano. Lyman soon left to form his own group and future Herb Alpert sideman and Baja Marimba Band founder Julius Wechter replaced him. Harvey Ragsdale later replaced Kramer. "We traveled a lot on the Mainland, but we came back every 12 weeks because the guys had their families here [in Hawaii]," recalled Denny.
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Russell High School offers students the chance to learn the skill of playing a wide variety of instruments. Music classes are available to any student who is interested in music theory and related topics or interested in woodwind, brass, percussion and string bass instruments. Extracurricular opportunities also exist for those who are interested. These opportunities come in the form of after school band (which also awards the participating student with a school credit) and/or Glee Club.
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At 8:25, Page plays a second solo with more overdubbed parts; a minute and a half later, the song winds down with chords echoing the opening. After extensive rehearsals in Los Angeles, Led Zeppelin went to Munich to record Presence at Musicland Studios. They recorded the basic tracks for "Achilles Last Stand" during early sessions on 12 November 1975. For the first time during a recording, Jones plays an eight-string bass guitar with a pick.
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In 1924, according to Variety, there were more than 900 dance bands, representing steady work for 7,200 musicians. There were 68 Whiteman orchestras across the country, playing music from the Whiteman library, eleven in New York alone. In the mid-20s, bands typically had ten musicians: two altos, one tenor (who often doubled on other woodwinds and sometimes violin), two trumpets, trombone, banjo or guitar, piano, string bass or brass bass, and drums. Sometimes there were two trombones.
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In December, she made her UK tour debut supporting Frank Carter & The Rattlesnakes performing in Bristol, Birmingham, Manchester, Glasgow, Nottingham, Norwich, London. She then returned home to perform at the 2017 Falls Music & Arts Festival in Lorne, Marion Bay, Byron Bay, and Fremantle again. In February 2018, thieves stole thousands of dollars of Ecca Vandal's equipment. The gear included a six-string bass, a laptop, wireless transmitters, a keyboard, drum samplers, loads of guitar pedals and more.
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Guitarist Pat Smear of the Foo Fighters utilizes a double-necked guitar during live performances (bass guitar top neck, six-string electric guitar bottom neck) in order to perform Krist Novoselic's bass part in the song "I Should Have Known," from the album Wasting Light, in addition to his own duties. Rickenbacker International Corporation and Gibson Guitar Corporation in the US have both manufactured production models of these configurations in the past. A less common configuration has a 12 string guitar neck combined with a 4 string bass guitar neck: Geddy Lee of Rush is well known for using the 4/12-string Rickenbacker 4080/12 production model live in the 1970s. Mike Rutherford of Genesis, circa 1980, playing his custom Shergold guitar in its twelve-string/bass double-necked configuration In the 1970s and 1980s Mike Rutherford of Genesis was known for playing a custom-made Shergold Modulator twin-neck guitar-bass unit in live shows, as he frequently changed between lead guitar, 12-string guitar and bass guitar, depending on the arrangement of the song.
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5-string banjo The fiddle, five- string banjo, guitar, mandolin, and upright bass (string bass) are often joined by the resonator guitar (also referred to as a Dobro) and (occasionally) harmonica or Jew's harp. This instrumentation originated in rural dance bands and is the basis on which the earliest bluegrass bands were formed.van der Merwe 1989, p. 62. The fiddle, made by Italians and first used in sixteenth century Europe, was one of the first instruments to be brought into America.
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Micky Dolenz provides the vocals, which are distorted by echoing effect, and a mix of organ riffs, cello, string-bass, woodwinds and horns float in and out of the tune. The lyrics call into question the order of the world and one’s place therein, and there are also veiled in-joke references to Dolenz’s childhood work as the star of the television series Circus Boy. The song was produced by its co-writer Gerry Goffin on 26, 28 and 29 February 1968.
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Jerry Jones Guitars was a musical instrument manufacturer (mostly guitars) based in Nashville, Tennessee, United States. The company specialized in making electric guitars and basses based on Danelectro's designs from the 1950s and 1960s. They also made some more unusual instruments such as six- string bass guitars, baritone guitars, sitar guitars, the shorty octave 12-string and the guitarlin, which is a hybrid of a guitar and a mandolin. Many of the company's instrument designs borrowed heavily from the early designs.
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Although they worked on the last record, this is three-and-a-half years later, where they've actually become a band, rather than it being just me and the people I hire. I hope that comes across, because that's deliberate. It was deliberate to treat the process as one involving my band and friends as opposed to my employees. The White Falcon is Rich Levesque, bass, John Dinsmore, six-string bass, Paul Brennan, drums and Doucet's wife Melissa McClelland, backing vocals.
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In 2008, it was officially announced that Ivy was a full-time member of Kittie and in 2009 she appeared on their fifth studio CD, In The Black. Ivy also wrote and recorded bass for Kittie's sixth album, I've Failed You, which was released on August 15, 2011. Jenkins plays a black Warwick Corvette 5 string bass guitar. Ivy is the co-owner of Umeus Cloth, a clothing line run by herself and Geoffrey Jenkins, the former vocalist of Gwen Stacy.
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About the same time, Hohner of Germany introduced a purely electronic bass keyboard, the Basset, which had a two- octave keyboard and rudimentary controls allowing a choice of tuba or string bass sounds. The Basset was in due course replaced by the Bass 2 and, in the mid-1970s, the Bass 3. All three were transistorized; the Basset was among the earliest solid-state electronic instruments. Similar instruments were produced in Japan under the "Raven" and "Rheem Kee Bass" (sic) names.
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Glenn Miller recorded the song on April 10, 1939 in New York. The personnel for "Sunrise Serenade": Bob Price, Legh Knowles, Dale McMickle, on trumpet; Glenn Miller, Al Mastren, Paul Tanner, on trombone; Wilbur Schwartz, on clarinet and alto saxophone; Hal McIntyre, on alto saxophone; Stanley Aronson, on alto and baritone saxophone; Tex Beneke, Al Klink, on tenor saxophone; Chummy MacGregor, on piano; Allen Reuss, on guitar; Rowland "Rolly" Bundock, on string bass; and Moe Purtill, on drums.The Essential Glenn Miller. Recording Information.
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At around the age of eight he began studying classical piano. The formal lessons continued for three years; in a short time he moved from classical to jazz and ragtime. He also learned how to play trumpet, tuba, string bass, cello, tympani drums, banjo, and organ. By 1961, he had organized his first band: The Fungus Five Plus Two ("our music grows on you"), which appeared on Ted Mack's Original Amateur Hour in 1963 after Waldo graduated from high school.
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Carbon fiber has been used for necks as well as bodies. 1991 saw the introduction of guitar designer Jol Dantzig's first truly workable acoustic-electric hybrid guitar design. The instrument, called the DuoTone, was conceived while Dantzig was at Hamer Guitars. (Dantzig was also the designer of the first 12 string bass.) Adapted by players like Ty Tabor, Stone Gossard, Elvis Costello and Jeff Tweedy, the DuoTone was a full "duplex" instrument that could switch between acoustic and electric tones.
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Gertz was born on May 19, 1915, in Providence, Rhode Island, and played the clarinet, piano, string bass and tuba as a youth, and attended the Providence College of Music. Gertz studied composition privately with composer and music theorist Walter Piston. He was hired by Columbia Pictures in 1938, but left to serve in the United States Army Signal Corps during World War II.Fox, Margalit. "Irving Gertz, Composer for Monsters of the Movies, Dies at 93", The New York Times, November 20, 2008.
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She graduated to studying the blues and began a professional career at the age of 19. After playing in the Seattle rock scene, Mann travelled back to Portland and stood in as Paul deLay's substitute bassist. She originally played a four string bass, but moved onto a six string version to fill out her burgeoning rhythm and blues inspired sound. In 2011, Mann performed with her backing ensemble, the Really Good Band, in the International Blues Challenge, reaching the semi-final stage.
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Before joining Cheap Trick, Petersson played in a number of bands, including the Bol Weevils, the Grim Reapers, Sick Man of Europe, and Fuse. He started out playing electric guitar, but soon switched to bass. His professional career has been closely entwined with Cheap Trick guitarist Rick Nielsen since the Grim Reapers in 1967, and the two co-founded Cheap Trick in 1974. During Cheap Trick's classic period, Petersson started playing the 12 string bass guitar in collaboration with Hamer Guitars.
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Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar (acoustic or electric), mandolin, banjo, or zither. Like the harp these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section. The electric bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments.
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The label credited the recordings simply to "?", and it was rumored that they were alternate takes from Presley sessions (despite featuring an electric rather than string bass). Spencer Leigh, "Obituary:Orion", The Independent, 22 December 1998. Retrieved 25 June 2019 After Presley's death in 1977, Singleton revived the hoax by releasing singles which overdubbed Ellis' voice onto known Sun recordings by Jerry Lee Lewis, Carl Perkins and others, including a version of "Save the Last Dance For Me", Sandra Brennan, "Biography: Orion", Allmusic.com.
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Hooker was a flamboyant showman in the style of T-Bone Walker and predated others with a similar approach, such as Guitar Slim and Johnny "Guitar" Watson. He wore flashy clothes and picked the guitar with his teeth or his feet or played it behind his neck or between his legs.Danchin (2001). p. 161. He also played a double-neck guitar, at first a six-string guitar and four-string bass combination and later a twelve- and six-string combination.
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Wartime and employment difficulties ensured the band would not record again until 1947, but this recording was more widely distributed and garnered the nationwide attention of jazz fans and garnered critical acclaim. Ballou changed from guitar to banjo for the 1947 recording, and this, plus a change from string bass to tuba, had a significant effect on the band's sound. The most famous lineup was formed in 1948, and played music at the Jantzen Beach Amusement Park in Portland, dressed as various characters.
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Even if the player presses two pedals simultaneously, such as a C and a G, only one note sounds. Given that bass pedals are typically used to play deep-pitched basslines, some models had a "low note priority" circuit. With this circuit, if the player pressed two or more pedals, the unit would only sound the lowest pitched note. A 1970s unit might have a choice of several imitated instruments, such as organ bass, string bass (with more decay), or tuba.
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Josh went to Mason Gross School of the Arts at Rutgers University to study acting and also attended the London Academy of Theatre at The Globe. While in London he wrote a play in Iambic Pentameter called Cirque de Lumiere which he later produced back at home. He took off a year of school to tour with the band Catch 22. He played a fretless bass when he started but later for Streetlight Manifesto he played a five- string bass.
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The group made its final appearance backing Cash (with Marshall Grant in a surprise appearance on string bass) on April 6, 1999, while taping a TNT television special in New York City. After Cash's death, in 2006 then-manager Trevor Chowning revived the band's career. They recorded and released a tribute album to Johnny Cash titled The Sound Must Go On. In August 2007, the band made their first appearance in Scotland since the 1990s at the Belladrum Tartan Heart Festival, Inverness-shire.
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Spencer W. Clark (March 15, 1908 – May 27, 1998) was an American jazz bass saxophonist and multi-instrumentalist. In addition to bass saxophone, Clark was also competent on mandolin, cornet, trumpet, clarinet, alto and tenor saxes, guitar, xylophone, and string bass, as well as an occasional vocalist. His first professional experience was on saxophone in a New Rochelle, New York ensemble in 1923. In 1925-26 he subbed for Adrian Rollini in the California Ramblers on record and in movie palaces.
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For this recording, Williams replaced the jazz musicians with a modern country music band, using a rhythm guitar, mandolin, string bass, drums and a steel guitar. Williams' session band was composed of Clyde Baum (mandolin), Zeke Turner (electric guitar), Jerry Byrd (steel guitar), Louis Innis (rhythm guitar), Tommy Jackson (fiddle) and Willie Thawl (bass). With little time left, Byrd and Turner replicated the musical arrangement they previously used on an Ernest Tubb session for a cover of Jimmie Rodgers' "Waiting for a Train".
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Some purists were appalled at the prospect; traditionally a string bass provided the rhythm component in country music, and percussion instruments were seldom used. Electric amplification, new in the beginning days of the Opry, was regarded as the province of popular music and jazz in the 1940s. Although the Opry allowed electric guitars and steel guitars by World War II, the restrictions against drums and horns continued, causing a conflict when Bob WillsKienzle, Richard. (2003). Southwest shuffle: pioneers of honky-tonk, Western swing, and country jazz.
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As in the baroque concerto grosso, the accompanying ensemble is small: strings, two oboes, and two horns. ISMN M-006-20254-6 It is possible that Weigl was the only cellist in the Esterházy Orchestra when Haydn composed the concerto, since there is only one cello line in the score, marked alternately “solo” and “tutti.” There is also, however, a basso continuo line, that might have been played by another cellist, or by Haydn himself on the harpsichord, or by a string bass player.
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The violotta is tuned an octave below the violin, and possesses a timbre between that of the viola and cello. The cellone, a large cello, is tuned between the cello and string bass. His instruments received praise and endorsements from major figures of the day, including impresario Alfred Schulz-Curtius, and the German composer Felix Draeseke composed his string quintet in A major, named the ', specifically for Stelzner instruments. Stelzner began production of his new instruments in 1889 and continued to make them until 1900.
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He also invented the popular 17 string bass koto, created new playing techniques, advanced traditional forms, and most importantly increased the koto's popularity. He performed abroad and by 1928 his piece for koto and shakuhachi, Haru no Umi (Spring Sea) had been transcribed for numerous instruments. Haru no Umi is even played to welcome each New Year in Japan. Since Miyagi's time, many composers such as Kimio Eto (1924–2012), Tadao Sawai (1937–1997) have written and performed works that continue to advance the instrument.
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Hardwick started on string bass at the age of 14, then moved to C melody saxophone and finally settled on alto saxophone. A childhood friend of Duke Ellington's,The Rough Guide to Jazz Carr, Ian; Fairweather, Digby; Priestley, Brian; Alexander, Charles Google books Hardwick joined Ellington's first band in Washington, D. C. in 1919. Hardwick also worked for banjoist Elmer Snowden at Murray's Casino. In 1923, Ellington, Hardwick, Snowden, trumpeter Arthur Whetsol, and drummer Sonny Greer had success as the Washingtonians in New York City.
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Seven- string guitars are used in a variety of musical styles including Classical, Jazz, Rock, Progressive Rock, and Heavy Metal. The Seven-string works well in a band setting, as its lowest note, B1 lines up well with the B0 commonly used for the lowest note of a 5+ string bass. Both the guitar and bass could drop tune as well using a lowest note of A1 and A0 respectively (with the bass this extends the range to the lowest note on a standard piano).
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During the 1920s the older two-beat style of jazz was superseded by four-beat jazz, facilitated by replacement of the sousaphone with the string bass. Four beat rhythm was the foundation of the Chicago style jazz developed by Louis Armstrong and Earl Hines, and of the swing era rhythmic styles. The change in rhythm started first with solo pianists and small ensembles, then larger ensembles towards the end of the decade. Toward the end of the twenties the two-beat styles seemed all but exhausted.
