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Slap Basics With Doug Johns: Traveling Bass-ics
Meet Doug Johns
So, I’ve wanted to write this article for quite some time, and no, it doesn’t have anything to do with opening the slap bass vocabulary. But that’s what I love about BMM, freedom to speak about relevant bass stuff from any angle.
Anyhow, I travel a lot as a bass player, and getting my instrument on board an airplane is often a weekly ritual. Although I think I’ve become somewhat skilled on this subject with all the flying I do, feedback is really the main goal of this article. While I’ve got a few tricks that I think you’ll find helpful, I still find out something new every time the subject comes up… and that’s why I’m bringing it up now.
I must start with the premise that, in my experience, most airlines don’t want you to bring an instrument onboard! And the number one obstacle I have is that the airline crew “thinks” it’s too big to fit in an overhead bin. If you’ve ever flown with your instrument or even have just thought about it, you KNOW that’s B.S. Actually, a bass guitar is much smaller than what the majority of passengers carry on board the plane.
And you can’t buy into the rumors that they’ll gladly put your bass in the closet. That works great for going overseas, but on domestic flights, the closet space (if there is any at all) is reserved for first class customers. To be fair, I recently was offered the closet for my bass, although I ended up taking the overhead – but that was a one-in-a-million situation.
Ahhh… the dreaded gate check. If you – and you will – get an airline employee who just insists that there is no way in hell you’re taking your bass on board, they will require you to put a gate check tag on your bag. Be scared, be very scared.
Gate check is simply the act of leaving your priceless instrument in the hands of one of the ramp crew employees waiting for you at the end of the walk to the plane. They then take your instrument outside (come rain, snow or sleet) and stack it on top of the already-packed load under the plane – this makes it easy to pull out for you, and your instrument is returned as soon as you step out of the plane and into the gate ramp.
I’m not a fan of the gate-check, and I generally do what I can to avoid it – even when I am forced to take the gate check tags. Tip: In the picture below, you’ll see how I always have the airline put the gate check tag in the same place on my gig bag so I can hide it between the zippers and zip the tag inside the bag – as soon as the gate crew’s backs are turned. Then, when I get to the bottom of the ramp, it looks as though “I’m cleared” for taking it onboard and no gate check for me!
Musicians want to know that their instruments are safe, and some (like me) need to keep their basses with them. There are probably thousands of times where an instrument was checked in a hard case – maybe even a soft gig bag – and survived the journey in perfect condition; likewise for the gate-check. But since my preference is to keep my axe by my side (or above my head), I’ve got a few theories on what works best.
Let’s step back and consider the psychology of this for a second:
In these times of underwear bombs and flammable shoes, airlines are threatened by anything that doesn’t fit the status quo. They want to see roller boards. Roller boards? What is that, you ask? That’s the standard roller suitcase that you see most people traveling with. Generally, you can fit 4 regular size roller boards in an overhead bin.
With the right gig bag, you can fit your bass, along with 2 roller boards and 3-4 small “squishy” bags around it, in the exact same space. The trick is getting the flight crew to believe it before they see the magic happen. This leads to step 1 of my bass-on-board ritual: carrying the right gig bag.
I’m not going to turn this into a gear shoot-out, and I don’t want to offend any of the manufactures, but there are some bags better suited than others when it comes to carrying your bass on board a plane. I’ve experimented with Undercover, Reunion Blues, Mono and Fodera’s bags – and honestly, I haven’t found any one to be completely perfect for the on-board bass fanatic.
One major thing you must consider with a gig bag is illusion: after all, if the bag looks like it will fit in an overhead, that’s half the battle won. Creating the illusion of a smaller object on your back is crucial. I’ve got every gig bag known to man, and some of them really meet this need well. From sleek design to a more “luggage” look, there are a lot of options when it comes to creating the illusion of a smaller gig bag. And remember, dark colors are slimming!
But in some cases, getting that streamlined look comes at the cost of protection in the event that your bass is gate-checked. I’ve got bags that look very slim and trim, but I cringe at the thought of handing them over to the ramp crew. I am especially wary of construction that is too minimalist or of bags that attempt a one-size-fits all approach, only to leave a bunch of extra space above the neck of the bass.
Like I said, I own a lot of gig bags, and I use them all from time to time. But, as with any good plan, a lot more goes into getting a bass on board than creating the right illusion. Once you’ve chosen your bag, you’ve got to make sure you’ve got somewhere to put it on the plane… and so begins step two: Booking your seats in advance.
Pre-book your seat for rows 25 and back on standard B/737-800/900 planes whenever possible. If you’re in rows 25 and higher, you’ll have full access to tons of bin space. On the other hand, if your seat is in the first 10 rows of the plane, you’ll probably find that precious overhead space hard to come by – and you’ll be more likely to get the dreaded gate check.
