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Edo Castro by Brent-Anthony Johnson
Edo Castro’s passion for music in general and the electric bass guitar in specific are undeniable! His latest offering, “Phoenix” was released in 2006, and the rich, textural compositions weave a timeless musical expression! Edo spent many years as a disciplined self-taught bassist before attending Chicago’s American Conservatory of Music where he received a Bachelor of Music degree, in 1987. Since returning to his beloved Berkley, CA he has graced dozens of recordings – often with his 7 and 9-string instruments – and he has graced stages with artists such as Ed Thigpen, Fareed Haque, Pete Cosey, and Roy Haynes! Check out Edo at www.edocastro.com
BAJ: Edo! Thanks for taking a moment to chat with us at Bass Musician Magazine, man! “Phoenix” is a very cool release and I am so glad you sent a copy to us! It is so nice to hear maturity in your fine playing and compositions! Please describe your composing practice and tell us how the music “went to tape”?
EC: Thank you for having me. I’m flattered that you’re enjoying “Phoenix”. This project came together easily compared to my first CD “Edo” which took 7 years. To make a long story short, my first CD took 7 years because I was just making excuses not to finish it. But I did it. Anyway all the ideas that had been percolating from the first CD eventually revealed themselves in the latest recording. I worked on most of the material at home recording to disk on my computer. I’m not much of midi person these days. I like the organic process of real instruments playing one track at a time. Midi has been a great tool for me in the past but it was a sterile process. Even when I use my Conklin Midi bass for recording I’m recording the audio from the GR 33 and not the midi information. Recording Midi data took away the art of playing my instrument and I began to just futz with zeros and ones. Tweaking events and processes that had to do more with the computer than the bass. It just didn’t feel right…
For me composing is a varied path and I don’t approach writing the same way twice. At times it starts off as a bass line, a chord progress or a melodic idea. Sometimes I write it down on manuscript paper and other times I just record the germ seed idea on my loop pedal or in my computer. From there I work out the ideas until I feel I have an organized idea. Sometimes I just have bits and pieces pre-recorded that sit around until I get the inspiration to finish it.
Take for instance “Song of the Electric Whales”. I created this spacious slow loop and recorded it to my computer. Two months later, I watched the movie, The Whale Rider, which gave me the idea to complete the song. I thought to myself “hey I know how to make those whale sounds!” Once I created those whale sounds the melody came easily. I used a volume pedal to give it that underwater feeling.
In the last 10 years I’ve gotten into letting an idea take shape on it’s own with very little pressure from me. I’ve been enjoying “stumbling onto something by accident.” My version of “Amazing Grace” was completely unplanned. I just created another wonderful layered loop. But I had no melody. For months I tried writing a melody. Then one day I started playing this loop and the melody for “Amazing Grace” just came out from my hands. So I just went with that! The alternate lyrics you hear on “Amazing Grace” came 1 year later while I was driving to a gig in Central California. The original concept can be seen on You Tube that I uploaded a year or so ago. (www.youtube.com/watch?v=EchlvnpCUVg) or search Edo bass Loop. It’s the first performance of that tune.
For “Phoenix” I wanted to get into what I refer to as “changing the moment.” I first experienced this when I heard the opening harmonics passage to Pat Metheny’s tune “San Lorenzo”. Those notes (and the arrangement of those notes) made my hair stand on end. Time seemed to stand still as I listened to the music unfold.
This was the first time I really experienced space, melodic intention and a story telling in music outside of vocal music. Prior to hearing this I had only been listening to pop music and the fusion stuff like Return To Forever with Chick, Stanley, Al and Lenny. Don’t get me wrong I think the music of RTF is beautiful, complex and very intense. But I tend to gravitate towards a particular sound or feeling that is much more relaxed and less athletic musically.
“Phoenix” wasn’t meant to be party music but you might play this while eating dinner, sitting late at night or just having it in the background. It’s a veiled complexity. When you first listen to the album you think, “hmmm new age.” But when you dig deeper, there’s a lot of great stuff going on just below the surface.