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The band was officially formed in 2009, when Dana Colley was asked to bring a group to Nel Nome Del Rock Festival in Palestrina, Italy. Ten years earlier, Morphine's frontman Mark Sandman had suddenly died of a massive heart attack while performing in that venue. After some deliberation, Colley invited Jeremy Lyons to sing and play the 2-string slide bass, along with drummer Jerome Deupree. Lyons asked friend "Washtub" Robbie Phillips to build a 2-string bass for him and started learning the Morphine repertoire.
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Beginning around 1890, the African-American communities in early New Orleans used a jazz ensemble which played a mixture of marches, ragtime, and dixieland music. This ensemble was initially a marching band with sousaphone (or occasionally bass saxophone) supplying the bass line. As the music moved from playing for funerals on the street and into bars and brothels, the double bass gradually replaced these wind instruments. Many early bassists doubled on both the "brass bass" and "string bass," as the instruments were then often referred to.
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By 1915, Sid LeProtti had rebuilt the So Different Jazz Band into one of the finest performing groups of the San Francisco Bay Area. They are said to have been the first band in America to use the new term 'jazz' in its name. His house band consisted of a clarinet, baritone sax, flute, piano, string bass, and drums. LeProtti's grandmother was a famous contralto of San Francisco, and around 1860 she became the first African American woman to sing on a stage in California.
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Dorothy Thompson grew up around music in Detroit, where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, she would provide support and background to their music by playing the piano. She attended Cass Technical High School, where fellow students included such future musical talents and jazz greats as Donald Byrd, Gerald Wilson, and Kenny Burrell. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.
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Both record demos at home and then bring them into the studio for fine-tuning. Smith said in 1992, "I think when people talk about the 'Cure sound', they mean songs based on six-string bass, acoustic guitar and my voice, plus the string sound from the Solina." On top of this foundation is laid "towering layers of guitars and synthesisers". Keyboards have been a component of the band's sound since Seventeen Seconds, and their importance increased with the instrument's extensive use on Disintegration.
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The Happy People is a live album by the Cannonball Adderley Quintet, a band led by jazz saxophonist Julian "Cannonball" Adderley. It was recorded in 1970 in New York City and released in 1972 through Capitol Records. It features contributions from the quintet: Cannonball Adderley on saxophone, George Duke on piano, Walter Booker on string bass, Roy McCurdy on drums and Nat Adderley on cornet, with guest appearances from Airto Moreira, Olga James, Flora Purim, David T. Walker, Chuck Rainey, King Errisson and Mayuto Correa.
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After World War II, Slim began leading bands that generally included saxophones, bass, drums, and piano, reflecting the popular appeal of jump blues. With the decline of blues recording by the major labels, Slim worked with emerging independent labels. Starting in late 1945, he recorded with trios for the small Chicago-based Hy- Tone Records. With a lineup of alto saxophone, tenor sax, piano, and string bass (Willie Dixon played the instrument on the first session), he signed with the Miracle label in the fall of 1946.
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Tenor bass is a tuning used by Stanley Clarke, Victor Wooten, and Stu Hamm. Extended-range basses (ERBs) are basses with six to twelve strings—with the additional strings used for range rather than unison or octave pairs. A seven-string bass (B0–E1–A1–D2–G2–C3–F3) was built by luthier Michael Tobias in 1987 for bassist Garry Goodman. Also German bass luthier Warwick built several custom fretless seven-string Thumb NT basses (F#0–B0–E1–A1–D2–G2–C3) for Jeroen Paul Thesseling.
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The Eastman Wind Ensemble was founded by Frederick Fennell at the Eastman School of Music in 1952. It is often credited with helping re-define the performance of wind band music. At the time, concert bands used all their players for every piece, regardless of whether the composer had written a part for that instrument. If there was no part for an instrument you had in the band - for example, a contrabass clarinet or a string bass - the conductor or the publisher would have an arranger add one.
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In 2007, Marie- Josée Houle released her first solo album 'Our Lady of Broken Souls' which was nominated for a Best Folk Album award. It was recorded at Little Bullhorn Productions and was produced by Dave Draves. Musicians featured include Derek Loewen on drums and percussion, Aalya Ahmad on fiddle, Rob Skitmore on guitar and mando. For her first show in Oslo, Norway, Marie-Josée Houle opened for Norwegian sensation Girl From Saskatoon (featuring Arthur Holoein - who died in early 2012 - on string bass and Eirik Roald on cello).
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Burns plays 4, 5 and 6-string bass, and has long been a proponent of Wal basses. He first began holding Musicians' Union clinics during his session career (replacing Colin Hodgkinson) to showcase the Wal basses (originated by electronics specialist Ian Waller and luthier Pete Stevens) and Trace Elliot amplification, leading to a long-standing relationship with Mark Gooday and Ashdown Amplification. Burns also included Dave Kilminster as a featured guitarist in these clinics. He has been endorsed by Picato Musicians' Strings, Electric Wood Basses (Wal) and J Retro preamps.
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Mick Rogers in Mick Rogers in 2010 Mick Rogers (born Michael Oldroyd, 20 September 1946, Dovercourt, Essex, England) is an English rock guitarist, singer and songwriter, chiefly known for his time with Manfred Mann's Earth Band from 1971 to 1975 and again since 1983. His father was a drummer and his uncle a string bass player. The young Rogers was weaned on 1950s rock and roll. Before MMEB he was a member of The Vision, which backed Adam Faith, and the Australian bands The Playboys, Bulldog, and Procession.
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Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of more modern players such as Charles Mingus and Steve Coleman. New Orleans music combined earlier brass band marches, French quadrilles, biguine, ragtime, and blues with collective, polyphonic improvisation. The "standard" band consists of a "front line" of trumpet (or cornet), trombone, and clarinet, with a "rhythm section" of at least two of the following instruments: guitar or banjo, string bass or tuba, piano, and drums.
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Buckley was immersed in music and, when not working on his own material or with his band, he contributed numerous times to projects with his friends and musical peers. John Zorn regularly held collaborations at the Knitting Factory, and Buckley performed vocals on the tracks "Taipan" and "D.Popylepis" that appeared on 1992 album John Zorn's Cobra: Live at the Knitting Factory. Buckley contributed vocals on "Jolly Street" from The Jazz Passengers' 1994 album In Love, and he played six string bass and drums on tracks from his ex-girlfriend Rebecca Moore's album Admiral Charcoal's Song.
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The Four Seasons Orchestra toured to Austria in 2009 for their Haydn Bicentennial Festival. The orchestra performed the European premiere of ASU Professor Catalin Rotaru's transcription of Haydn's Cello Concerto in C for string bass with Rotaru as the bass soloist. They gave the World Premier of Professor Rotaru's transcription of Haydn's concerto at a concert in Phoenix before leaving for Europe. The orchestra also performed the European Premiere of Arizona composer Louise Lincoln Kerr's "Enchanted Mesa" for Orchestra and Soprano at the Konzerthaus in downtown Vienna on that concert.
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At Yale he studied composition with Mel Powell and voice with Blake Stern. He also was a leading member of the Spizzwinks and Whiffenpoofs, served as assistant director of the Yale Glee Club, and played string bass in both the Yale Concert Band and in a jazz octet. Stewart was also a tenor in and occasional conductor of the Yale Russian Chorus—an association which continued on and off for decades after his undergraduate years. Following his graduation from Yale, Stewart pursued graduate studies in music at Brown University in Providence, Rhode Island.
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Despite these problems, he remained very active at his high school, where he served on the drum squad and played the string bass in the orchestra. Betts later transferred to the Advanced Technologies Academy (ATA), where a new and innovative approach to secondary education was developed. The goal at ATA was to train students for the right profession, offering seven program areas in fields such as law, banking, commerce, and technology. With the goal of becoming an attorney like his uncle Wendell, Betts graduated from the program with an emphasis in law.
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He stayed active while at ATA: he was elected president of the Law Club, was involved in the Kappa Leadership League, and participated in the Trial by Peers Program. He was also a recipient of the Principal’s Award. After graduation, on a visit to his extended family in Wichita, Betts felt at home and decided to move back to Wichita to attend Friends University. While an undergraduate, he was involved in football, the NAACP, a vocal group (the “Singing Quakers”), and several bands, in which he played the string bass.
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Fender Custom Shop 5 String Basses, Fender Heartfield 5 String Bass, Fernandes Tremour Basses, ESP Horizon 5 String Basses, Fender Strings, DR Strings, EMG pick ups, Bill Laurence pick ups, Ampeg 1968 SVT, Ampeg SVT 2pro, Ampeg SVT 4pro, Ampeg BSP pre amp, Mesa/Boogie M-Pulse 600, Ampeg 8x10 classic speaker cabinets, Mesa/Boogie 8x10 speaker cabinets, Tech 21 Sans Amp-Bass Driver DI, Line 6 Bass Pod Pro, DigiTech effects pedals Byron has recently signed a deal with Ashdown Amps for equipment of the ABM range.
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He began performing on string bass in local jazz combos during this period, including a combo led by legendary Kansas City expatriate trumpet player and bandleader Clarence Kenner. Kenner had worked in Kansas City-based big bands in the 1920s and early 1930s and had largely defined the bluesy and swinging style of jazz for which Sioux City later became known. Kenner took the young bassist under his wing, providing Aton with much early valuable professional experience.Hittle, Jon B., "JAZZ TOWN," Weekender Magazine, Sioux City, IA, March 2004.
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Shipp went on to play string bass with Marie Lucas's Lafayette Theatre Ladies' Orchestra, as a replacement for bassist Nellie Shelton. She frequently sat in with other bands, and accompanied rag pianist and band leader Charles Luckyeth "Luckey" Roberts and violinist/pianist/band leader Allie Ross, among others. In the 1920's, Shipp organized her own group, Olivia Shipp's Jazzmines -- Famous Female Orchestra, specializing in "Music for All Occasions." She was an active participant in community activities and was a founding member and president of the Negro Women's Orchestral and Civic Association.
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Zardis was a master of the original New Orleans - style slap bass, achieving both clarity of intonation and a strong percussive beat. His skill placed him easily on a par with better known New Orleans slap bassists of his era like Pops Foster and Wellman Braud. Unlike Foster and Braud, however, Zardis remained in his home-town throughout his playing career and consequently was not as widely recorded or appreciated. Playing un- amplified string bass using gut strings in large halls or rooms with quirky acoustics posed significant challenges to New Orleans bassists.
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Jackson said that the idea for adding more strings to the bass guitar came from his frustration with its limited range. When asked what he thought of criticism of the six-string bass, Jackson replied, > Why is four [strings] the standard and not six? As the lowest-pitched member > of the guitar family, the instrument should have had six strings from the > beginning. The only reason it had four was because Leo Fender was thinking > in application terms of an upright bass, but he built it along guitar lines > because that was his training.
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Fusing Bach and jazz was unique at the time. After six years of studies, Loussier traveled to the Middle East and Latin America, where he was inspired by different sounds. He stayed in Cuba for a year. Early in his career, Loussier was an accompanist for the singers Frank Alamo, Charles Aznavour, Léo Ferré and Catherine Sauvage. In 1959, he formed the Jacques Loussier Trio with string bass player Pierre Michelot—who had played with Django Reinhardt and the Quintette du Hot Club de France—and percussionist Christian Garros.
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On the evening of July 5, 1954, during an otherwise uneventful recording session at Sun Studio, Elvis Presley was on acoustic rhythm guitar, Scotty Moore was on lead guitar, and Bill Black was on string bass. During a break between recordings, Presley began improvising an up-tempo version of Arthur Crudup's song "That's All Right, Mama". Black, on bass, joined, and the pair was soon joined by Moore's guitar. Producer Sam Phillips, at the suddenly upbeat atmosphere, asked the three to start again so he could record it.
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John promoted a move towards a more modern presentation, with more "swing" music and interaction with the concert audience. Jim Pullen, who joined the band on trombone in 1986, became bandmaster in 1988. Previously a professional musician in the RAF, Jim was also a capable string bass and guitar player. As well as tackling demanding pieces from the brass band repertoire, the band also learned to handle jazz and rock genres under Jim's direction, and recorded its first CD, "Serenade", reflecting the wide range of music it was playing.
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Roxanne Seeman and Philipp Steinke composed "Everyday Is Christmas" on guitar in Santa Monica. The demo was recorded with Philipp Steinke singing and playing keyboards and USC musicians overdubbing string bass, drums, and horns. It was the first of five songs written by Roxanne Seeman on the request of producer Andrew Tuason for Jacky Cheung's "Private Corner" canto-jazz album. Cheung said he tried having the lyrics for "Everyday Is Christmas" adapted into Cantonese, but he liked the meaning of the lyrics in English so much that he decided to record it in English.
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Drummers such as Kenny Clarke and Max Roach were extending the path set by Jo Jones, adding the ride cymbal to the high hat cymbal as a primary timekeeper and reserving the bass drum for accents. Bass drum accents were colloquially termed "bombs," which referenced events in the world outside of New York as the new music was being developed. The new style of drumming supported and responded to soloists with accents and fills, almost like a shifting call and response. This change increased the importance of the string bass.
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His older brother, Willard Foster, began playing banjo and guitar; George started out on a cello then switched to string bass. Foster married twice: to Bertha Foster in 1912 and Alma Foster in 1936. Pops Foster was playing professionally by 1907 and worked with Jack Carey, Kid Ory, Armand Piron, King Oliver and other prominent hot bands of the era. In 1921 he moved to St. Louis to play with the Charlie Creath and Dewey Jackson bands, in which he would be active for much of the decade.
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See also Boom Shot (song). The song was recorded on May 20, 1942 in Hollywood. The arrangement was by Jerry Gray. The personnel on "(I've Got a Gal in) Kalamazoo": Tex Beneke, Marion Hutton, the Modernaires (vocals), Billy May, John Best, Steve Lipkins, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank D'Annolfo (trombone), Lloyd "Skip" Martin, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward "Doc" Goldberg (string bass), and Maurice Purtill (drums).
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The song features a mixture of cello, string bass, electric sitar and Welsh harp, as well as a jazzy middle eight that anticipates Wood's work with the Roy Wood Rock and Roll Band. Writer Micahel Bonner highlighted the song for its experimental nature, describing it as a "Monty Python does Fairport Convention distorted oddity." Wood displays his banjo playing on "When Gran'ma Plays the Banjo", a rodeo-style country song about a grandmother whose banjo skills impress local cowboys. Short solos on the instrument throughout the song are followed by rapturous applause.
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Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.
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Jazz bassist Ron Carter pictured playing with his Quartet at "Altes Pfandhaus" in Cologne A person who plays this instrument is called a "bassist", "double bassist", "double bass player", "contrabassist", "contrabass player" or "bass player". The names contrabass and double bass refer to the instrument's range and use one octave lower than the cello (i.e. doubling on cello). The terms for the instrument among classical performers are contrabass (which comes from the instrument's Italian name, contrabbasso), string bass (to distinguish it from brass bass instruments in a concert band, such as tubas), or simply bass.
