(1992/Avenue-Rhino) 5 tracks - This is the original sealed first CD pressing on the Avenue/Rhino Label from 1992! Performing around the L.A. area during the late ´60s. Lonnie Jordan (keyboards), Howard Scott (guitar), B.B. Dickerson (bass). Harold Brown (drums). Charles Miller (saxophone), and Papa Dee Allen (percussion) were members of The Nightshift, a club act that mixed R&B covers with originals and backed up a rotating cast of singers on stage. Prior to this, most of the musicians had been in The Creators, who had likewise played the local circuit and released a few little-heard singles. The Creators/Nightshift nucleus was not a typical club act. ´Our influences and upbringing made us different,´ says Jordan. ´Howard and I were raised in Compton (south of L.A.). and we heard a lot of mariachi and salsa music from the Latin people there. And I was also listening to ska, jazz organ players, a variety. Sometimes club owners didn´t understand our music —they wanted us to sound like Booker T. & The MG´s or whatever else was happening back then.´ Besides mainstream R&B vocalists. The Creators found themselves backing up psychedelic sax player Jay Contreli in the mid-´60s. an experience that gave them a foretaste of the far-ranging improvisations they would later perform with Burdon. The Nightshift came to the attention of Goldstein, then enjoying considerable success as the head of a rock poster company. Previously, he had compiled an impressive track record as a New York-based bandmember (The Strangeloves), songwriter (for The Monkees and Every Mother´s Son, among others), and producer/writer (of The Angels´ ´My Boyfriend´s Back´ and The McCoys´ ´Hang On Sloopy´). Goldstein was putting such activities on hold when sometime Nightshift bass player Peter Rosen (who also worked for the poster company) told Jerry about his group. ´I thought their music was a real interesting mix of funk and Latin,´ says Goldstein. ´The Nightshift had an interesting direction, but they were still looking for something...´ During late ´68/early ´69. Goldstein became reacquainted with Burdon, who was half-seriously threatening to return to England to shovel coal for a living. Goldstein suggested instead that he check out The Nightshift. then playing a stint as backup band to ex-football star Deacon Jones at a club called The Rag Doll in nearby North Hollywood. One night in early 1969, Goldstein, Burdon, and Oskar stopped by to hear the band laying down the grooves behind Jones´ athletic routines. At the end of the night. Oskar jumped on-stage and jammed up a storm — at the time, the group thought this harmonica wizard was actually Burdon. Events moved rapidly from that point onward. Burdon and Oskar had found their group. though The Nightshift let several horn players go in order to become War. Burdon had the novel idea of creating a horn section with just harmonica and saxophone. According to Jordan, Oskar fit in from the beginning: ´It was natural — we were already used to the harmonica players we grew up with in Compton. so it was very easy to bring Lee in.´ After only a few weeks of rehearsals, Burdon and War began performing live. One of their first gigs was at the Devonshire Downs rock festival before a crowd of 100,000. Months of steady touring took them across the U.S. and Europe. ´They never did Animals songs,´ Goldstein recalls of these early shows. ´Eric was doing something totally different. It was like a jazz band, and Eric could improvise vocals on the spot. Every night, the same song would be different lengths. Sometimes. they´d do three- or four-hour sets — it was just magic.´ This emphasis on spontaneous creation carried over into the sessions for Eric Burdon Declares War. Basic tracks were recorded January 2-4. 1970, at Wally Heider´s studios in San Francisco, with overdubs done at Crystal in Los Angeles. The free-flowing approach of the album starts immediately with ´The Vision Of Rassan,´ a piece that begins with a jaunty gospel/rock feel before sliding into a horn-driven soul-revue sound. ´That song was a tribute to [jazz reed player] Roland Kirk.´ says Harold Brown. ´Eric turned us on to Kirk´s music — he was always sitting us down somewhere and playing different things. He inundated us with music.´