Take for example the opening Track “Beneath an Evening Sky” by Ralph Towner. This tune has some beautiful rhythmic/harmonic structures. It starts off in 6/4 then in the middle of it goes briefly into 5/4 then back into 6/4. The F# Major 7 +5 chord at the end of the B section is a beautiful turn around to come back to the B Minor to G Major 7 #11 arpeggio. A friend of mine transcribed it around 1986-87 and I figured out how to play the chord voicings on 6 string bass. I had forgotten about that tune until I found the manuscript in my drawer a few years ago. I pulled it out and the song was still under my hand after some 20 years!
EC: Oh I love space. It’s perhaps the most underrated tool in music. After 30 years of playing bass, I’m learning to be more relaxed with space and use it. I think we get nervous when there’s a blank spot and we tend to want to fill the void immediately. There are lots of players like this and I for one have been guilty of this on many occasions! When I started off playing bass I was very impressed with the amount of notes and chords some of my heroes played. I was especially impressed with the speed in which they played these notes.
Perhaps it was the perception of “many notes” and my lack of understanding or experience that led me to believe “many notes” meant great musicality. I usually refer to space as “Breath”. Music is no different from speaking or having a conversation. Between thoughts, there is a moment of silence that we all hang on to, before we hear the next thought. In music, the spaces in-between each note is so minute, so small that a whole note seems to last an eternity. When you use “breath” as part of your solo, it really makes a difference. Anybody can play fast, use a lot of notes and play a lick. But it’s the artist who uses space as part of their melodic language that is going to impress me the most. Again my analogy here is more eloquent, like ballet versus running a race. Sure we can get caught in the excitement of the moment and run with an idea, but I have a tendency to run out of gas if I just play fast out of the gate. It’s much more demanding to build and create a story, rather than blow a bunch of “dig me” licks. So I practice taking my time and building an idea in a solo or bass line.
As far as which bassist has been an influence on me, every bass player that has come before me has been a major influence: Bootsy, Donald Duck Dunn, James Jamerson, Scott LaFaro, Ray Brown, Stu Hamm, Michael Manring and Ron Carter to name a few. But I do have my favorites: Mark Egan, Marcus Miller, Eberhard Weber, Jaco, Jimmy Haslip, Steve Swallow and Anthony Jackson. I tend to favor the electric players because I’m an electric player. My latest favorite is Carles Benevent from Spain. He’s amazing and has his own sound!
My main influences as a composer come from the likes of Jan Garbarek, Vince Mendoza, Charlie Haden, Lyle Mays, Pat Metheny, Ralph Towner, Eberhard Weber and Egberto Gismonte. Steve Khan’s “Eyewitness” recordings with Anthony Jackson have been a big influence on me compositionally. Pianist Bill Evans continues to be an influence on me as a soloist and a composer. I have almost every album that’s been released/re-released before and after his passing. Talk about space… Bill Evans is the king when it comes to playing with space.
BAJ: You have a busy performance and session schedule. What does your average week consist of, musically speaking, and with whom are you playing at this writing?
EC: I’m working with Edgetone Records artist Drummer/Composer Eric “Doc” Smith. He’s playing an Electronic Triggering device called a “Zen Drum.” I’ve been looking for someone like me who’s walked away from the traditional role of the instrument that they play and created another way to express themselves. Eric is the guy I’ve been looking for. He doesn’t play a kit drum much these days and that’s really great. Between my loops, my midi bass and Eric triggering sound, you hear all these sounds coming from 2 musicians. The possibilities are endless between the 2 of us.
Just recently I played with Atlanta GA Guitarist Ronnda Cadell who I met through myspace.com Ronnda drove out from Georgia and just gigged along the way to the West Coast. She’s a wonderful artist and musician to work with. She gave me carte blanche with her songs. At the end of the night she just had this big grin on her face and said, “Thank you for making me sound like Joni Mitchell.” She was referring to Joni’s album “Hejira” with Jaco Pastorius. That was a fine compliment because I spent many hours pouring over all those progressions and arrangements. That’s a beautiful album.
BAJ: Would you tell our readers one of your most important life lessons?
EC: I think the biggest lesson for me has been to appreciate where I am in my life and not focus on where I am not at in my life. I spent a good portion of my life fretting because my life didn’t unfold as I imagined it would. This caused me to overlook the opportunities and possibilities that were right in front of me. Under the surface I was unhappy. Living in the present moment by appreciating the things that you do have brings contentment and joy.
Besides everyone loves being around a happy person.