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When choosing a bass with a fifth string, the player may decide between adding a higher-pitched string (a high C string) or a lower-pitched string (typically a low B). Six-stringed instruments are coming back into popularity after a lot of updates. To accommodate the additional fifth string, the fingerboard is usually slightly widened, and the top slightly thicker, to handle the increased tension. Most five-string basses are therefore larger in size than a standard four-string bass. Some five- stringed instruments are converted four-string instruments.
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Beginning around 1890, the early New Orleans jazz ensemble (which played a mixture of marches, ragtime, and Dixieland) was initially a marching band with a tuba or sousaphone (or occasionally bass saxophone) supplying the bass line. As the music moved into bars and brothels, the upright bass gradually replaced these wind instruments around the 1920s. Many early bassists doubled on both the brass bass (tuba) and string bass, as the instruments were then often referred to. Bassists played improvised "walking" bass lines—scale- and arpeggio-based lines that outlined the chord progression.
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The facility serves many various needs for the UWM Peck School of the Arts. It is the primary teaching studio space for the trombone, euphonium, tuba, harp, string bass, percussion, and guitar programs at UWM. The building also houses the offices for the large ensemble programs, including the offices for the UWM Youth Wind Ensemble program. The facility contains 3 dance studios, a large rehearsal room, a medium-sized rehearsal room, two art galleries, a service kitchen, and various meeting facilities in addition to the Helen Bader Concert Hall.
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The personnel on this recording session were: Hilton Nappy Lamare, vocal on side A, "Troublesome Trumpet"; Clark Randall and his orchestra featuring: Clark Randall, vocal on side B, "When Icky Morgan Plays the Organ"; Charlie Spivak, Yank Lawson, trumpet; Glenn Miller, Larry Altpeter, trombone; Matty Matlock, clarinet/alto sax; Gil Rodin, alto sax; Eddie Miller, clarinet/tenor sax; Deane Kincaide, tenor sax; Gil Bowers, piano/organ; Hilton Nappy Lamare, guitar; Pete Peterson, string bass; and Ray Bauduc, drums.Rust, Brian. The American Dance Band Discography. New York: Arlington House, 1975.
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He plays with a pick most of the time, but uses finger style occasionally when the song calls for it, such as in "Winter Fall" , "Jojoushi" , "XXX" and "Mirai Sekai". In a few songs he can be heard using the slap style of playing, such as in the L'Arc songs "The Nepenthes" and "Twinkle, Twinkle". Tetsuya has also used distortion, such as in "Stay Away" and "Butterfly's Sleep". Tetsuya primarily plays a 5 string bass since L'Arc-en-Ciel's 15th anniversary, but is known to occasionally use 6 strings.
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Flea playing bass with slapping technique Demonstration of the slap technique on a 6-string bass Slapping and popping are ways to produce percussive sounds on a stringed instrument. It is primarily used on the double bass or bass guitar. Slapping on bass guitar involves using the edge of one's knuckle, where it is particularly bony, to quickly strike the string against the fretboard. On bass guitars, this is commonly done with the thumb, while on double bass, the edge of the hand or index finger may be used.
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The piece enters a time signature of 6/4; the band plays a series of cantabile two-bar phrases back and forth between the woodwinds and brass, with the string bass playing long strings of eighth-notes, which are passed along to the bells. The song becomes quieter again, and the section ends with another English horn solo. # The Cathedral Chorus (mm. 166-249; about 5 minutes) starts quietly, as the end of Village Song, but a crescendo in the trombones and percussion brings the rest of the band in majestically.
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From their base in Brittany they toured as a trio throughout France and Europe until McCartan's death from cancer on 4 September 2004. Shortly afterwards, Boris Lebret (double bass, homemade bass, six-string bass banjo, bing-bong-box and percussion) and Topher Loudon (vocals, bouzouki and guitar) joined the group. They have since produced four new albums: New Tales for Old (2005), Amazing (2007), Sing (2009) and Amongst the Green (2012). Topher Loudon left the band and Margaux Scherer (percussion, drums and backing vocals) joined Churchfitters for a new album Get Wise (2014).
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In 1979 the Fabulous Poodles embarked on an American tour supporting such notable acts as the Ramones and Tom Petty and the Heartbreakers. The Fabulous Poodles were very heavily influenced by such British 1960s acts as The Who and The Kinks. Their first album, Fabulous Poodles, was produced by John Entwistle, bassist for The Who, who also played eight-string bass on a few songs. Their second LP, Unsuitable, featured their two best known songs, "Mirror Star" and "Chicago Boxcar (Boston Back)" and was produced by Muff Winwood.
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The personnel for the April 4, 1939 "Moonlight Serenade" recording session in New York consisted of: Bob Price, Legh Knowles, Dale McMickle, on trumpet; Glenn Miller, Al Mastren, Paul Tanner, on trombone; Wilbur Schwartz, on clarinet and alto saxophone; Hal McIntyre, on alto saxophone; Stanley Aronson, on alto and baritone saxophone; Tex Beneke, Al Klink, on tenor saxophone; Chummy MacGregor, on piano; Allen Reuss, on guitar; Rowland "Rolly" Bundock, on string bass; and Frank Carlson, on drums.The Essential Glenn Miller. Recording Information, p. 30. BMG/RCA/Bluebird, 1995.
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"D's Diner," a tribute to a Sebastopol, California restaurant, features sitar player Gabby La La in addition to the triple-bass onslaught of Claypool, Norwood Fisher (Fishbone) and Lonnie Marshall (Weapon of Choice). Warren Haynes (Allman Brothers Band) adds slide guitar on the "Buzzards of Green Hill" and Fish Fisher (Fishbone drummer) guests on "Whamola." "Whamola" was a live show staple named after the unique instrument Les employs—a one-string bass played with a drumstick. The song later appeared as a remix for the theme of South Park Season 10.
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The program also featured Hicks' new group, The Acoustic Warriors, a combination of folk, swing, jazz and country which included Brian Godchaux on violin and mandolin, Paul "Pazzo" Mehling on guitar, and Richard Saunders on bass. In 1993, the Acoustic Warriors continued to perform locally around San Francisco and on the road, but this edition placed Paul Robinson on guitar, Nils Molin or Alex Baum on string bass, Stevie Blacke on mandolin and Josh Riskin on drums. Hicks recorded one CD with the Acoustic Warriors. Shootin' Straight was released by Private Music in 1996.
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There is some variation in the scale length of an orchestral double bass, generally in the range . There are also smaller versions of this "full scale" double bass with the same scale length but with a smaller sound box, intended for other musical idioms. Smaller scale instruments are also quite commonly used by full-sized players in jazz, folk music and similar ensembles. The system of conventional fractions is taken to its logical conclusion with string bass sizes, in that a full-size (4/4) bass is uncommon.
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In early 1956, Gene Vincent performed the song on a radio show in Norfolk, Virginia, and recorded a demo version which was passed to Capitol Records, who were looking for a young singer to rival Elvis Presley. Capitol invited Vincent to record the song and it was recorded at Owen Bradley's studio in Nashville, Tennessee on May 4, 1956. Cliff Gallup (lead guitar), "Wee" Willie Williams (rhythm guitar), "Jumpin'" Jack Neal (string bass), and Dickie "Be Bop" Harrell (drums) comprised the band.Gene Vincent & The Blue Caps, "Be-Bop-A-Lula" Retrieved April 7, 2012.
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Both tracks featured orchestral backing, but since the arrangements consist only of violin, string bass and drums with the violin (or possibly damped guitar) played pizzicato it is likely that Robert Iredale or Col Joye had made use of an echo chamber. This was Iredale's favorite trick which was probably featured on some of the Bee Gees' next few singles too. By placing a microphone and speaker in a small room adjacent to the recording booth, Iredale could make a solitary violin sound like a more string section.
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In the 1930s during the Great Depression Kimball switched to string bass to play in swing bands such as Sidney Desvigne's, but music did not provide enough money; he got a day job as a mailman. He continued playing music in the evening, leading his band called "Narvin Kimball's Gentlemen of Jazz". After World War II he formed a singing group called "The Four Tones" with Fred Minor, Alvin Alcorn, and Louis Barbarin that enjoyed some local success. Around 1960 with the revival of interest in traditional jazz, Kimball was able to return to playing the banjo professionally again.
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Narciso Martínez (October 29, 1911 in Reynosa, Mexico – June 5, 1992 in San Benito, Texas), whose nickname was El Huracan del Valle ("The Hurricane of the Valley"), began recording in 1935 (or 1936) and is the father of conjunto music. The Spanish word conjunto means 'group' and in El Valle de Tejas that means accordion, bajo sexto, and contrabajo (string bass, known locally also as "el tololoche"). The same year, he and Santiago Almeida recorded their first 78 rpm record containing the polka "La Chicharronera" and the schottishche "El Tronconal" for Bluebird Records, which quickly became a success.
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Wolf Rounds is a musical composition for wind ensemble by the American composer Christopher Rouse. It was commissioned by the University of Miami- Frost Wind Ensemble and its conductor, Gary Green, who premiered the work at Carnegie Hall, New York, on March 29, 2007. Wolf Rounds was completed in Baltimore, Maryland on October 16, 2006 and lasts approximately seventeen minutes in performance. It is scored for piccolo, two flutes, three oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, baritone saxophone, bass saxophone, four horns, three trumpets, three trombones, tuba, timpani, percussion (five players), and string bass (amplified).
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She quickly became friends with the band members and invited Arthur to join her for her first cross-Canada tour during the summer of 2007. Her second release 'Monsters' (2008) was also recorded at Little Bullhorn Studios by Dave Draves and was completed in Oslo, Norway by producer Marius Gengenbach. The album featured Norwegian musicians Arthur Holoien on string bass and uke, Eirik Roald on cello, Ulk Knudsen on piano and Ida Malin Sanden on soprano sax. Canadian musicians include Derek Loewn on drums, Dave Draves on piano, Neil Gerster on guitar and Aalya Ahmad on fiddle.
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The strings of the sintir are pitched low, enabling the instrument to serve as the bass foundation much like the Western string bass, while its tone is sweet, making it well-suited to carry the melodic line of a composition. By drumming on the body of the instrument, Hakmoun added his own percussion while contributing vocals, thereby creating a unique foundation for his musical explorations and growth. By the age of fourteen, he was an established musician performing at Gnawa lila ceremonies with his own ensemble. Today, Hakmoun is known as the godfather of Gnawa music.
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Motoharu Yoshizawa (吉沢元治) (1931 – September 12, 1998) was an influential Japanese bassist known for playing in a distinctive free jazz and free improvisation style, sometimes deploying electronics and using the unusual self-designed five-string bass he referred to as the "Tiritack". Yoshizawa collaborated with innumerable musicians over his long career; some of the better known include Masayuki Takayanagi, Masahiko Togashi, Takehisa Kosugi, Mototeru Takagi, Kaoru Abe, Steve Lacy, Dave Burrell, Derek Bailey, Evan Parker, Barre Phillips, Butch Morris, Elliott Sharp, Ikue Mori, Keiji Haino, Kan Mikami, Kazuki Tomokawa, Christopher Yohmei Blasdel & Tenko.
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" The baroque guitar in contemporary ensembles took on the role of a basso continuo instrument and players would be expected to improvise a chordal accompaniment. Several scholars have assumed that the guitar was used together with another basso continuo instrument playing the bass line.Manfred F. Bukofzer, Music In The Baroque Era (From Monteverdi to Bach), London: J. M. Dent & Sons (1st UK edition 1948), p. 26: "The basso continuo ... required at least two players, one to sustain the bass line (string bass, or wind instrument) and the other for the chordal accompaniment (keybooard instruments, lute, theorboe, and the popular guitar).
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When Samuli Miettinen quit Inearthed (the original name of Children of Bodom) in 1996, Seppälä joined the band, (asked by lead guitarist and singer, Alexi Laiho) he then adopted the 5-string bass. He is the frontman of the band when it comes to interviews and public appearances. Other than the fact that he can speak Russian, Finnish, English, Swedish and some Spanish and French, he is also the most equilibrated member of the band, in a general way. He studies development studies and political history at the University of Helsinki when he has time, which is not too often.
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Benjamin Weisman, Dolores Fuller and Fred Wise wrote a version of "Cindy" called "Cindy, Cindy". This version is the familiar one recorded by such performers as Elvis Presley, Johnny Cash, Ricky Nelson, Warren Zevon, Nick Cave (in a duet with Johnny Cash), and others. Bing Crosby included the song in a medley on his album 101 Gang Songs (1961). Mack Wilberg's choral arrangement of the piece was written for four-hand piano, double eight-part choirs, a string bass, xylophone, and a score of quintessential Americana instruments to supplement the melody during the arrangement's hoedown section.
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Sklar's favorite instrument is a bass guitar assembled from parts of various basses, consisting of a Fender Precision Bass body, Precision Bass neck which has been shaved down to the proportions of a Fender Jazz Bass and fitted with mandolin wire frets and two sets of Precision Bass pickups. It has been used on nearly all of his recordings and he refers to it as the "Frankenstein bass". In 2004, Sklar began playing a signature model five-string bass made by Dingwall Guitars. This was his main bass on tour and was also used in various recordings.
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Split Lip Rayfield is a band from Wichita, Kansas featuring Kirk Rundstrom (guitar), Eric Mardis (banjo), Wayne Gottstine (mandolin), and Jeff Eaton (bass). Early on, the group's gimmick was Eaton's homemade one-string bass, named Stitchgiver, built from the gas tank of a 1978 Mercury Grand Marquis and a piece of hickory and strung with one piece of Weedwhacker line. The name "Split Lip Rayfield" was inspired by a real-life person who went to high school with Eaton's parents in Desloge, Missouri. He acquired the nickname "Split Lip" due to constant chapped lips so bad his lip would split.
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Kent II made in 1964 and a HIIN OT made in 1975 In 1958, Swedish-based Hagström started manufacturing electric guitars, being one of the first to produce the instrument professionally outside of the United States. The early Hagström Deluxe solid body guitars featured a distinctive sparkle and pearloid celluloid finish that was previously used on their line of accordions. Soon Hagström expanded their line-up of guitars to include hollow bodies like the Viking and the Jimmy. In 1961 the first line of Hagström basses was available to the public, this eventually came to include the groundbreaking 8 string bass.
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Mitch Leigh's Tony Award winning score, which onstage used no stringed instruments aside from guitar and string bass, is augmented in the film adaptation with discreet string orchestration by Herbert W. Spencer. The heaviest string orchestration is used in the deathbed scene. As in the stage version, a solo Spanish guitar provides accompaniment in the scene in which Don Quixote keeps vigil over his armor. Two songs from the musical, "What Does He Want of Me?" and "To Each His Dulcinea", were completely omitted from the film, as were two verses of "Aldonza" and the second verse of the deathbed reprise of "Dulcinea".