Now, if you fly enough and stick to one or two airlines, you can avoid sitting in the back altogether. Gaining (or buying) preferred or elite status with an airline entitles you to early boarding, regardless of your seat assignment. I finally reached this milestone with one airline this year, and now I can sit in the front of the plane and get off quickly at my destination – without sacrificing bin space.
Anyhow, once my flight is booked, I move on to the next step of my flying musician ritual: As soon as I get to my departure gate, I step up to the airline counter and say something nice, have some conversation, with an airline employee. Sounds simple, but kindness is what makes the world go around. Putting some positive vibes in the air and around yourself may not be fail-proof, but it certainly leans the odds just a bit in your favor.
When it comes time to board the plane, DON’T stand up and put your bass on your back! My drummer Chris and myself have experimented with this a lot. Carry your bass vertically, and to the opposing side of the boarding pass check employee. You don’t want to advertise the fact that you have what seems to be a rather large object next to you. A lot of bags have a handle half way up on the neck-end of the bag for carrying vertically – if you’ve got one, using it seems to work well.
And then…. success! You’re on the plane and so is your bass! The ritual doesn’t end here – after all, the plane door is still open, you’re still on the ground, and therefore those gate check tags are still an option for the flight crew. So, I’ll actually stand by the overhead after I put my bass in it and ask the passengers coming down the isle if they need help putting their suitcases overhead. This not only reassures the flight crew that everything is okay, but it also helps me be sure nobody smashes into the side of my bass bag. I’ll actually tell everyone that I’m looking to protect my instrument, and folks almost always reply positively.
Wow – this has been a long article! I want to insist that I am not just ranting and complaining, and I’m not here to endorse one airline or gig bag over another. Instead, I’m hoping this will spur feedback/forums on the subject…. Even though my ideas have come out of a lot of obsessive research and observation, I’m sure we can all learn a trick or two from each other.
Now, get out (in an airplane), and jam with somebody!
Doug
Bass Videos
Interview With Bassist Erick “Jesus” Coomes
Bassist Erick “Jesus” Coomes…
It is always great to meet a super busy bassist who simply exudes a love for music and his instrument. Erick “Jesus” Coomes fits this description exactly. Hailing from Southern California, “Jesus” co-founded and plays bass for Lettuce and has found his groove playing with numerous other musicians.
Join us as we hear of his musical journey, how he gets his sound, his ongoing projects, and his plans for the future.
Photo, Bob Forte
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Visit Online
www.lettucefunk.com
IG @jesuscsuperstar
FB@jesuscoomes
FB @lettucefunk
Bass Videos
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
“These stories from the front are with real-life, day-to-day musicians who deal with work life and gigging and how they make it work out. Each month, topics may include… the kind of gigs you get, the money, dealing with less-than-ideal rooms, as well as the gear you need to get the job done… and the list goes on from there.” – Steve the Bass Guy and Shawn Cav
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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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Bass CDs
New Album: Jake Leckie, Planter of Seeds
Bassist Jake Leckie and The Guide Trio Unveil New Album Planter of Seeds,
to be released on June 7, 2024
Planter of Seeds is bassist/composer Jake Leckie’s third release as a bandleader and explores what beauty can come tomorrow from the seeds we plant today.
What are we putting in the ground? What are we building? What is the village we want to bring our children up in? At the core of the ensemble is The Guide Trio, his working band with guitarist Nadav Peled and drummer Beth Goodfellow, who played on Leckie’s second album, The Guide, a rootsy funky acoustic analog folk-jazz recording released on Ropeadope records in 2022. For Planter of Seeds, the ensemble is augmented by Cathlene Pineda (piano), Randal Fisher (tenor saxophone), and Darius Christian (trombone), who infuse freedom and soul into the already tightly established ensemble.
Eight original compositions were pristinely recorded live off the floor of Studio 3 at East West Studios in Hollywood CA, and mastered by A.T. Michael MacDonald. The cover art is by internationally acclaimed visual artist Wayne White. Whereas his previous work has been compared to Charles Mingus, and Keith Jarrett’s American Quartet with Charlie Haden, Leckie’s new collection sits comfortably between the funky odd time signatures of the Dave Holland Quintet and the modern folk-jazz of the Brian Blade Fellowship Band with a respectful nod towards the late 1950s classic recordings of Ahmad Jamal and Miles Davis.
The title track, “Planter of Seeds,” is dedicated to a close family friend, who was originally from Trinidad, and whenever she visited family or friends at their homes, without anyone knowing, she would plant seeds she kept in her pocket in their gardens, so the next season beautiful flowers would pop up. It was a small altruistic anonymous act of kindness that brought just a little more beauty into the world. The rhythm is a tribute to Ahmad Jamal, who we also lost around the same time, and whose theme song Poinciana is about a tree from the Caribbean.