2) Always be thankful for everything and not overlook the smallest of things. This probably part 2 of lesson 1. You can have all the money in the world, but it would be worthless if you were sick or dying. I believe if you live your life with gratitude, you generally tend to be a happier healthy person. Happiness is contagious and it really changes people around you when you’re happy.
3) Don’t be influenced by what people think of you or your art. Insecurity is our worst enemy. That’s not to say we should be conceited. For me it’s about believing in what you do and holding true to your vision. There are folks out there who would like to undermine your thinking and get you confused. Don’t be afraid of people disliking what you do in your art.
Not everyone is going to get it and that’s OK.
4) Trust your instincts. If you feel something’s not right, you’re probably right.
5) Be true to yourself. We all want to fit in and be cool, hip etc. I think that’s a mistake. Did you ever find times in your life where you did things you didn’t really care for or didn’t want to do but said yes so you could be seen as cool or fit in? That’s being submissive to the will of others. I think when we stop “trying to be something” we begin to take on an authentic self and step away from “the hipness factor.” Everything about us is more genuine. It’s human nature to want to be identified with a group. Yet, each of us wants to be seen as an individual or unique. It’s a crazy paradox for the psyche. My friend and bassist Yves Carbonne and I have this ongoing joke to see who can play the slowest. The point is we’re not trying to sound like Marcus Miller or Jaco nor are we trying to impress anyone by playing the fastest bass line or solos. We are just being ourselves. Besides there can only be one Jaco, or one Marcus Miller. Why be a great imitator?
LIFE, like music, is an evolutionary process… These life lessons I mentioned are things I work on every day. The more I work at them the more applicable they become in my life, just like practicing scale modes, arpeggios and other musical exercises. Again this is just my prospective and there are those who would disagree with me or find these things not applicable to themselves. If anything, I think about this old Chinese proverb I heard years ago, “If you want to know what the road is like up ahead, ask the traveler who is coming in the other direction.”
EC: I think it’s really important to live your life so that you have something to say in your music. It’s quite admirable to practice 8-10 hours a day, (and I used to do that)! But outside your door life passing by, and its time we’ll never get back. Never. So I do everything I can to spend time with friends, my wife and loved ones, and get out and enjoy Nature. Be in the world. Sometimes I just sit and watch the grass grow and that is good too! These days we spend a lot of time on the Internet living in virtual space, traveling in cars, moving quickly and not being still. It’s really good to stop, unplug and touch the real world. I clean the house weekly, water my garden, work out, ride my bike, do yoga, play golf, read books or watch films. Oh yeah I love to cook.
BAJ: Where is life taking you next, Edo?
EC: Ah the eternal question “Quo Vadis?” I do my best to live in the moment, day by day. This doesn’t mean I’m cavalier or that I’m guided by my whimsy or living a life of exuberance and drunkenness. It’s focusing on the tasks at hand and being mindful of the present. If someone is mopping floors to help cover the bills, then enjoy the task. It’s not permanent. Everything is in motion. If you make a mistake, figure it out and let it go. Like music if you hit a wrong note And obsess over it, you’re out of the musical moment and you’re many measures behind. Life is not so different.
I’d like to think that what I do now in the present that is positive, good and thoughtful would guide me to the next place where I should be while on this journey called “Life.” It’s easy to think we are in control of our lives but really we aren’t. We can only raise our sails, catch the prevailing winds and hope for calm seas and good weather. The better we are at adapting to what life gives us with a positive attitude the better our chances of having the things we want in our lives to materialize. I’m a firm believer that whatever we do, good or bad, is not over-looked. Our actions go out into the world like a stone falling into a pond. You never know what your actions will do or whom they will affect so it’s good to always be mindful.
As far as musical endeavors are concerned… I’m on a project called “K2” that was just released on Edgetone records, by Eric “Doc” Smith. I’m also working with a trio project with 2 great local players, Erik Lindquist on Guitar and Alex Aspinall on Drums. I’m also assisting Lisa Star (Passion Star) and Ray Cooper for their Cooper/Star material. Ray Cooper is an Executive Producer and Producer.
Lisa Star is co-writer on this material as well as vocalist. Ray Cooper produced “Phoenix”. I’ve got a live track from my performance opening for Manring, Kassin and Darter that will be on my next CD. The tune is called “It is what it is.” Eric “Doc” Smith is playing the Zen Drum. He had the difficult task of playing to my bass loops and did a brilliant job. I’m planning on going to NAMM 2009 in Anaheim CA. “Doc” Smith and I have been talking about doing some gigs in Europe. We will see. It’s just talk right now.