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The one constant is Adducci and Grigoroff's passionate and twangy singing and Adducci's bass playing on a Fender Bass VI, a rarely used six-string bass. While Fe was a fairly straightforward rock album, their second album Flubber hints at where the band would end up on Notes Campfire. Since his departure, Scott Tuma released three solo albums: Hard Again (Atavistic), The River 1 2 3 4 (Truckstop Records), and Not For Nobody (Digitalis). He also recorded a CD under the name Good Stuff House in 2006 with members of the Chicago band Zelienople and occasionally performs and records with Chicago's Boxhead Ensemble.
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During the next five years Huffine taught himself tuba as well as the basics of harmony, counterpoint and composition. It is reputed that he spent his mature years as a tubist in professional bands (including Patrick Conway's Band) and possibly circus bands. It is reputed that he worked for C. L. Barnhouse as a music engraver, however there are no substantiating records.Smith In 1919, Huffine settled in Binghamton, New York, playing tuba in the Endicott-Johnson Shoe Factory band, as well as filling in on trumpet, trombone, and string bass (based on information from Endicott-Johnson Co).
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The Georgians were the solo band Nat Gonella founded on his departure from Lew Stone and his Orchestra in 1934. He had already experimented as a solo artist in small groups and with the American pianist Garland Wilson but this was the first band to carry Gonella's name. In 1935, the new group made its debut at the Newcastle Empire. The band featured his brother Bruts on second trumpet, the South African Pat Smuts on tenor saxophone, Albert Torrance on alto sax, Harold "Baby" Hood on piano, Charlie Winters on string bass and Gonella's former employer Bob Dryden on drums.
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Leonard Keala Kwan Sr, was born in Honolulu, Oahu in 1931. His mother, Rose Hauoli, and her father, Reverend Ambrose Hauoli Kau-a, sang traditional Hawaiian music. He learned piano, and was taught to play ukulele and ki ho'alu (traditional slack key guitar styles) by his grandfather and his Uncle Pete Hauoli. He played alto saxophone and string bass in the Kalakaua Intermediate School and Farrington High School dance bands, and substituted in Musicians' Union bands during WW II. By the age of sixteen, he was working for Charlie Kaniyama & His Merry Melodeers and filling-in with other small combos.
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In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to build a six-string bass tuned (low to high) B0, E1, A1, D2, G2, C3, adding a low B string and a high C string. These five- and six-string "extended-range basses" would become popular with session bassists, reducing the need for re-tuning to alternate detuned configurations like "drop D", and also allowing the bassist to play more notes from the same fretting position with fewer shifts up and down the fingerboard, a crucial benefit for a session player sightreading basslines at a recording session.
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The Fender VI was released in 1961 and followed the concept of the Danelectro six-string bass released in 1956, having six strings tuned E to E, an octave below the Spanish guitar. The Bass VI was closely related to the Fender Jaguar, with which it shared styling and technical details, notably the Fender floating tremolo. The VI had an offset body similar but not identical to that of the Jazzmaster/Jaguar. It departed from the concept of the Fender Precision Bass in having six strings, a shorter scale and thinner strings, and a mechanical vibrato arm.
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Black territory dance bands in the southwest were developing dynamic styles that often went in the direction of blues-based simplicity, using riffs in a call-response pattern to build a strong, danceable rhythm and provide a musical platform for extended solos.Russell, Ross, Jazz Style in Kansas City and the Southwest, Berkeley, CA, University of California Press, 1972, 291 p. The rhythm-heavy tunes for dancing were called "stomps." The requirement for volume led to continued use of the sousaphone over the string bass with the larger ensembles, which dictated a more conservative approach to rhythm based on 2/4 time signatures.
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Meanwhile, string bass players such as Walter Page were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra. The growth of radio broadcasting and the recording industry in the 1920s allowed some of the more popular dance bands to gain national exposure. The most popular style of dance orchestra was the "sweet" style, often with strings. Paul Whiteman developed a style he called "symphonic jazz," grafting a classical approach over his interpretation of jazz rhythms in an approach he hoped would be the future of jazz.
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Jeffrey Allen Ament (born March 10, 1963) is an American musician and songwriter who is best known as the bassist of the American rock band Pearl Jam, which he co-founded alongside Stone Gossard, Mike McCready, and Eddie Vedder. Prior to his work with Pearl Jam, Ament was part of the 1980s Seattle- based grunge rock bands Green River and Mother Love Bone. He is known particularly for playing with the fretless bass, upright bass, and twelve- string bass guitars. Ament is also a member of the bands Temple of the Dog, Three Fish, RNDM, and Tres Mts.
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McVea was leader of the Black & White Records studio band and was responsible for coming up with the musical riff for the words "Open the Door, Richard". Ralph Bass persuaded him to record it in 1946 and it became immensely popular, entering the national charts the following year, and was recorded by many other artists. From 1966 until his retirement in 1992, he led the Royal Street Bachelors, a group that played Dixieland jazz in New Orleans Square at Disneyland. The trio consisted of McVea on clarinet, Herb Gordy on string bass, Harold Grant and later Ernie McLean on guitar and banjo.
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It developed from a riff by Squire and Rabin, originating from a specific tuning Squire had on his 5-string bass which helped to create the song, which involved contributions from White on the drums. In its early development, White felt the song needed some "Yes stamps" incorporated into the arrangement, and instructed the group to play a section and not listen to his playing. "I just stopped and started ... like the drummer fell off his stool and then got back on trying to catch up the beat. Playing very slowly and then faster ... and then I was back in time".
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Flim and the BB's consisted of Jimmy Johnson, nicknamed Flim, on Alembic 5-string bass and the two BBs, Bill Berg on percussion and Billy Barber on piano, keyboard, and synthesizer, with their initials having a whimsical connotation of BB pellets. Woodwind-player Dick Oatts was a featured guest on their first album before becoming a full member of the band. The band was a side project, as they worked as studio musicians for a living. Their early days in the late 1970s included studio work in Minneapolis and playing as a band at the Longhorn Bar.
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Reeve attended the prestigious Los Angeles County High School for the Arts (LACHSA). Since music for her was something more than just a hobby, she continued playing on bass guitar and bass at the California Institute of the Arts, focusing on jazz, Latin and Afro-Cuban music, and working with mentors such as Alphonso Johnson (Wayne Shorter, Weather Report), Todd Johnson (six-string bass pioneer) and double-bass virtuoso, Darek Oles. Once she graduated from the institute in 2005, she immediately joined the world of indie rock, touring worldwide and recording music with several indie bands and artists.
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Morphine's instrumentation was unusual for a rock band: Sandman's primary instrument was a two-string bass guitar (with the strings usually tuned to a 5th or octave interval) played with a slide; however, on the group's records he added touches of guitar, piano, electronic organ, and other self-invented guitar instruments such as the tritar, featuring two guitar strings and one bass string. Colley played primarily baritone saxophone, along with soprano or tenor saxes, and the rare bass saxophone, and he sometimes played two saxes at once, a la Roland Kirk; he also played occasional percussion, and Dobro on a B-side.
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That group consisted of "just three pieces, a battered guitar, a mandolin and a worn-out bass" (Handy described the group as "a Mississippi string band") and played "one of those over-and-over again strains that seem to have no very clear beginning and certainly no ending at all.... It was not really annoying or unpleasant. Perhaps "haunting" is a better word for it...The dancers went wild." Handy also described the reaction to his band, which included violin, guitar, string bass, clarinet, tenor saxophone, trombone, and trumpet, playing his song "Mr. Crump" in 1909.
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Smith's style on fast tempo pieces combined bluesy "licks" with bebop-based single note runs. For ballads, he played walking bass lines on the bass pedals. For uptempo tunes, he would play the bass line on the lower manual and use the pedals for emphasis on the attack of certain notes, which helped to emulate the attack and sound of a string bass. Smith influenced a constellation of jazz organists, including Jimmy McGriff, Brother Jack McDuff, Don Patterson, Richard "Groove" Holmes, Joey DeFrancesco, Tony Monaco and Larry Goldings, as well as rock keyboardists such as Jon Lord, Brian Auger and Keith Emerson.
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When Johnny Cash moved to Memphis after returning from Germany in 1954, Roy Cash introduced him to Grant, Kernodle and Perkins. The four began to get together in the evenings at Perkins' or Grant's home and play songs. It was during this time that they decided to form a band, with Grant acquiring a string bass, Kernodle a six- string steel guitar, and Perkins buying a somewhat-abused Fender Esquire electric guitar from the O.K. Houck Piano Co. in Memphis. The guitar had been modified by a previous owner, and the volume and tone controls did not work.
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The 1930s saw the rise of conjunto music and the instruments of choice for this developing style were accordion and bajo sexto. The Texas-Mexican Conjunto At this time the bajo sexto functioned primarily as a bass instrument, providing a strong rhythmic foundation supporting the solo accordion. In the late 1940s, string bass (and later, electric bass) was added to the instruments, and in the 1950s, drums, completing the modern conjunto ensemble. The inclusion of bass and drums freed the bajo sexto from exclusively rhythmic bass duties, and bajo players began experimenting with chords, counter rhythms, and melodic lines.
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He played his Rickenbacker bass, a Tobias four- string bass, a custom made Mouradian bass, and Rabin's Casio computer guitar that was run through a synthesiser. Early into the production of Talk, White said an initial 5.5 GB of space was insufficient due to the estimated 27 microphones used to record his drumming in real time and the decision to use more tracks for the drums in the final mix as opposed to condensing them. Until that point, each song was roughly 350 MB in size. In its unedited form, the album took up over 34 GB of memory.
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The Jodimars was an American rock 'n' roll band that was formed in the summer of 1955 and remained active until 1958. The band was created by former members of Bill Haley & His Comets who had quit that group in a salary dispute. The name of the group was derived from the first letters of the first names of the founding members: Joey Ambrose (real name Joey d'Ambrosio) (saxophone), Dick Boccelli (under the name "Dick Richards") (vocals and drums), and Marshall Lytle (string bass). Other members included Chuck Hess (guitar), Jim Buffington (drums), Bob Simpson (Piano), and Max Daffner (drums).
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In 1972, Gilmore, Ely and Hancock, formed The Flatlanders with each contributing vocals, guitar, and songwriting skills. Other key musicians were Steve Wesson on autoharp and musical saw, Tony Pearson on mandolin and backup harmony, Tommy Hancock (no relation to Butch Hancock) on fiddle and Syl Rice on string bass. One of the band's first appearances was at the Kerrville Folk Festival in 1972, where they were named one of the winners of the inaugural Kerrville Folk Festival New Folk Singer/Songwriter Competition. The band's first recording project was produced in 1972 by Shelby Singleton, the then-owner of Memphis, Tennessee's famed Sun Studios.
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"Original Jelly Roll Blues", usually shortened to and known as "Jelly Roll Blues", is an early jazz fox-trot composed by Jelly Roll Morton. He recorded it first as a piano solo in Richmond, Indiana, in 1924, and then with his Red Hot Peppers in Chicago two years later, titled as it was originally copyrighted: "Original Jelly-Roll Blues". It is referenced by name in the 1917 Shelton Brooks composition "Darktown Strutters' Ball". The Red Hot Peppers version is a typical New Orleans jazz presentation where the trumpet, clarinet and trombone play lead melody and counterpoint, with the piano, guitar, string bass and drums providing the rhythmic accompaniment.
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Lefebure collected the music in Italy, and it was forgotten until manuscripts were rediscovered. Vivaldi created some concertos for mandolinos and orchestra: one for 4-chord mandolino, string bass & continuous in C major, (RV 425), and one for two 5-chord mandolinos, bass strings & continuous in G major, (RV 532), and concerto for two mandolins, 2 violons "in Tromba"—2 flûtes à bec, 2 salmoe, 2 théorbes, violoncelle, cordes et basse continuein in C major (p. 16). Beethoven composed mandolin music and enjoyed playing the mandolin. His 4 small pieces date from 1796: Sonatine WoO 43a; Adagio ma non troppo WoO 43b; Sonatine WoO 44a and Andante con Variazioni WoO 44b.
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In 1932 the King's Jesters left Whiteman, who replaced them with The Nitecaps trio (later known as The Rhythm Boys). They formed a new band with Fritz Bastow, George Howard and John Ravencroft, members of a six-piece orchestra which was formed in Chicago and Rochester. The King's Jesters is now composed of seven members which include: the three Rochester men, Ray McDermott who has been the piano accompanist for the Jesters, Jimmy Awad on trumpet, Bob Casey on string bass, and a girl blues singer, Marjorie Whitney. The King's Jesters broadcast daily from the Hotel Morrison in Chicago and are heard over the NBC network.
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There are many ways to customize a multiple-necked guitar, such as the number of strings on a neck, frets or no frets, the tuning used on each neck, etc. One of the earliest designs still in regular use is the acoustic contraguitar, invented around 1850 in Vienna. This guitar, also known as the Schrammel guitar, has a fretted six-string neck and a second, fretless neck with up to nine bass strings. One of the more common combinations is where one neck of a double-necked guitar is set up as for a 6 string guitar and the other neck is configured as a 4 string bass guitar.
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Their style has been described as "mystical" and "acid-folk", their self-penned compositions being primarily about a fantasy world of mythological beings such as fairies, elves and dragons. They have been compared with the Incredible String Band and Tir-na-Nog. They toured extensively but recorded only one self-titled album, on The Village Thing label (VTS2) in 1970, produced by Ian A. Anderson, which has become highly sought-after as a collectors' item. The album featured supporting musicians John Turner (string bass, finger-picked and with a bow), and Andy Leggett (whistle on "Suddenly It's Evening"), both of the Pigsty Hill Light Orchestra.
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He also filled in occasionally with college friends who had also relocated to SF, The Court & Spark, as well as lending string bass to several of their studio recordings. During a break with ALO, Steve and Lebowitz did some Winter touring with the group Global Funk Council, a spin-off of Karl Denson's Tiny Universe. ALO reunited in the Spring of 2002 with college bandmate Dave Brogan on drums, and has been touring the globe and recording steadily ever since. Through their college friendship with surfer/singer/songwriter Jack Johnson, Steve has also become part of the Brushfire Records family with ALO signing a record contract with the label in 2005.
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Even though, for the motion picture, the name and city were changed, the basics of the story appear to ring true, according to family members, and New Orleans jazz history aficionados. The band has also been described as "King Watzke's Band" or "Dixieland Band" in the written accounts cited as references. King Watzke and his band are referred to in a scholarly book by Daniel Hardie, about the history of New Orleans jazz. The following were reported to have been members of the band: Violin or Bass Viol - King Watzke (leader); Trumpet - Jimmy Kendall; Clarinet - Freddie Burns; String Bass - Buzz Harvey, Emile Bigard; Guitar - Jimmy Ruth, Pat Shields.