(2005 ´Northern Blues´) (68:25/14) Auf seinem vierten Album für CrossCut begibt sich JW-Jones auf eine Zeitreise zu den Tagen des Kansas City Swing und auf die Central Avenue in Los Angeles, wo Bluesshouter vor mächtigen Bands standen und die Grenze zwischen Jazz und Blues verschwimmen ließen. JW nimmt die Musik dieser Ära und haucht ihr neues junges Leben ein. Der 25-jährige Kanadier spielte Schlagzeug, bis er 1995 ein B.B. King Konzert besuchte und danach einen Crash-Kurs in Bluesgitarre absolvierte. Begierlich sog er die Musik der großen Meister auf. Er studierte die Stile der drei Kings (Albert, B.B. und Freddie) und lernte von T-Bone Walker und Robert Jr. Lockwood. Heute ist JW auf der Suche nach dem eigenen Sound, den er zusammen mit Saxophonist James Asselin entwickelt. Seit drei Jahren arbeiten die beiden jungen Kanadier zusammen und versuchen, die Atmosphäre jener vergangenen Zeiten neu aufleben zu lassen. Die Entwicklung des JW ist auch an seiner Stimme ´ablesbar´. In den letzten beiden Jahren hat sich JW mit den großen Bluessängern der 40er und 50er Jahre, wie Little Milton, Roy Brown, B.B. King oder Wynonie Harris, beschäftigt und gelernt, deren Phrasierungen zu verstehen. Und schließlich gibt es mit David ´Fathead´ Newman einen Gast auf diesem Album, der als langjähriger Partner von Ray Charles die Geschichte afro-amerikanischer Musik mit geschrieben hat. Spätestens mit dieser CD hat sich JW freigeschwommen und mit seinem absolut zeitgemäßen Mix aus Tradition und Moderne seine eigene musikalische Sprache gefunden. Die Verquickung von R&B und Blues der frühen elektrischen Jahre mit den Sounds von heute, mit der Aggressivität des Rocks der Sechziger und dem Lebensgefühl seiner Generation lässt ihn aus der Masse seiner Altersgenossen, die über das Stadium der Imitation selten hinaus kommen, heraus ragen. (8-seitiges Digipak) / ´Kissing In 29 Ways´ is JW-Jones´ fourth album on CrossCut. It´s a time travel back to the heydays of Kansas City swing, and Central Avenue blues and r&b in Los Angeles. JW is taking you back to those days where blues shouters were fronting mighty bands, and where the borders between jazz and blues became blurred. JW absorbed the music of the era to revitalize rhythm´n´blues. The 25-year-old Canadian was a drummer until he attended a B.B. King concert in 1995. With this experience in mind, he started a crash course in blues guitar and began to learn playing the music of the masters. He studied the styles of the three Kings in blues (Albert, B.B. and Freddie) and learned from recordings by T-Bone Walker and Robert Jr. Lockwood. These days, JW continues to develop his personal sound, along with saxophone player James Asselin. Over the past three years, the two young Canadians have been working together. It is their common goal to recreate the atmosphere of long ago. JW´s recent artistic growth is also audible when listening to his singing. In the past two years JW has learend from the great blues vocalists of the 1940s, and ´50s. The original phrasings of singers like Little Milton, Roy Brown or Wynonie Harris come to mind. And finally, the special guest on this albumdeserves attention in particular. Tenor sax player David ´Fathead´ Newman has co-written part of the history of African-American music himself. He was a long-time and very valuable member of the Ray Charles band. Latest with ´Kissing In 29 Ways´, with his mixture of tradition and modern spirits, JW-Jones has found his own personal expression in contemporary blues. The amalgamation of r&b and blues of the early days with today´s sounds, the inclusion of 1960s style rock music and the attitude to life of his generation makes him one of the few outstanding blues musicians of his age group, in Canada. His music sounds original whereas many of his contemporaries sound like pale imitators. (Digipak) JW-JONES - gtr/voc, GEOFF DAYE pno/org, NATAHN MORRIS - bass, ARTIE MAKRIS - drums, plus horns. Special guest: DAVID ´FATHEAD´ NEWMAN - tenor sax.
Media Type : BookLevel : IntermediateMusical Genre : JazzSeries : CompleteNumber of pages : 136 This comprehensive method includes every conceivable aspect of jazz bass performance. It begins with the teaching of the basics using illustrations of hand positions, basic theory, the first position, how to read music, fingering, accelerated fingerboard studies, a fingerboard note location chart to the 12th fret, four-string studies, rhythm studies, syncopated rhythms and dotted notes. The book then introduces the second through seventeenth position, scale and arpeggio studies, accelerated fingerings using two-octave scales and various arpeggios, chord applications, rhythm patterns, extension fingerings, and harmonic minor and harmonized major scales using diatonic 7th chords. Part IV consists of theory for the bassists, chord construction, relating chord symbols and numbers, and the harmonized major, natural, harmonic, and ascending (jazz) melodic minor scales. Diagrams of 26 chords with the transposition charts using G and C fingerings are included. Each progression covers many playing styles encountered by the modern bassist, including: walking, 2-beat, syncopated rhythms(funk), Latin, bebop changes, pop-rock, blues, traditional blues, deadened-string technique, funk playing plus full chord progressions within tunes. Chords are suggested for the very diverse bass lines, syncopated patterns, scales and arpeggios. Written in standard notation with chord diagrams.