I also spend time searching for tone or a particular voice in an instrument. I’ve been fortunate to have some of the finest boutique basses made, yet the search for tone continues. Conklin basses continue to be my mainstay instruments providing me with great tone and flexibility. Bill Conklin is the guy that started it all with the multi-stringed bass movement. Bill is finishing up a bass for me as I type this. So I look forward to that. Last year I was given an opportunity to help co-design a bass with bass maker Fred Bolton of Bee Basses. The result is the “Stinger Bee”. That bass has the best organic sounding Fretless bass I’ve ever heard. I think it’s the combination of the acrylic saturated fingerboard and graphite neck that gives the bass its horn like qualities. The fingerboard feels like wood so the result is more “woody” in nature yet resilient to string wear. I hope to see a few more basses in my future. I’ve been very fortunate and blessed to have good life. I wish the same for you and your readers as well, Thank you.
Visit online at www.edocastro.com
Bass Videos
Tour Touch Base (Bass) with Ian Allison
Ian Allison Bassist extreme…
Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.
I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/
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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
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Features
Interview With Audic Empire Bassist James Tobias
Checking in with Bergantino Artist James Tobias
James Tobias, Bassist for psychedelic, Reggae-Rock titans Audic Empire shares his history as a musician and how he came to find Bergantino…
Interview by Holly Bergantino
James Tobias, a multi-talented musician and jack-of-all-trades shares his story of coming up as a musician in Texas, his journey with his band Audic Empire, and his approach to life and music. With a busy tour schedule each year, we were fortunate to catch up with him while he was out and about touring the US.
Where were you born and raised?
I was born in Dallas, Texas and lived in the Dallas area most of my life with the exception of 1 year in Colorado. I moved to the Austin area at age 18.
What makes the bass so special to you particularly, and how did you gravitate to it?
I honestly started playing bass because we needed a bass player and I was the one with access to a bass amp and bass. I played rhythm guitar and sang up until I met Ronnie, who I would later start “Audic Empire” with. He also played rhythm guitar and sang and we didn’t know any bass players, so we had to figure something out. I still write most of my songs on guitar, but I’ve grown to love playing the bass.
How did you learn to play, James?
I took guitar lessons growing up and spent a lot of time just learning tabs or playing by ear and kicked around as a frontman in a handful of bands playing at the local coffee shops or rec centers. Once I transitioned to bass, I really just tried to apply what I knew about guitar and stumbled through it till it sounded right. I’m still learning every time I pick it up, honestly.
You are also a songwriter, recording engineer, and a fantastic singer, did you get formal training for this?
Thank you, that means a lot! I had a couple of voice lessons when I was in my early teens, but didn’t really like the instructor. I did however take a few lessons recently through ACC that I enjoyed and think really helped my technique (Shout out to Adam Roberts!) I was not a naturally gifted singer, which is a nice way of saying I was pretty awful, but I just kept at it.
As far as recording and producing, I just watched a lot of YouTube videos and asked people who know more than me when I had a question. Whenever I feel like I’m not progressing, I just pull up tracks from a couple of years ago, cringe, and feel better about where I’m at but I’ve got a long way to go. Fortunately, we’ve got some amazing producers I can pass everything over to once I get the songs as close to finalized as I can.
Describe your playing style(s), tone, strengths and/or areas that can be improved on the bass.
I honestly don’t know what my style would be considered. We’ve got so many styles that we play and fuse together that I just try to do what works song by song. I don’t have too many tricks in the bag and just keep it simple and focus on what’s going to sound good in the overall mix. I think my strength lies in thinking about the song as a whole and what each instrument is doing, so I can compliment everything else that’s going on. What could be improved is absolutely everything, but that’s the great thing about music (and kind of anything really).
Who were your influencers in terms of other musicians earlier on or now that have made a difference and inspired you?