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When Caldwell plays electric bass, he usually performs using Extended-range basses, (or "ERBs"), which are electric bass guitars with more range (usually meaning more strings, but sometimes additional frets are added for more range) than the "standard" 4-string bass guitar. The techniques used to play the extended- range bass are closely related to those used for basses, including finger plucking, slapping, popping, and tapping, though a plectrum is very rarely used. The upper strings of an extended-range bass allow bassists to adopt playing styles of the electric guitar. One such style is the practice of "comping", or playing a rhythmic chordal accompaniment to an improvised solo.
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Soul Zodiac is the first collaborative studio album by the Nat Adderley Sextet and Rick Holmes, presented by Julian "Cannonball" Adderley. It was released in 1972 through Capitol Records. Recording sessions took place at Independent Recording Studios in Studio City, Los Angeles, California with production handled by David Axelrod and Cannonball Adderley. The album features narration from Rick Holmes on all tracks and contributions from the sextet: Nat Adderley on cornet, George Duke on Fender Rhodes electric piano, Walter Booker on string bass and guitar, Roy McCurdy on drums, Mike Deasy on guitar, and Ernie Watts on flute and tambourine, with guest appearance by Cannonball Adderley on two songs.
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" Hoppus was ecstatic at Smith's response; he referred to the call as "an amazing experience, like a dream come true." Hoppus had been significantly influenced by The Cure in his adolescence. After borrowing a cassette version of the band’s album Kiss Me, Kiss Me, Kiss Me from friend Wendy Franklin, he became fixated on "Just Like Heaven”, in high school, he began to dress like frontman Robert Smith, donning eyeliner and "occasionally bright red lipstick" to his high school classes. During the session that produced "All of This," Hoppus went out of his way to purchase a Fender six- string bass, the same model employed on The Cure song "Push".
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Suite for Flute and Jazz Piano (aka Suite for Flute and Jazz Piano Trio) is a "crossover" composition by the jazz pianist and composer Claude Bolling. The composition, originally written in 1973, is a suite of seven movements, written for a classical flute, and a jazz piano trio (piano, string bass, and drums). The suite was recorded in 1975 by Bolling, classical flautist Jean- Pierre Rampal, bassist Max Hédiguer, and drummer Marcel Sabiani, and originally released as an LP album by CBS Masterworks Records and Columbia Masterworks. In the U.S., the album was nominated in 1975 for a Grammy Award for Best Chamber Music Performance.metrolyrics.
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Hamer Guitars was an American manufacturer of electric guitars founded in 1973, in Wilmette, Illinois, by vintage guitar shop owners Paul Hamer, and Jol Dantzig. The company's early instruments featured guitar designs based on the Gibson Explorer (The Standard) and Gibson Flying V (Vector), before adding more traditional Gibson-inspired designs such as the Sunburst. Hamer Guitars is generally considered the first "boutique" vintage-style electric guitar brand that specifically catered to professional musicians, and was the first guitar manufacturers to produce a 12 string bass guitar. The company was incorporated in Illinois in 1976 by John Montgomery, Jol Dantzig, James Walker and Hamer.
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A native of Detroit, Michigan, Cook was drawn to a life of music at an early age. As a student at Cass Technical High School she played string bass in the school orchestra, studied piano and voice on weekends, and sang in her church's choir. An elder brother introduced her to jazz, Cook chose voice as her instrument of choice, and she became a disciple of jazz icon Eddie Jefferson, founder of a singing technique called "vocalese" where a singer sings lyrics to a famous instrumental solo. During this time she and close friend Regina Carter formed dreams of becoming jazz musicians; Cook as a singer, and Carter as a violinist.
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Tanner began piano lessons at the age of six, and by ten years of age he could play proficiently by ear. He notes that he decided music was his main passion, so he quit playing hockey to focus more on his lessons and education. In high school, Tanner played string bass in the orchestra, piano at concerts, drums in a show choir, and electric bass in a jazz ensemble. He began writing his own music by the age of eight and while a teenager at Huron Park Secondary School (in Woodstock, Ontario) he formed a band called "The Guards Of Zeus", with classmates Jon Bartley and Mike McGinnis.
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Clockcleaner was a punk band from Philadelphia, Pennsylvania,USA, named after a particular "hot bag" of heroin that was distributed in Philadelphia in the 1980s. The band consists of John Sharkey III on vocals/guitar, Karen Horner on 6-string bass guitar, and Richie Charles Jr on drums. The trio has drawn comparisons to The Birthday Party, Big Black, Bauhaus, Flipper and even harsh noise band Whitehouse. Their influences have been cited as including Crucifucks, Modern English, Cro-Mags, GG Allin, Neil Young and the first Skrewdriver LP. Formed in summer 2003, Clockcleaner released an LP called The Hassler on the now defunct Philadelphia label Manic Ride Records.
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The All Star Jazz Group, left to right: Ed Garland (bass), Buster Wilson (piano), Marili Morden (proprietor, Jazz Man Records), Jimmie Noone (clarinet), Mutt Carey (trumpet), Zutty Singleton (drums), Kid Ory (trombone), Bud Scott (guitar) Ed Garland was born in New Orleans January 9, 1895. By about 1910, he was playing bass drum with brass bands including Frankie Duson's Eagle Band. He then took up tuba and string bass; like many New Orleans bassists of the era, he doubled on the two instruments which filled similar roles in different types of bands. He played with the Excelsior Brass Band and Manuel Perez's Imperial Orchestra.
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Performing in Toronto, 3 June 1977 Rutherford with his Shergold double-neck bass Rutherford played mainly Rickenbacker and Shergold basses. He developed the idea behind the M-Series Steinberger guitar with the help of English luthier Roger Giffin and he used this extensively in the 1980s and during The Invisible Touch Tour with Genesis. He had a double-neck Status built for the Mama and Invisible Touch tours which featured a six string guitar and four string bass placed in a custom body. In the earlier years of Genesis he played a Dewtron Mister Bassman and, starting in 1976, Moog Taurus bass pedal synthesisers.
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Claypool is well-known for his distinctive bass-playing, which aside from being quite dominant in the majority of his music also includes the use of several unusual techniques, such as Flamenco-style strumming, tapping, slapping and guitar-like chording. Claypool has also made prominent use of a Kahler "bass tremolo" vibrato system, as well as effects such as fuzz boxes and envelope filters. For most of his career Claypool has played four-stringed basses, but has experimented with extended-range basses, most notably six- stringed models, as heard on songs like "Jerry Was a Race Car Driver", which features Claypool tapping the main melody on a fretless six-string bass.
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For example, a pitch shifter set to increase the pitch by a fourth will raise each note four diatonic intervals above the notes actually played. Simple, less expensive pitch shifters raise or lower the pitch by one or two octaves, while more sophisticated and expensive devices offer a range of interval alterations. A pitch shifter can be used by an electric guitarist to play notes that would normally only be available on an electric bass. As well, a bass player with a four string electric bass can use an octave pedal to obtain low notes that would normally only be obtainable with a five-string bass with a low "B" string.
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He played trombone with the bands of Papa Jack Laine and Frank Christian; by 1910 usually worked leading bands under his own name. The band played in a style then locally known as "hot ragtime" or "ratty music". In early 1915, his band was heard by Vaudeville dancer Joe Frisco who then arranged a job for Brown's band in Chicago, Illinois. On May 15, 1915, Tom Brown's Band from Dixieland opened up at Lamb's Cafe at Clark & Randolph Streets in Chicago, with Ray Lopez, cornet and manager; Tom Brown, trombone and leader; Gussie Mueller clarinet, Arnold Loyacano piano and string bass; and Billy Lambert on drums.
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Bands of the period often favoured louder instruments such as trumpet, cornet and trombone, lower-register brass instruments (such as the tuba and the euphonium) replaced the string bass, and blocks of wood stood in for bass drums; performers also had to arrange themselves strategically around the horn to balance the sound, and to play as loudly as possible. The reproduction of domestic phonographs was similarly limited in both frequency-range and volume. By the end of the acoustic era, the disc had become the standard medium for sound recording, and its dominance in the domestic audio market lasted until the end of the 20th century.
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The Dano '63 Baritone was reviewed by several guitar magazines, and was well received. Guitar Player praised its clarity and toneGuitar Player Reviews Seven Baritone Electrics and Guitarist magazine awarded it as a "Guitarist Choice." In the May 2008 issue of Guitarist magazine, both of the Dano '63 basses were favorably reviewed, with the long scale being chosen as a "Guitarist Choice." A bassist and a music journalist from Poland, Adam Pawlowski, noticed that the unmodified Dano '63 Baritone equipped with Ernie Ball 2837 strings' set is nothing else than the famous Danelectro's six-string bass tuned E-E, one octave below the guitar.
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The second verse features a harp and a repeating drum loop accompanied with a telephone style bleeping sound. Madonna's vocals at times are accompanied by spoken passages with her overall vocals dominating the track, with lyrics discussing a man that no longer wants her, while she is determined to change his mind. The compilation closes with the orchestral version of "I Want You" in which the original drum track, bass and percussion are removed. The version starts slower with Madonna's vocals entering with a low string bass line only, gradually more string arrangements are added with harp and brass featured in the background of the mix.
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Martina McBride covered the song in 1993 under the title of "My Baby Loves Me". Her rendition was released in July 1993 as the first single from her 1993 album The Way That I Am and went reached number-one on the Canadian RPM Country Tracks chart. The song peaked at number 2 on the Billboard Hot Country Singles & Tracks chart for the week of December 4, 1993, kept from the top spot by Garth Brooks' "American Honky-Tonk Bar Association." McBride's version includes slide guitar and six-string bass riffs from Paul Worley, who criticized his own performance on them and said that they "somehow never got erased".
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The song was recorded for Imperial Records in Cosimo Matassa's J&M; studio on Rampart Street in New Orleans, Louisiana on Saturday, December 10, 1949. Imperial's Lew Chudd had previously asked Dave Bartholomew to show him some locally popular talent, and was most impressed with the 21-year-old Fats Domino, then playing at a working class dive in the 9th Ward of New Orleans. Domino sang and played piano, along with Earl Palmer on drums, Frank Fields on string bass, Ernest McLean on guitar, and sax players Herbert Hardesty, Clarence Hall, Joe Harris, and Red Tyler. The aluminum (or lacquer) master disc recording has been missing for over 50 years.
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Jephte or Historia di Jephte is an important exemplar of the mid-17th-century Historia Sacra form composed by Giacomo Carissimi around 1650 (probably 1648), based on the story of Jephtha in the Old Testament Book of Judges. The work follows what is considered the classic early Baroque oratorio form with a Biblical text related by soloists and chorus linked by a narrator. The only known contemporaneous score is for organ continuo alone though this is sometimes augmented in performance by violins and string bass, for which some support exists in other works by the composer. A 1976 version exists arranged by Hans Werner Henze for 7 solo voices, 6 part chorus, flutes, percussion and plucked strings.
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Ryan Shupe & the RubberBand is an American Rock / Bluegrass group founded in the mid-1990s in Ogden, UT. The band's current lineup comprises Ryan Shupe (fiddle, guitar, ukulele, mandolin, lead vocals), Roger Archibald (guitar, vocals), Craig Miner (banjo, bouzouki, mandolin, guitar, vocals), Josh Larsen (bass guitar, string bass, vocals), and Nate Young (drums, vocals). After recording four studio albums on their own independent record label, Ryan Shupe & The RubberBand were signed to Capitol Records in 2005. Their first album for Capitol, 2005's Dream Big, produced a Top 40 hit on the U.S. Billboard Hot Country Songs charts in its title track. The second single from the album, however, failed to chart, and the band was dropped from Capitol.
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In San Francisco, Steve worked restaurant jobs and eventually picked up a full-time job at a design firm where he learned print and web design skills that would later apply to a number of years as a freelance designer. Steve continued playing with ALO while in SF, with the addition of Shree Shyam Das on drums, who became a close friend and musical collaborator. Steve also picked up many gigs within the local scene, playing local clubs as well as private events for the booming dot-com businesses in the Bay Area. Through an outreach from Gill's keyboard repair technician, Steve ended up joining a bluegrass outfit called Philboyd Studge, playing string bass and singing occasional lead vocals.
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The earliest, dated, Tune a Day book listed in the Library of Congress catalog is simply entitled Tune a Day and was published in Boston by the Boston Music company in 1937. Others quickly followed: Tune a Day for Cornet (Trumpet) Instruction (1941), titles for clarinet, string bass, trombone (baritone) and saxophone in 1942, 43, 44 and 45 respectively. The series soon expanded to include fifteen different versions, with books in each version catering for various levels. The books remained unchanged for many years until a recent republication with updated photographs; the much-loved original editions had a deceptively simple format, with a carefully structured musical development , featuring photographs of teenagers from the nineteen forties playing the instruments.
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William Manuel "Bill" Johnson (August 10, 1872 - December 3, 1972), was an American jazz musician who played banjo and double bass; he is considered the father of the "slap" style of double bass playing. In New Orleans, he played at Lulu White's legendary house of prostitution, with the Eagle Band, and with the Excelsior Brass Band. Johnson claimed to have started "slapping" the strings of his bass (a more vigorous technique than the classical pizzicato) after he accidentally broke his bow on the road with his band in northern Louisiana in the early 1910s. Other New Orleans string bass players picked up this style, and spread it across the country with the spread of New Orleans Jazz.
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In 2008, Music Man released the Bongo 6, its first six-string bass. Sterling Ball had previously said "We won't be making any six-string basses unless a high-profile player asks for one," until John Myung (Dream Theater) collaborated on the prototype Bongo. Steve Lukather playing the Limited Edition "Dargie Delight" version of his signature model guitar Music Man introduced the 'Big Al' bass, based on the Albert Lee signature guitar, with an 18V-powered 4-band EQ, active/passive switching, series/parallel pickup wiring and three single-coil pickups with neodymium magnets. As of 2010, the 'Big Al' bass came in a five-string version with the choice of H and SSS pickup configurations.
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The second movement, the slowest in tempo and the longest in duration of the three, is "redolent with a deep Finnish melancholy". The first subject—Lento misterioso—consists of a dissonant, siren-like motif on flutes juxtaposed against a lugubrious solo cello, their interplay periodically interrupted by ominous interjections from the brass. Half-way through the movement, the second subject—Poco tranquillo—appears: a delicate woodwind dialogue in F-sharp minor between oboe, clarinet, and flute, supported by string bass pizzicati, strings, and horns. Although this passage recalls the third movement of Sibelius's Third Symphony, it is by no means derivative; the subject is, according to Finnish musicologist Erkki Salmenhaara, "all Madetoja's own".
