Latest
Performance and Stage Presence by Carl Dawkins
Performing on stage is something we all have to think about and evaluate at one point or another when we start to play live. Everyone has their own views and ideas on what they should and should not do, and most importantly, what their performance will bring to the live show.
This is just the opinion of one musician. When I attend gigs, I don’t want to be standing there having nothing to look at, nothing that’s catching my eye. Frontmen/women who are energetic have always made an impression on me, and I always remember them.
Now, this applies to all of the musicians in a band. When you hear a track on your IPod, you may be occupied with another task, a bit like talking on the phone to someone – they’re not going to be able to see you, so you don’t have to worry about how you look. Think of a live gig as having a conversation with someone in person—you are using your music to talk, however the audience can see you while you are talking to them. This is just one of the ways you can view your performance on stage.
I do realize that with every genre comes a certain level of demand on different instruments, but no matter what style of music you are playing there is always room for “performing”, be it subtle or exaggerated. I will be trying to focus on genres as a whole, as well as general performing tips that we should all take into consideration when playing.
I am currently at the international guitar festival in Cheltenham UK. I’m the house bass player along with the house drummer Henry Appleby. Henry is a pleasure to work with, and shares my views on performing. Every person involved with the performance needs to share the same respect for a good show, and be willing to perform out of there comfort zone if required.
Being the house Rhythm section, we have had to play a diverse range of styles over the last the 10 days. This gave both of us the opportunity to practice changing our performance style to suit the music, and the other musicians we happen to play with.
What I have realized over the last 5 years is that many musicians play with their back to the crowd. At certain times, that’s acceptable, as you need to cue someone who is behind you, or to rock out with the drummer for a few bars. However, if you have your back to the audience, it defeats the objective of the crowd coming to see you play. You wouldn’t turn your back on someone while talking to them, and the same should hold true for your performance on stage.
Here are some great examples of this:
Both of these performances are from Glastonbury. Pendulum’s stage presence is incredible…take note on how the band is playing to the crowd, and also how they are standing. Your stance can make a lot of difference to how you are perceived on stage. This is one thing a lot of people seem to underestimate. You could unintentionally look awkward on stage. It happens to all of us at one point or another, so try to be aware of it.
The second video is the very talented Beyonce and here remarkable backing band…now there is a serious amount of choreography. Each member has an assigned space on stage, yet each musician is holding there own, performing and fitting in place with the theme of the set.
We all rehearse and do production rehearsals before a tour to make sure everything fits before taking it to the stage. This preparation is always a must. You want to rehearse as if you’re playing live. This is something I have always done in bands, on all levels, just to make sure the show is going to come across in the right way, so you know the show was good after you’ve finished.
A good tip; practice something while being recorded, or in front of a mirror, or get a good friends feedback. I have always been in favor of adding some kind of character to my performance, and not just in my playing. Some may disagree, but from a live aspect, they work hand in hand.
The most important part of performing is making sure everything fits in with what is happening during the songs, “that” is what truly makes a great performer.
Carl Dawkins
www.caldawkins.co.uk
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
Featured Videos
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
Latest
This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
FEATURED @foderaguitars @overwaterbasses @mgbassguitars @bqwbassguitar @marleaux_bassguitars @sugi_guitars @mikelullcustomguitars @ramabass.ok @chris_seldon_guitars @gullone.bajos
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
New Gear: Esopus Guitars Launches New Acoustic/Electric Bass
Debut Album: Nate Sabat, Bass Fiddler