My dad exposed me to a lot of music early. I was playing a toy guitar while watching a VHS of Stevie Ray Vaughan and Double Trouble live at SXSW on repeat at 4 years old saying I wanted to “do that” when I grew up. I was the only kid in daycare that had his own CDs that weren’t kid’s songs. I was listening to Led Zeppelin, Hendrix, and The Doors when I could barely talk. I would make up songs and sing them into my Panasonic slimline tape recorder and take it to my preschool to show my friends. As I got older went through a bunch of music phases. Metal, grunge, rock, punk, hip hop, reggae, ska, etc. Whatever I heard that I connected to I’d dive in and learn as much as I could about it. I was always in bands and I think I kept picking up different styles along the way and kept combining my different elements and I think that’s evident in Audic’s diverse sound.
Tell me about Audic Empire and your new release Take Over! Can you share some of the highlights you and the band are most proud of?
Takeover was an interesting one. I basically built that song on keyboard and drum loops and wrote and tracked all my vocals in one long session in my bedroom studio kind of in a stream-of-consciousness type of approach. I kind of thought nothing would come of it and I’d toss it out, but we slowly went back and tracked over everything with instruments and made it our own sound. I got it as far as I could with production and handed it off to Chad Wrong to work his magic and really bring it to life. Once I got Snow Owl Media involved and we started brainstorming about a music video, it quickly turned into a considerably larger production than anything we’ve done before and it was such a cool experience. I’m really excited about the final product, especially considering I initially thought it was a throwaway track.
Describe the music style of Audic Empire for us.
It’s all over the place… we advertise it as “blues, rock, reggae.” Blues because of our lead guitarist, Travis Brown’s playing style, rock because I think at the heart we’re a rock band, and reggae because we flavor everything with a little (or a lot) of reggae or ska.
How did you find Bergantino Audio Systems?
Well, my Ampeg SVT7 caught fire at a show… We were playing Stubbs in Austin and everyone kept saying they smelled something burning, and I looked back in time to see my head, perched on top of its 8×10 cab, begin billowing smoke. We had a tour coming up, so I started researching and pricing everything to try and find a new amp. I was also fronting a metal band at the time, and my bass player’s dad was a big-time country bass player and said he had this really high-end bass amp just sitting in a closet he’d sell me. I was apprehensive since I really didn’t know much about it and “just a little 4×10” probably wasn’t going to cut it compared to my previous setup. He said I could come over and give it a test drive, but he said he knew I was going to buy it. He was right. I immediately fell in love. I couldn’t believe the power it put out compared to this heavy head and cumbersome cab I had been breaking my back hauling all over the country and up countless staircases.
Tell us about your experience with the forte D amp and the AE 410 Speaker cabinet.
It’s been a game-changer in every sense. It’s lightweight and compact. Amazing tone. And LOUD. It’s just a fantastic amp. Not to mention the customer service being top-notch! You’ll be hard-pressed to find another product that, if you have an issue, you can get in touch with the owner, himself. How cool is that?
Tell us about some of your favorite basses.
I was always broke and usually working part-time delivering pizzas, so I just played what I could get my hands on. I went through a few pawn shop basses, swapped in new pickups, and fought with the action on them constantly. I played them through an Ampeg be115 combo amp. All the electronics in it had fried at some point, so I gutted it out and turned it into a cab that I powered with a rusted-up little head I bought off someone for a hundred bucks. My gear was often DIY’d and held together by electrical tape and usually had a few coats of spray paint to attempt to hide the wear and tear. I never really fell in love with any piece of gear I had till I had a supporter of our band give me an Ibanez Premium Series SDGR. I absolutely love that bass and still travel with it. I’ve since gotten another Ibanez Premium Series, but went with the 5-string BTB. It’s a fantastic-sounding bass, my only complaint is it’s pretty heavy.
Love your new video Take Over! Let us know what you’re currently working on (studio, tour, side projects, etc.)
Thank you!! We’ve got a LOT of stuff we’re working on right now actually. Having 2 writers in the band means we never have a shortage of material. It’s more about getting everything tracked and ready for release and all that goes into that. We just got through filming videos for 2 new unreleased tracks with Snow Owl Media, who did the videos for both Love Hate and Pain and Takeover. Both of these songs have surprise features which I’m really excited about since these will be the first singles since our last album we have other artists on. We’ve also got a lot of shows coming up and I’ve also just launched my solo project as well. The debut single, “Raisin’ Hell” is available now everywhere. You can go here to find all the links distrokid.com/hyperfollow/jamestobias/raisin-hell
What else do you do besides music?