“Big Sur Jade” was written on a trip Leckie took with his wife to Big Sur, CA, and is a celebration of his family and community. This swinging 5/4 blues opens with an unaccompanied bass solo, and gives an opportunity for each of the musicians to share their improvisational voices. “Clear Skies” is a cathartic up-tempo release of collective creative energies in fiery improvisational freedom. “The Aquatic Uncle” features Randal Fisher’s saxophone and is named after an Italo Calvino short story which contemplates if one can embrace the new ways while being in tune with tradition. In ancient times, before a rudder, the Starboard side of the ship was where it was steered from with a steering oar. In this meditative quartet performance, the bass is like the steering oar of the ensemble: it can control the direction of the music, and when things begin to unravel or become unhinged, a simple pedal note keeps everything grounded.
The two trio tunes on the album are proof that the establishment of his consistent working band The Guide Trio has been a fruitful collaboration. “Santa Teresa”, a bouncy samba-blues in ? time, embodies the winding streets and stairways of the bohemian neighborhood in Rio de Janeiro it is named for. The swampy drum feel on “String Song” pays homage to Levon Helm of The Band, a group where you can’t always tell who wrote the song or who the bandleader is, proving that the sum is greater than the individual parts. Early jazz reflected egalitarianism in collective improvisation, and this group dynamic is an expression of that kind of inclusivity and democracy.
“The Daughters of the Moon” rounds out the album, putting book ends on the naturalist themes. This composition is named after magical surrealist Italo Calvino’s short story about consumerism, in which a mythical modern society that values only buying shiny new things throws away the moon like it is a piece of garbage and the daughters of the moon save it and resurrect it. It’s an eco-feminist take on how women are going to save the world. Pineda’s piano outro is a hauntingly beautiful lunar voyage, blinding us with love. Leckie dedicates this song to his daughter: “My hope is that my daughter becomes a daughter of the moon, helping to make the world a more beautiful and verdant place to live.”
Bass CDs
Debut Album: Nate Sabat, Bass Fiddler
In a thrilling solo debut, bassist Nate Sabat combines instrumental virtuosity with a songwriter’s heart on Bass Fiddler…
The upright bass and the human voice. Two essential musical instruments, one with roots in 15th century Europe, the other as old as humanity itself.
On Bass Fiddler (Adhyâropa Records ÂR00057), the debut album from Brooklyn-based singer-songwriter and bass virtuoso Nate Sabat, the scope is narrowed down a bit. Drawing from the rich and thriving tradition of American folk music, Sabat delivers expertly crafted original songs and choice covers with the upright bass as his lone tool for accompaniment.
The concept was born a decade ago when Sabat began studying with the legendary old-time fiddler Bruce Molsky at Berklee College of Music. “One of Bruce’s specialties is singing and playing fiddle at the same time. The second I heard it I was hooked,” recalls Sabat. “I thought, how can I do this on the bass?” From there, he was off to the races, arranging original and traditional material with Molsky as his guide. “Fast forward to 2020, and I — like so many other musicians — was thinking of how to best spend my time. I sat down with the goal of writing some new songs and arranging some new covers, and an entire record came out.” When the time came to make the album, it was evident that Molsky would be the ideal producer. Sabat asked him if he’d be interested, and luckily he was. “What an inspiration to work with an artist like Nate,” says Molsky. “Right at the beginning, he came to this project with a strong, personal and unique vision. Plus he had the guts to try for a complete and compelling cycle of music with nothing but a bass and a voice. You’ll hear right away that it’s engaging, sometimes serious, sometimes fun, and beautifully thought out from top to bottom.”
While this record is, at its core, a folk music album, Sabat uses the term broadly. Some tracks lean more rock (‘In the Shade’), some more pop (‘White Marble’, ‘Rabid Thoughts’), some more jazz (‘Fade Away’), but the setting ties them all together. “There’s something inherently folksy about a musician singing songs with their instrument, no matter the influences behind the compositions themselves,” Sabat notes. To be sure, there are plenty of folk songs (‘Louise’ ‘Sometimes’, ‘Eli’) and fiddling (‘Year of the Ox’) to be had here — the folk music fan won’t go hungry. There’s a healthy dose of bluegrass too (‘Orphan Annie’, ‘Lonesome Night’), clean and simple, the way Mr. Bill Monroe intended.
All in all, this album shines a light on an instrument that often goes overlooked in the folk music world, enveloping the listener in its myriad sounds, textures, and colors. “There’s nothing I love more than playing the upright bass,” exclaims Sabat. “My hope is that listeners take the time to sit with this album front to back — I want them to take in the full scope of the work. I have a feeling they’ll hear something they haven’t heard before.”
Available online at natesabat.bandcamp.com/album/walking-away
Interview With Bassist Erick “Jesus” Coomes
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
Tour Touch Base (Bass) with Ian Allison
New Gear: Spector Woodstock Custom Collection Volume II
New Gear: The Dingwall John Taylor Signature Model
This Week’s Top 10 Basses on Instagram
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
Interview With Bassist Erick “Jesus” Coomes
Debut Album: Nate Sabat, Bass Fiddler