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In 1976 American minimalist composer Tom Johnson wrote "Failing - a very difficult piece for solo string bass" in which the player has to perform an extremely virtuosic solo on the bass whilst simultaneously reciting a text which says how very difficult the piece is and how unlikely he or she is to successfully complete the performance without making a mistake. In 1977 Dutch-Hungarian composer Geza Frid wrote a set of variations on The Elephant from Saint-Saëns' Le Carnaval des Animaux for scordatura Double Bass and string orchestra. In 1987 Lowell Liebermann wrote his Sonata for Contrabass and Piano Op. 24\. Fernando Grillo wrote the "Suite No. 1" for double bass (1983/2005).
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The bass guitar, electric bass, or simply bass, is the lowest-pitched member of the guitar family. It is a plucked string instrument similar in appearance and construction to an electric or an acoustic guitar, but with a longer neck and scale length, and typically four to six strings or courses. Since the mid-1950s, the bass guitar has largely replaced the double bass in popular music. The four-string bass is usually tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar (E, A, D, and G). It is played primarily with the fingers or thumb, or by striking with a pick.
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As one of the original members of Bruce Hampton's avant-garde band, the Aquarium Rescue Unit, Burbridge was introduced to members of the jam band scene in the southeast of the United States. This included members of Phish, Phil Lesh and Friends, and Blues Traveler, who freely sat in with one another in each other's bands. When Hampton left the Aquarium Rescue Unit, it slowly disbanded; however, Burbridge had developed a reputation on the four-, five-, and eventually the six-string bass guitar, enjoying the less commercial aspects of playing with Atlanta-area musicians. During its initial years, the band was composed of Bruce Hampton, Oteil Burbridge, Jimmy Herring, Jeff Sipe, Matt Mundy, and Count M'Butu.
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Generally, the Ambai Islands region has its own characteristics and includes part of the biodiversity on the Yapen islands, including forests and hills, as well as trees species such as boat trees (pohon kayu perahu), trees to make traditional wooden drums and traditional guitars including ukulele and string bass, ironwood, bitangur, palm, katapang, coconut trees. Some of the bird species in the islands include the bird of paradise, parrots, kakatua raja, kakatua, taun-taun, eagle, wood pigeon, cassowary, forest chicken and others. Some of the other fauna found includes wild pig, kuskus, snake, lizard, butterfly and others. The life within coral reefs has hundreds of species of fish and other marine life local to the islands.
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Jimmy Johnson (born 1956) is an American bass guitarist best known for his work with James Taylor, Allan Holdsworth, Wayne Johnson and Flim & the BB's. Raised in a rich musical environment, his father was a 47-year member of the Minnesota Orchestra's bass section, his mother a piano teacher and accompanist, and his brother Gordon is also a professional bassist. In 1976, Johnson worked with Alembic and GHS to create one of the first 5-string bass guitars with a low B string. Living in the Los Angeles area since 1979, Johnson continues to record and tour with singer-songwriter James Taylor and also appears with various groups at The Baked Potato jazz club in Studio City, California.
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Julia Lennon was John's mother and her banjo was the first instrument that John Lennon learned to play before he switched to guitar: 'sitting there with endless patience until I managed to work out all the chords'. According to John, it was Julia who turned him onto rock 'n’ roll and actively encouraged him to pursue his musical ambitions. After Julia's untimely death in 1958 the instrument was never seen again and its whereabouts remain a mystery. Lennon also played keyboards besides piano (electric piano, Hammond organ, harmonium, Mellotron, harpsichord, clavioline), saxophone, harmonica, six-string bass guitar (either he or George Harrison, when McCartney was playing piano or guitar), and some percussion (in the studio).
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According to Nashville session double bassist Bob Moore who was present at the Nashville sessions, Dorsey and Paul were replaced by himself and Grady Martin. The 1957 sessions are clearly more in line with the contemporary Nashville sound of the day and without the same rockabilly upbeat tempos produced in the 1956 sessions of the trio recorded in New York, followed by Nashville 1956 sessions. French researchers Gilles Vignal and Marc Alesina, however, have produced a discography which has only Johnny Burnette present at the session. According to them, Burnette played acoustic guitar and sang vocals, whilst Thomas Grady Martin played electric guitar, Bob L. Moore played string bass and Farris Coursey was on drums.
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Hungarian born Australian Jazz guitarist Laszlo Sirsom plays 8-string jazz guitar made by Phil Carson Crickmore He's tuning as a normal guitar on the middle plus High A and lower B. Charlie Hunter plays a hybrid eight-string guitar made by Ralph Novak of Novax Guitars. Five of the strings are tuned to the standard guitar's upper five (A, D, G, B, E), while three of the strings are tuned to the standard bass guitar's three lowest (E, A, D). The bass and treble sections have separate pickups and are sent to separate amplifiers. Hunter also has a ten-string guitar based on the same principle—a combination of standard six-string guitar and standard four-string bass.
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The biggest change is with the replacement of Brent with Mel Mongeon who has a very distinctive high-pitched shriek which has become the vocal style that the band is most known for. Most (if not all) Fuck the Facts songs are played on guitars tuned down a fourth (B E A D F# B). Bass tuning is the same (B E A D), though depending on the performer, sometimes a 5 string bass is used. Common grindcore elements such as blast beats are also present. Generally, most of the songs feature the darker modes such as Aeolian, Phrygian, Locrian and heavy use of the tritone, though many songs feature other more chromatic scales as well.
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Gray's version is one whole step higher than Jones' version, and prompted George to seek him out. The two became friends, Jimmie eventually roading in George's band, on bass and high harmony, and Jimmie was in the studio when George cut his hit. According to the liner notes for the 1994 Sony compilation The Essential George Jones: The Spirit of Country, the throbbing, echoey six-string bass guitar solo was played by Kelso Herston, who went on to write hit songs for Jones and produce one of his later MCA albums. Jones was extremely fond of the tune, recording it again with Musicor, Epic, and as a duet with Travis Tritt for The Bradley Barn Sessions in 1994.
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After three years of service, he returned to New York and continued to compose, perform and record. It was during this time that he became associated with the New Music Circle and premiered his composition "Four Lines" for flute, oboe, string bass and drums.New Music Circle presents novelties using tape, chorus - by Mildred Coon, St. Louis Globe, January 11, 1972 His first LP "The Compositions of Fred Tompkins" showed him firmly rooted in third Stream composition, and featured the playing of Jones, Farrell, Owens, Wilbur Little, and Richard Davis. His next LP "Somesville", again featured challenging compositions, this time played by Jones, Lenny White, Gene Perla, Buster Williams, David Liebman and Steve Grossman.
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Occasionally he played a six-string bass guitar, the Fender Bass VI, providing bass on some Beatles numbers ("Back in the U.S.S.R.", "The Long and Winding Road", "Helter Skelter") that occupied McCartney with another instrument. His other instrument of choice was the piano, on which he composed many songs, including "Imagine", described as his best-known solo work. His jamming on a piano with McCartney in 1963 led to the creation of the Beatles' first US number one, "I Want to Hold Your Hand". In 1964, he became one of the first British musicians to acquire a Mellotron keyboard, though it was not heard on a Beatles recording until "Strawberry Fields Forever" in 1967.
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Dick Hensold (born 16 March 1959) is an American folk musician based in the state of Minnesota. An active promoter of bagpipes, he plays Northumbrian smallpipes, Swedish pipes (säckpipa), medieval great-pipes, reel pipes, Montgomery smallpipes, Great Highland bagpipes, recorder, seljefloyte, low whistle and string bass. He played the Edinburgh Folk Festival in 1994, the Lowland and Border Pipers' Society Collogue (Peebles, Scotland) in 1997, and has taught Northumbrian smallpipes at workshops in the United States, Canada, and Northumberland. He has also studied Cambodian music for many years, and performs in the ensemble Light From Heaven (formerly called New International Trio),Experimental musical instruments (magazine), Vol 11, 1995 led by Cambodian master musician Bun Loeung until his death in 2007.
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The traditional song inspired Ritchie Valens' rock and roll version "La Bamba" in 1958. Valens' "La Bamba" infused the traditional tune with a rock drive, in part provided by session musicians Earl Palmer and Carol Kaye, making the song popular with a much wider record audience and earning it (and Valens) a place in rock history (he was inducted posthumously into the Rock and Roll Hall of Fame in 2001). The musicians on that session were Buddy Clark: string bass, Ernie Freeman: piano, Carol Kaye: acoustic rhythm guitar, René Hall: Danelectro guitar (six-string baritone guitar), Earl Palmer: drums and claves, Ritchie Valens: vocals, lead guitar.Ritchie Valens, "Ritchie Valens in Come On. Let’s Go" Del-Fi Records, liner notes The song features a simple verse- chorus form.
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Even Steven Levee (born Steven Louis Levee), is an American musician, bass player, recording engineer, record producer and former nightclub concert promoter. He is best known for his work with such bands as Lifeforce, ZRS, Brad Factor:10, The Slashtones, The Freak Parade, and his production work with Hedi, Barbara Lee George, MC Magic D and Gun Hill. As a bass player he is known for his diversity, playing with rock, funk, jazz, blues and hip hop artists, and for his use of various fretted and fretless four, five and six string bass guitars. He is also well known within the music industry for hosting premier "all star" jam sessions at various nightclubs in the New York area during the 1990s.
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The group ended the year with a benefit appearance at the Hammersmith Odeon, London on 28 December as part of the Concerts for the People of Kampuchea. The band added three new songs from Who Are You in 1979, "Who Are You," "Sister Disco," and "Music Must Change"; John Entwistle's "Trick of the Light" was also played occasionally, with Entwistle playing 8 string bass and Pete Townshend also playing a standard bass guitar. The horn section also allowed numbers like "5:15" and "Drowned" (now sung by Townshend) to be reintroduced to the act. Meanwhile, 1979 shows are known among Who fans for new material that Townshend introduced on some nights during jams, most of which did not see release until later on.
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The Missa brevis No. 9 in B-flat major by Wolfgang Amadeus Mozart, K. 275/272b, was probably written before September 1777 for Salzburg. The mass is scored for SATB soloists, SATB choir, violin I, violin II, 3 trombones, string bass, and organ. The setting is divided into six movements. # Kyrie Allegro, B-flat major, common time # Gloria Allegro, B-flat major, 2/4 # Credo Allegro, B-flat major, common time #: "Et incarnatus est" Adagio #: "Et resurrexit" Allegro # Sanctus Andante, B-flat major, 3/4 # Benedictus Andante, E-flat major, 3/4 #: "Osanna in excelsis" Allegro, B-flat major # Agnus Dei Andante, G minor, common time #: "Dona nobis pacem" Allegro, B-flat major, cut time In the Gloria and the Credo, Mozart eschews the traditional concluding fugues.p.
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Blackmore resumed playing music semi- professionally only in 2009 with the formation of the Illawarra-based 'popstalgia' trio The Third Road in which he plays five- and six-string bass and shares vocal duties with guitarist Margi Curtis and keyboards player Graham Wykes. The Third Road developed from the band Fedora, a trio featuring Curtis, Wykes and Bruce Greenfeld (later of Damned Fine Gentlemen). Blackmore joined on bass when Greenfeld left. The Third Road has played live in Wollongong at various events including the Thriving Illawarra Festival, Summer on the (Crown St) Mall, the annual National Disabilities Day gig organised by Essential Personnel (sometimes accompanied by singer/guitarist Al Morrison of Riogh), and at the annual Christmas party of the NSW Greens.
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The music video for "Beyond the Dark Sun" shows Jari Mäenpää immersed in ice and frost The video begins with two shots of steel doors opening, revealing Mäenpää thrashing with his guitar in sharp silhouette against a single source of light, fog simulating the cold swirling around him. During the introduction portion of the song, the video cuts quickly between the contemporary band line-up, each member performing solely against a black backdrop: Mäenpää on guitar, Hahto performing on drums, Jukka Koskinen on five-string bass, and Oliver Fokin on rhythm guitar. The first visual effect is introduced with Mäenpää superimposed over the moon. The moon effect is revisited several times throughout the video, usually with varying backdrops that simulate galaxies, stars, and asteroids.
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That's because the musicians - supported on some tracks by special guest William Tsilis on concert grand marimba - have arrived at their maturity and self-assuredness through decades of experimental efforts. They've spent careers redefining jazz, and the fruits of their labor result in music that is relaxed and understated, yet emotive and powerful".Wagoner, J. All About Jazz Review, accessed March 9, 2018 In JazzTimes, David Franklin wrote: "The primary attribute that distinguishes Arthur Blythe’s Focus is its sound. First there’s Blythe’s unique alto tone. Room filling and reedy (you can almost hear the individual vibrations) and ornamented by a quick, rhythmic vibrato, Blythe’s muscular sound identifies him immediately. Then there’s the quartet’s unusual instrumentation: tuba in place of string bass and marimba instead of piano.
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Bevil, J. Marshall. "And the Band Played On ..." Article analyzing which version was likely played at the sinking of the Titanic] However, the actual 'final' song played by the band is unclear; "Nearer, My God, to Thee" has gained popular acceptance. Former bandmates claimed that Hartley said he would either play "Nearer, My God, to Thee" or "O God, Our Help in Ages Past" if he was ever on a sinking ship. This memorial is dedicated to these musicians: Wallace Hartley (bandmaster, violin), Roger Marie Bricoux (cello), Theodore Ronald Brailey (piano), John Wesley Woodward (cello), John Frederick Preston Clarke (string bass, viola), John Law Hume (violin), Percy Cornelius Taylor (piano) and Georges Alexandré Krins (violin) who all lost their lives on the Titanic.
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Rutherford's playing style has been shaped by his unorthodox performance requirements within Genesis, which from a fairly early date required frequent shifts between instruments (or shifts of role between instruments). Though his work with bass and guitar has been praised by some critics, he has described his playing as average and said that he considers himself a songwriter first and foremost. Rutherford's bass guitar playing initially involved the use of a pick and a high-treble setting. He would also sometimes employ a relatively harsh, horn-like distortion setting to differentiate the instrument's tone from the rest of the ensemble. In the mid-1970s he would begin to play fretless bass guitar on Genesis songs (in particular on ballads) and would experiment with 8-string bass guitar.
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300x300px A septet is a formation containing exactly seven members. It is commonly associated with musical groups but can be applied to any situation where seven similar or related objects are considered a single unit, such as a seven-line stanza of poetry. In jazz, a septet is any group of seven players, usually containing a drum set, string bass or electric bass, and groups of one or two of the following instruments, guitar, piano, trumpet, saxophone, clarinet, or trombone. See, for example, Miles Davis,Miles Davis Septet- Members: Al Foster, Bill Evans, Bob Berg, Darryl Jones, John Scofield, Miles Davis, Mino Cinelu, Robert Irving III, Steve Thornton, Vincent Wilburn www.discogs.com, accessed 5 October 2020 and Septet by Chick Corea.