For work, I own a handyman service here in Austin doing a lot of drywall, painting, etc. I have a lot of hobbies and side hustles as well. I make custom guitar straps and other leather work. I do a lot of artwork and have done most of our merch designs and a lot of our cover art. I’m really into (and borderline obsessed) with health, fitness, and sober living. I have a hard time sitting still, but fortunately, there’s always a lot to do when you’re self-employed and running a band!
Follow James Tobias:
jamestobiasmusic.com
Facebook.com/james.tobias1
Instagram.com/ru4badfish2
TikTok.com/@jamestobiasmusic
audicempire.com
Bass CDs
New Album: Avery Sharpe, I Am My Neighbors Keeper
Avery Sharpe and his Double Quartet to release, I Am My Neighbors Keeper
A new recording will be released on JKNM Records by internationally renowned bassist/composer Avery Sharpe, “I Am My Neighbors Keeper” is scheduled for release in June 2024.
Sharpe has composed a new work that highlights our commitment to one another. Avery initiated the project as a response to the political and racial division that has grown over the past seven years in the country. “The U.S political climate has drastically changed in the past 40-plus years, especially during the last seven of those years. In this age of greed, which Sharpe refers to as “IGM,” I Got Mine, basic human compassion has been eroded. Racial, economic and social strides are being turned back.
“We have food insecurity, the unhoused, pandemics, school shootings, domestic violence, and an opioid problem, just to name some. There is a need to remind people that each of us is here on this planet for a very short period of time. It doesn’t matter if one has a religious approach or a secular approach, it all comes down to concern and compassion for each other. Through these compositions and recordings, Avery’s mission as an artist is to remind us that we all are interconnected and that ‘We Are Our Neighbor’s Keeper.’ When we help to uplift one, we uplift everyone,” Sharpe said.
Each movement in the piece describes the values we should strive for to help one another for this multi-media (video slide show during performance) and multi-discipline performance.
Many of Sharpe’s projects and recordings have been about “standing on the shoulders of ancestors, heroes and sheroes.” Among his recordings and projects, include “Running Man” (celebrating the athlete Jesse Owens), “Ain’t I A Woman” (about Sojourner Truth), and his most recent project “400: An African American Musical Portrait” (marking the 400 years from 1619 to 2019).
Avery Sharpe has recorded and performed with many jazz greats from Dizzy Gillespie to Yusef Lateef. He had an illustrious run of 20 plus years with the legendary Jazz pianist McCoy Tyner, of which he recorded more than 25 records with Mr. Tyner and performed countless worldwide concerts.
Visit online at averysharpe.com/
Bass Videos
New Gear: Spector Woodstock Custom Collection Volume II
Spector Launches Woodstock Custom Collection Volume II…
Spector Musical Instruments expands their celebrated Woodstock Custom Collection with the Volume II series – a breathtaking series of 12 handcrafted, one-of-a-kind bass guitars, each one masterfully designed by members of the Spector team. Crafted in the Spector USA Custom Shop in Woodstock, New York, these works of art go beyond musical instruments and expand the boundaries of Spector Bass design.
Spector’s iconic design lays the foundation for the Volume II collection. Each bass showcases a unique vision, including the selection of tonewoods, electronics, captivating finishes, and intricate design details. The collection highlights Spector’s commitment to craftsmanship and artistry and the individual people and stories that make up the team.
“The Woodstock Custom Collection was such a huge success, and we had so much fun with it that we couldn’t wait to do it again,” said John Stippell, Director – Korg Bass Division. “With Volume II, we’re expanding on everything we learned from the first collection, as well as pushing our design and Custom Shop team even further. These basses are a testament to the inspiring talent, creativity, and skill of every person on the Spector team. I’m excited for all of these basses and love how they tell the unique stories of all involved.”
Visit online at spectorbass.com/
Tour Touch Base (Bass) with Ian Allison
New Gear: Spector Woodstock Custom Collection Volume II
New Gear: The Dingwall John Taylor Signature Model
Interview With Bassist Edmond Gilmore
Have Fret Sprout? Sharp Fret Management… a How-To Video
This Week’s Top 10 Basses on Instagram
New Gear: Spector Woodstock Custom Collection Volume II
New Gear: The Dingwall John Taylor Signature Model
Tour Touch Base (Bass) with Ian Allison