New Book and CD format! The ULTIMATE bass line book. Contains 23 chapters on bass line construction and other areas such as sound production, practicing, ´´special effects, blues/rhythm, slow/fast tempos and time/feel. Review exercises included for each chapter. CD includes Todd playing the exercises and etudes so that you can match his sound and jazz phrasing; something that is equally as important as playing right notes. For acoustic or electric. Complete! This is a Bass Line Bible!Actual Customer Testimonial - I want to thank you for your book The Bottom Line. As a late-middle-aged novice bassist (of sorts), I´m delighted by your choce of material and your presentation of it. You´ve confirmed many things I´ve long suspected but could not find good information regarding, including forward motion, the importance of 3rds and 7ths, the use of fingerboard patterns, and many more. And you´ve raised and explained many more things I hadn´t thought about, such as thinking of jazz in 12/8 time, the ride cymbal, and tipping in two-beat. I own dozens of jazz and bass music books, but this one book and its CD have brought more together for me than any of them. It´s a joy just to sit and read it, even when my bass is miles away. Again, thanks very much for this truly great work. -- Jack Clark (Idyllwild, California)
SetLevel : IntermediateMusical Genre : BluesSeries : McCabe´s 101 SeriesNumber of pages : 40This collection showcases a variety of bass patterns that can be applied to blues recordings and performances, even by the novice. Included among the 101 patterns are ten standard blues turn-arounds and ten standard blues endings that can be used in literally thousands of songs. In addition, the book provides several pages of valuable music theory and other information on blues progressions. In notation and tablature.
The Bass has been called the most important instrument in any band. The Bass player must create interesting lines under the chord changes, keep the time flow or pulse steady, and keep the form of the song together.Walking Jazz Lines For Bass is designed to help bassists create beginning to advanced walking patterns (smooth-sounding lines) that can be used in jazz, blues, R&B, gospel, Latin and country music. By explaining the basics of intervals, chords, and scales the author builds a framework for understanding bass line patterns.This book presents one- and two-measure patterns that can be used in playing the blues, rhythm changes, the II-V-I progression, and 20 popular jazz standards.Walking Jazz Lines For Bass is written in standard notation with chord symbols. The audio gives you the opportunity to play with one of the finest rhythm sections around. It is in stereo, with the bass and drums on the left and Piano and Drums on the right. Since the examples in the book are presented both with sample Bass lines and as chord progressions only, you can either follow along with the Bass or practice your own lines with the audio as your accompaniment. Access to online audio is included.
The Life and Music of Legendary Bassist James Jamerson
This book allows to learn and play the fantastic songs using top quality backing tracks. Standart music notation and tablature for bass. Th included CD enables you to learn how to play each piece by following full track, note-for-note version, and perfect your skillswith the play-along minus one tracks like performing with a live band.Birdland - Black Market - Cannonball - Mercy, Mercy, Mercy - Slang - Teen Town - Three View Of A Secret.
4-saitiger Bass mit Aktivelektronik Features: Korpus: Linde Hals: Ahorn Griffbrett: Ahorn Elektronik: 2-Band EQ, Aktiv Regler: Volume, Bass, Treble Tonabnehmer: Music Man designed Humbucker Hardware: Chrom Schlagbrett: 3 lagig (black/white/black) Inlay
Novelty 2019, der Sterling von Music Man StingRay-Bass "Ray34HH" bietet zwei Sterling von Humbucking-Tonabnehmern von Music Man, einen brandneuen, robusten Ahorn-Hals, einen aktiven 3-Band-Vorverstärker und einen konturierten Körper modern und Staffelei, deren Design auf der berühmten Brücke Ernie Ball Music Man StingRay basiert. Technische Besonderheiten - Modell: RAY34HH - Körper: Mahagoni - Bridge: Sterling von Music Man Designed Bridge - Pickguard: Schwarz - Maßstab: 34 "(86;4 cm) - Radius: 24 cm - Bünde: 21 - mittel - Mutternbreite: 43 mm - Griff: Gerösteter Ahorn - Touche: Gerösteter Ahorn - Bundmarkierungen: Weißer / Schwarzer Punkt - Mechanisch: Offen - Halsstab: Einfache Aktion - Konstruktion: verschraubter Griff - Bedienelemente: 1 x aktiver 3-Band-Vorverstärker - Schalter: 5-Wege-Schalter - Tonabnehmer: HH - 2 Alnico Humbucker - Saiten: Ernie Ball Super Slinky (ref: CEB 2834) - Gig Bag: Deluxe Sterling von Music Man