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The Pep Band, or the musician component, like many scramble bands, includes non-traditional band instruments called "miscie's" short for miscellaneous as seen in the Columbia University Marching Band and Stanford University Marching Band. In the past, members of the band have been known to play kazoos, Conga drums, vuvuzelas, bicycle horns, and other auxiliary noise makers, the band has even had a violin section and has included performers playing oboe, string bass, and electric guitar. The Tiger Team is the designated cheering leaders of the TPB. Formerly known as the Tiger Maniacs, the Tiger Team was formally adopted into the TPB in 2001 and are non-musicians responsible for leading the group and DePauw fans in cheers, yells, and other activities.
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In 1929, Nicolas Slonimsky, conductor of the Boston Chamber Orchestra at that time, contacted Ives about the possibility of performing Three Places. Slonimsky had been urged by American composer Henry Cowell, Ives' contemporary, to program an Ives piece for some time and Three Places caught his attention. The thorough reworking required to transform Three Places from an orchestral score to one that could be performed by a much smaller chamber orchestra renewed Ives' interest in the work. Slonimsky required that the piece be rescored for 1 flute, 1 oboe, 1 English horn, 1 clarinet, 1 bassoon, 2 horns, 2 trumpets, 1 trombone, 1 percussionist, 1 piano, 7 violins, 2 violas, 2 cellos and 1 string bass, a much smaller orchestra than the original.
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Penny whistles or tin whistles Kwela is another sub-style under the umbrella of township music that is composed of traditional, marabi and American sing-jazz elements; it is also characterized as urban African penny whistle music of the 1950s, arising slightly after marabi music and popularized in Johannesburg, much like marabi. Coplan states that this particular style makes use of a unique combination of instruments including the string bass, the guitar, drums, and several penny whistles to construct the strong repetitive melodic line. Kwela was at first produced by the children in “black slums in creative imitation of their favorite jazzmen”. Coplan also states that the penny whistles were overlooked by overseas audiences and were still considered to be a child’s instrument.
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In 1973, after the release of Six, Hopper left and was replaced by Roy Babbington, another former Nucleus member, who had already contributed double bass on Fourth (1971) and Fifth (1972) and took up (6-string) bass guitar successfully, while Karl Jenkins took over as bandleader and composer. After they released Seven (1973) without additional musicians, the band switched record labels from Columbia to Harvest. On their 1975 album, Bundles, a significant musical change occurred with Allan Holdsworth adding guitar as a prominent melody instrument to the band's sound, sometimes reminiscent of John McLaughlin's Mahavishnu Orchestra, setting the album apart from previous Soft Machine albums which had rarely featured guitars. Holdsworth was replaced by John Etheridge for the next album Softs (1976).
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The band included childhood friend Otto Hardwick, who began playing the string bass, then moved to C-melody sax and finally settled on alto saxophone; Arthur Whetsol on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums. The band thrived, performing for both African-American and white audiences, a rarity in the segregated society of the day. British pressing of "East St. Louis Toodle-Oo" (1927) When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington left his successful career in D.C. and moved to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along.
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Jupp played in several Southend bands after leaving art college in 1962 and was in the R&B; group the Orioles (1963 to late 1965), which included Mo Witham (guitar, vocals) and Bob Clouter (drums), but the band were never recorded. After a break from music, Jupp formed Legend in 1968, who were signed to Bell Records. They released an eponymous album Legend, playing a mix of pop, rockabilly and blues rock styles using no electric instruments. The original band: Nigel Dunbar (drums), Chris East (guitar, vocals and harmonica) and Steve Geere (string bass and vocals), who recorded this album with Jupp (guitar, piano and vocals), split soon afterwards, so Jupp assembled a new line-up, with Mo Witham on guitar, John Bobin on bass and Bill Fifield on drums.
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Miller recorded his version of the song for RCA Bluebird (B-11274-A) on August 11, 1941 in New York with Ray Eberle on lead vocals and the Modernaires on backing vocals. This version was an even bigger success than Jurgens’ recording, peaking at no.1 for one week on the Billboard Best Selling Retail Records chart for the week ending December 13, 1941, in a 20-week chart run.Song artist 6 - Glenn Miller.. The personnel on the recording were Ray Eberle, the Modernaires (vocals), Billy May, John Best, Alec Fila, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank D'Annolfo (trombone), Hal McIntyre, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward "Doc" Goldberg (string bass), and Maurice Purtill (drums).
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He signed with Decca and released solo instrumental and vocal work with some success, "Besame Mucho" and "The Man with the Golden Arm" featuring a Fender VI six-string bass guitar. Then, as part of a duo with former Shadows drummer Tony Meehan, he topped the UK Singles Chart for three weeks in early 1963 with "Diamonds". Harris and Meehan followed this with two further hit singles, "Scarlett O'Hara" (also written by Jerry Lordan) a UK No. 2, and "Applejack" (composed by Les Vandyke) reaching UK No. 4 also in 1963. Tracks from "Diamonds" onward were recorded with Harris using standard Fender Jaguar and Gretsch guitars, usually de-tuned to D instead of E. Harris was partly responsible for helping Jimmy Page and John Paul Jones break into the music business.
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While Joe Perry is Aerosmith's better known guitarist and the band's principal songwriter with Steven Tyler, Whitford has made significant contributions to the band's repertoire over the years. This includes co-writing Aerosmith's hit "Last Child" as well as some of Aerosmith's heaviest songs: "Nobody's Fault" and "Round and Round", and playing lead guitar on "Sick as a Dog" and "Back In the Saddle" (on which Perry plays six string bass), "Last Child", and on the ballads "You See Me Crying" and "Home Tonight" He also plays co-lead with Joe Perry on songs such as "Train Kept A-Rollin", "Lord of the Thighs" and "Love in an Elevator". The version of "Lord of the Thighs" on their 1978 live album Live! Bootleg in particular is perhaps his most famous soloing moment.
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The majority of the songs on the album were recorded at Lu and Charlie's jazz club in New Orleans on March 5, 1974, with a band that included Williams on piano and vocals, Clive Wilson on trumpet, Clarence Ford on clarinet and tenor sax, James Prevost on bass, and Chester Jones on drums. Also on the disc were four songs recorded in 1963 featuring Williams on piano and vocals, Ernest Poree on alto sax, Narvin Kimball on string bass, and Lloyd Washington on drums. In 2014 GHB Records released Dave Fat Man Williams- I Ate Up The Apple Tree which adds six additional songs from a 1975 session. A 1981 live set from Femø Island, Denmark featuring Williams, Sammy Rimington and Doc Houlind was released by GBH Records in 1996.
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In this Randolph Caldecott rendition, a dish, spoon, and other utensils are anthropomorphized while a cat in a red jacket holds a fiddle in the manner of a string bass. The rhyme may date back to at least the sixteenth century. Some references suggest it dates back in some form a thousand or more years: in early medieval illuminated manuscripts a cat playing a fiddle was a popular image."Meetings with Remarkable Manuscripts" (Penguin Random House, 2016, 1st ed), Christopher de Hamel, p323 There is a reference in Thomas Preston's play A lamentable tragedy mixed ful of pleasant mirth, conteyning the life of Cambises King of Percia, printed in 1569 that may refer to the rhyme: > They be at hand Sir with stick and fiddle; They can play a new dance called > hey-diddle-diddle.
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In an interview with Musician magazine, Westerberg noted that there were 4 drummers on the record, but 'we didn't bring in any guitar players,' indicating that all of the guitar parts were performed by Replacements members, but many of the drum parts were not. Replacements bassist Tommy Stinson joined the project only about a week after it started, and no bassists are included among the list of session musicians, indicating that Stinson played most of the bass on the record. Stinson has mentioned 'the songs I didn't play on' which may refer to songs like the title track that don't feature bass, or that Westerberg, who occasionally played 6-string bass on the band's earlier recordings may have played some bass in Stinson's place. A number of the tracks also prominently feature Stinson's backing vocals.
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Returning to Brooklyn in the early 1990s, Paley continued writing and began performing solo in rock clubs on the Lower East Side, singing his songs and playing a 1955 Gretsch archtop guitar plugged into a 1965 Fender Super Reverb amplifier. After a series of self-released tapes available only at shows, Sub Pop released his solo debut, the vinyl single "Time For You" b/w "The Best Of All". Paley's first solo album Lucky's Tune was produced by Frank Black (formerly and again Black Francis), and released by GoodNoise in 1999. This was followed in 2000 by the album Revival, featuring Paley accompanied by Robert Lee Oliver on the three-string bass and James Murray on the trap kit, and produced by Eric Drew Feldman, who along with Jim Duffy also guests on the album.
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91; The story of Bülow discussing Stirner from the conductor's podium is also described by Alex Ross, music critic for The New Yorker in "Beethoven Unbound", by Alex Ross, The New Yorker, Oct. 22, 2001; Hans von Bülow's participation in placing a memorial plaque on Stirner's last residence is reported in a New York Times Saturday Review of Books article on Stirner, "Ideas of Max Stirner", by James Huneker, New York Times Saturday Review of Books, April 1907 Some of his orchestral innovations included the addition of the five-string bass and the pedal timpani; the pedal timpani have since become standard instruments in the symphony orchestra. His accurate, sensitive, and profoundly musical interpretations established him as the prototype of the virtuoso conductors who flourished at a later date. He was also an astute and witty musical journalist.
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A Fender Precision Bass-style bass guitar. The bass guitar (also called an "electric bass", or simply a "bass") is similar in appearance and construction to an electric guitar, but with a longer neck and scale length, and four to six strings. The four-string bass, by far the most common, is usually tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest pitched strings of a guitar (E, A, D, and G). The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) to avoid excessive ledger lines being required below the staff. Like the electric guitar, the bass guitar has pickups and it is plugged into an amplifier and speaker for live performances.
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As soon as aluminum was available in the late nineteenth century, people began experimenting with making new or improved musical instruments, but it was not until the 1930s that companies began to consider mass-producing them. At that time Joseph E. Maddy, founder of the Interlochen School of Music, (now the Interlochen Center for the Arts), requested that Alcoa experiment with manufacturing an aluminum violin and string bass. As a band director, Maddy was looking for durability in musical instruments. He wanted an instrument that could handle the abuse it received from his students as well as from atmospheric changes, since many of his rehearsals were conducted outside. These instruments, however, were not popular, and Maddy’s business venture did not flourish. Other products using aluminum were manufactured in the 1930s including Laurens Hammond’s electric organ created in 1935.
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Gibson's first doubleneck guitars were produced from 1958 to 1961 with a hollow body and two 6-string necks, one being a short-scale neck tuned to a higher octave; from 1962 to 1967 it had a solid body. A model with a 4-string bass and a 6-string guitar neck was called the EBS-1250; it had a built-in fuzztone and was produced from 1962 to 1968 and again from 1977 to 1978. In 1963, the solid-body EDS-1275 was designed, resembling the SG model; this version of the doubleneck was available until 1968. The EDS-1275 is often referred to as the "SG doubleneck" due to its similar shape, although both necks of the 1275 have a shorter scale fret board than the SG and fixed tail pieces, where the SG has an adjustable one.
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2) can attune several Tombak Tombak or together with a melodic instrument 12 - Law \- Run the slide on screen Brgrdanhay law enforcement even Glysandv Tarzi is also possible. 13 - sensational technique developed Modulation technique, which consists of a skin and timber in a part of my page very melodic voice that is produced on the sitar, lute and tabor is played. 14 - Reconstruction of the following instruments for year 2500 celebrations at the time of culture and art work in the workshop Sourena - Krmyl - trumpet - Gvrg - Krmyl Gulf - Dvzlh - Balaban - Marnay - Draznay (trumpet north) - drum - large and small Gulf kettle - kettle North (pair) 15 - In recent years (in 1385 AH. Sh) during the design of a string bass fiddle Srpnjh handsets screw was designed for this instrument. Properties of this type can Srpnjh and phones: 1 - to ease the child.
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The most marked shifts from New Orleans and Chicago styles of jazz to orchestral jazz included the shift from polyphony to homophony, the general expansion of instrumentation, and a greater emphasis on pre-arranged compositions rather than collective improvisation. Prior to 1930, big bands were composed of trumpets, trombones, saxophones or clarinets, and a rhythm section made up of tuba, banjo, piano, and drums. Early big bands typically played 32-bar popular songs or 12-bar blues, which were organized around the traditional jazz two-beat groove; as the big band genre evolved, however, the four-beat swung rhythm became its most substantial change. This was in part a function of the change in the instrumentation of the rhythm section, and the incorporation of the string bass, as well as the substitution of guitar for the banjo.
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A small number of bass players tune their strings in fifths, like a cello but an octave lower (C1–G1–D2–A2 low to high). This tuning was used by the jazz player Red Mitchell and is used by some classical players, notably the Canadian bassist Joel Quarrington. Advocates of tuning the bass in fifths point out that all of the other orchestral strings are tuned in fifths (violin, viola, and cello), so this puts the bass in the same tuning approach. Fifth tuning provides a bassist with a wider range of pitch than a standard E–A–D–G bass, as it ranges (without an extension) from C1 to A2. Some players who use fifths tuning who play a five-string bass use an additional high E3 string (thus, from lowest to highest: C–G–D–A–E).
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Several versions were recorded during the Get Back/Let It Be sessions, on 24, 26, 27, 28, and 29 January 1969, at Apple Studio. The 51-second version on the album is an extract taken from the 26 January version, which was a 15-minute jam that evolved from a loose "Like a Rolling Stone" jam. A segment of the jam session, 4 minutes and 30 seconds in length, appears in the documentary film Let It Be. The participants in that session are John Lennon on vocals and 6-string bass, George Harrison on guitar, Paul McCartney on piano, Ringo Starr on drums, George Martin on maracas and Billy Preston at the organ; also participating in the jam, but not heard on the released version, was Linda Eastman's six-year-old daughter Heather. Eastman later became McCartney's wife.
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His vigorous melodic bass playing, alternately plucking, slapping, and bowing, was an important feature of the early Ellington Orchestra sound in the 1920s and 1930s. Braud's playing on Ellington's regular radio broadcasts and recordings helped popularize the slap style of string bass playing, as well as encouraging many dance bands of the time to switch from using a tuba to an upright bass. (Like many of his contemporary New Orleans bassists, Braud doubled on tuba, and he recorded on that instrument on some sides with Ellington.) In 1936 Braud co-managed a short lived Harlem club with Jimmie Noone, and recorded with the group Spirits of Rhythm from 1935 to 1937. He played with other New York bands including those of Kaiser Marshall, Hot Lips Page, and Sidney Bechet, and returned for a while to Ellington in 1944.
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During his studies at CSULA, he was accepted into the piano and string master classes of concert pianist Dr. Milton Stern and string pedagogue Noumi Fischer where Ariondo transcribed, adapted and arranged music for accordion with piano, violin, viola, cello and string bass. In 1976 he received a Bachelor of Arts Degree in Music and four years later a Master of Arts Degree in composition and performance. The fulfillment of these degrees focused on performance which included Ariondo's original compositions and arrangements with special emphasis toward the utilization and integration of the accordion in chamber music settings. His masters thesis recital "Interaction and Integration of the Accordion in Chamber Music" encompassed a variety of music styles and genres from the baroque and classical to ragtime, gypsy, improvisational to the avant-garde mixed with accordion, strings, woodwinds and voices.
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1939 Glenn Miller recording on RCA Bluebird, B-10286-A1953 sheet music cover from the film The Glenn Miller Story, Lew Music, New YorkIn 1939, Glenn Miller and His Orchestra released a hit version of the song on RCA Bluebird, as an A side 78 single, B-10286-A, in a new arrangement by Bill Finegan backed with "Pavanne". The recording was an early chart hit for Glenn Miller. The song was performed in Glenn Miller's Carnegie Hall concert that year and became a staple of the Glenn Miller Orchestra repertoire and a classic of the Big Band era. The personnel on the Glenn Miller recording: Saxes: Hal McIntyre, Tex Beneke, Wilbur Schwartz, Stanley Aronson, Al Klink; Trumpets: Bob Price, R. D. McMickle, Legh Knowles; Trombones: Glenn Miller, Paul Tanner, Al Mastren; Piano: Chummy MacGregor; String Bass: Rowland Bundock; Guitar: Allen Reuss; Drums: Moe Purtill.
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In 1956 West formed a band with Jimmy Metz (string bass), Doc McKay (drums) and Buddy Smith (guitar). They recorded "Rock-Ola Ruby" and "Sweet Rockin' Baby" at the local radio station KLVT in Levelland. Bob Kaliff, a disc jockey at KLVT, then arranged for West to re-record the two songs at Norman Petty's studio in Clovis, New Mexico. The studio, however, did not have an echo chamber at the time and Petty therefore arranged for the recording to occur at the local Lyceum Theatre, essentially a live recording on an AMPEX recorder, in August 1956. Only 700 copies of the songs were released on Petty's Nor-Va-Jak label. According to Tom Lincoln and Dick Blackburn's Guide to Rare Rockabilly and Rock and Roll 45 rpms: "Next to Elvis' Sun rockabilly pieces, this may be the next most sought after rockabilly record by collectors".
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The unique design of this guitar set is that it consists of several modular elements, that could be separated and combined by a system of dowels and thumbscrews, including an electrical connection. The complete set originally consisted of a 6-string guitar "top- section", two 12-string guitar "top-sections" to have different tunings readily available, and a 4-string bass "bottom-section". The bass section could be attached to any of the top-sections to create a variety of twin-neck combinations. (Additionally there was a smaller lower-body-section which could be attached to any of the top-sections when they were not in use as part of a double-neck configuration, to complete the shape of a single guitar.) As a tongue-in-cheek reference to Rutherford's frequent use of this double-neck guitar, the puppet version of Rutherford in the video for Land of Confusion plays a four-necked guitar.
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Dixieland, sometimes referred to as hot jazz or traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. One of the first uses of the term "Dixieland" with reference to music was in the name of the Original Dixieland Jass Band (which shortly thereafter changed the spelling of its name to "Original Dixieland Jazz Band"). Their 1917 recordings fostered popular awareness of this new style of music. A revival movement for traditional jazz began in the late 1940s, formed in reaction to the orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds (referred to as "Chinese music" by Louis Armstrong), Led by the Assunto brothers' original Dukes of Dixieland, the movement included elements of the Chicago style that developed during the 1920s, such as the use of a string bass instead of a tuba, and chordal instruments, in addition to the original format of the New Orleans style.
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Electrical microphones led to a dramatic change in the performance style of singers, ushering in the age of the "crooner", while electronic amplification had a wide-ranging impact in many areas, enabling the development of broadcast radio, public address systems, and electronically- amplified home record players. In addition, the development of electronic amplifiers for musical instruments now enabled quieter instruments such as the guitar and the string bass to compete on equal terms with the naturally louder wind and horn instruments, and musicians and composers also began to experiment with entirely new electronic musical instruments such as the Theremin, the Ondes Martenot, the electronic organ, and the Hammond Novachord, the world's first analogue polyphonic synthesiser. Contemporaneous with these developments, several inventors were engaged in a race to develop practical methods of providing synchronised sound with films. Some early sound films — such as the landmark 1927 film The Jazz Singer – used large soundtrack records which were played on a turntable mechanically interlocked with the projector.
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The creative origins of En saga remain somewhat uncertain, although Sibelius's statements to Ekman and Furuhjelm indicate the piece may have evolved from sketches for a septet or octet the composer had begun in 1890–91. To date, however, researchers have been unable to recover the pre-En saga chamber piece, either as a completed manuscript or unfinished sketches (again, if such a composition ever existed). Gregory Barrett, professor of clarinet at the Northern Illinois University School of Music, has nonetheless sought to reclaim this (purported) "lost chamber masterpiece", arranging in 2003 the original 1892 orchestral tone poem for flute, clarinet, two violins, viola, cello, and string bass. Contemporary accounts that describe the Barrett septet as a "reconstruction" are inaccurate; because Sibelius's 1890–91 sketches do not survive, there is no way to know how similar Sibelius's own chamber piece was to the first orchestral version of En saga and, by extension, to Barrett's chamber arrangement.
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Webster currently uses Spector 'Alex Webster Signature Edition' (based on Euro 5lx basses), DR Strings, and His signature Hammer Smashed Bass pickups by Seymour Duncan paired with a Darkglass Electronics tone capsule preamp wired for 18 volt operation. All of his signature basses have been set up by scooter at granville guitars and are wired using 4 single stack knobs for reliability on a heavy tour rotation (1 volume with both pick ups hardwired and 3 tone controls) Before his signature model, he used Modulus Quantum 5 and Spector Euro 5lx basses. He also used a white 1987 Fender Precision bass on the albums Eaten Back to Life and Butchered at Birth, an Ibanez Sabre SB900 on the album Tomb of the Mutilated, an Ibanez Soundgear SR1500 on The Bleeding and both a 1971 Precision Bass as well as a Spector NS Series 5-string bass on Vile. In the past, he used an Ampeg SVT200T with an Ampeg 8x10 cabinet, then switched to the SVT-4PRO head.
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19The New York Times, 14 January 1942, p. 24 Juan Arvizu (1940s);The New York Times, 5 May 1941, p. 32 Nestor Mesta Chayres (1940s);The New York Times, 23 April 1944, p. X5 Eva Garza (1940s);The New York Times, 23 January 1944, p. X9 Miguel Sandoval (1940s), Elsa Miranda (1940s) and Marlene Dietrich in a performance of "Lili Marlene" on CBS (1945). The performances with CBS' Pan American Orchestra and Alfredo Antonini are credited for helping to introduce Latin American music and the Mexican bolero to large audiences in the United States in the 1940s. He also recorded with several artists including: Victoria Cordova (vocalist) and Alfredo Antonini for Muzak (1949); his ensemble the BelCordions (four accordions, string bass and guitar) of his thirty arrangements for RCA Victor's RCA Thesaurus at NBC (1946); and the Biviano Sextette (1946). His recordings with Cordova showcased several songs from Latin America including: "Verde Luna" (Vincente Gomez), "Amor" (Gabriel Ruiz), "Siboney" (Ernesto Lecuona), "You Belong to My Heart" (Agustin Lara), "Edelma - Pasillo" (Terig Tucci) and "What a Difference a Day Made" (Maria Grever).
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By 1715, this began to cause financial hardship in Stuttgart, as the ecclesiastical bodies whom fronted the salaries of the Hofkapelle made known their disdain for paying a clearly secular facet of the court. To reduce this strain, a rotational system wherein a copyist and pianist were on call at all times with three groups consisting of a violinist, an oboist, and a string bass player alternating every four weeks. These musicians were simply referred to as "court and chamber musicians," weren't appointed at a higher rank, and they were paid differently. Chamber music began to be considered a major part of the court's musical establishment, on par even with church and table music, as evidenced by various documents following Pez's death (25 September 1716) in May 1717 from Schwartzkopf and Störl that confirmed Pez's view of the Hofkapelle as a pool of multi-talented musicians who could play a wide range of instruments, and the hiring of violinist and virtuoso Giuseppe Antonio Brescianello as "director of chamber music" about a month after Pez's death.
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The Club Series became the first Burns guitars ever to be manufactured outside of Britain, but the original Burns design ethics, construction and style didn't suffer as a result, with the range exploding in popularity throughout the following years. The Club Series expanded quickly, many Jim Burns-designed guitars constructed from 1960 to 1983 receiving its own budget model, such as the Marquee which was a budget version of The Marvin, the Steer (most famously played by Billy Bragg, the London Steer being a copy of a Steer guitar built and given to Billy by Jim Burns many years ago), the Bison and even the Barracuda six-string bass/baritone model. Newer designs have begun to emerge in the last few years, usually building upon the designs of the '60s originals, such as the Batwing, a Marquee with a Bison-style headstock. Burns also worked with Queen guitarist Brian May to produce a copy of May's Red Special guitar (which uses Burns Tri-Sonic pickups), and this model was awarded "Best Electric Guitar of the Year 2001" by Guitarist magazine.
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Birch also built the Rook guitar for Rook Music, which can be seen, along with Framus's copy of the Super Yob, in Tony Bacon's The Ultimate Guitar Book. The Rook guitar was designed to emulate a rook chesspiece, complete with a simulated brick texture made of cork and a front gate made of fretwire. The last guitar that John Birch himself worked on was a replica of the Birch bass used by Jim Lea of Slade, owned by Stu Rutter. Colin Gibb, from ‘Black Lace’ who had been a great lover of ‘custom’ guitars, and a great admirer of John Birch guitars (having borrowed one for the ‘Superman’ video) commissioned the company to build an 8-string bass, in 2001. The instrument was based on what Fender ‘may’ have produced, if they ever made an 8-string, in the 60s, Having a ‘hockey stick’ headstock (similar to the Fender electric 12-string), and chrome control plate (as on the bass V1) but being mainly designed around the Fender Precision Bass.
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The track was performed live by Horn and Anne Dudley during Horn's 2004 all-star charity event Produced by Trevor Horn (later released on DVD as Slaves to the Rhythm), celebrating Horn's 25th anniversary as a record producer. The performance featured Yes drummer Alan White on drums and Lol Creme on guitar. Almost all of the elements of it (except for a spoken phrase by Camilla Pilkington-Smyth, which was pre-recorded) were live, as opposed to programmed or sequenced: Horn played his elaborate bass part on a 5-string bass, Dudley played live synths and triggered all the samples from the original track (including the "dum-dum" chant) from a Roland keyboard, the "tra-la-la" vocals (originally an Andrew Sisters sample) were sung live by Linda Allen and Debi Doss of Buggles fame, all the other instruments were played by members of the onstage orchestra, and the whole piece was played faster than the original (about 135-136 BPM rather than 129). Indeed, Horn introduced the performance by emphasizing the live nature of it and stating that, since the original piece was "played by machines" (i.e.
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The Ragers played around Ohio sparingly while each member pursued primary interests in the other bands (on other instruments) that they were currently involved in. As the next few years went by, the Ragers' lineup shifted several times as they honed their sound, which by 1995 had evolved more towards a Bill Haley and Little Richard inspired Rock and Roll, including a shift from Fender Bass to String Bass for Bryan, a move from Drums to Sax for Todd, and the addition of Adam Buxton on Drums, Joe Ryan on Saxophone, and later a 15-year-old Mike Molnar on Guitar. Their sound evolved away from punk and more towards their R&B; influences, like Roy Brown, Wynonie Harris, Big Joe Turner, and Louis Jordan, as well as the classic country/rockabilly-type acts coming out of Sun Studios in the 50s (Elvis, Roy Orbison, Jerry Lee and company). By 1996, the Ragers were developing a growing catalog of original material, and were headlining regular shows at such classic (and many now defunct) Cleveland venues as The Grog Shop, Peabody's Down Under, and The Euclid Tavern.
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Plate from Christopher Simpson's book, The Division Violist, England, 1659–1667 edition. Gambas (as the name is often abbreviated) come in seven sizes: "pardessus de viole" (which is relatively rare, exclusively French and did not exist before the 18th century), treble (in French dessus), alto, tenor (in French taille), bass, and two sizes of contrabass (also known as a violone), the smaller one tuned an octave below the tenor (violone in G, sometimes called great bass or in French grande basse) and the larger one tuned an octave below the bass (violone in D). Their tuning (see next section) alternates G and D instruments: pardessus in G, treble in D, tenor in G, bass in D (the seven string bass was a French invention, with an added low A), small violone in G, large violone in D. The alto, between the treble and the tenor, does not fit in this scheme. The treble has a size similar to a viola but with a deeper body; the typical bass is about the size of a cello. The pardessus and the treble were held vertically in the lap.
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The eight-string guitar is used by modern heavy metal guitarists such as Fredrik Thordendal and Mårten Hagström of Meshuggah, Dino Cazares of Fear Factory, Stephen Carpenter of Deftones, Greg Burgess of Allegaeon, Simon Girard and Kevin Chartré of Beyond Creation, Justin Lowe and Trent Hafdahl of After the Burial, Josh Travis of Emmure (ex-The Tony Danza Tapdance Extravaganza and ex- Glass Cloud), Per Nilsson of Scar Symmetry and Meshuggah as a touring member and others. The instrument is particularly associated with the “djent” sound popularized by Meshuggah, Vildhjarta and other contemporary metal artists. Tosin Abasi and Javier Reyes of Animals as Leaders tune their eighth strings to the same low E as the lowest string on a standard four-string bass guitar, and use the instrument's versatility to incorporate bass guitar techniques—such as string thumping (on "Earth Departure, An Infinite Regression") á la funk bassist Larry Graham and the double thumping technique pioneered by Victor Wooten — as well as harp-like arpeggios. Ihsahn of the black metal band Emperor began playing seven-string guitar in 1999 and first played eight-string guitar on his 2010 album After.
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Two electric basses and a bass amplifier. This amplification setup is a "bass stack" approach, in which an amplifier (in this case a Hartke 5000) is plugged into separate speaker cabinets. The electric bass (or bass guitar) is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to an electric guitar, but with a longer neck and scale length, and four to six strings or courses. The four- string bass, by far the most common, is usually tuned the same as the double bass,Bass guitar/Double Bass tuning E1=41.20 Hz, A1=55 Hz, D2=73.42 Hz, G2=98 Hz + optional low B0=30.87 Hz which corresponds to pitches one octave lower than the four lowest pitched strings of a guitar (E, A, D, and G).Standard guitar tuning E2=82.41 Hz, A2=110 Hz, D3=146.8 Hz, G3=196 Hz, B3=246.9 Hz, E4=329.6 Hz The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) to avoid excessive ledger lines.
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