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Biscuit’s Bassment, a Bass Musician’s Review: Spotlight on Bruno Migliari

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You may play Bass, but can you really “feel it in your soul”? If you have the talent, passion, commitment, and a story to tell about yourself and your music, you could have your very own review with me, right here at Bass Musician Magazine. I am looking to find the vast array of talented Bass players out there, from all genres of music, which so often go largely unnoticed. Both Bass Musician Magazine and myself feel that you should be heard about…world wide. So if you are interested in joining me in the “Bassment”, then please send me your full bio, pictures and tracks, and any questions that you may have, etc, to…..
biscuitandbass3@yahoo.com
I look forward to hearing from you all.

Hello, and Welcome to “BISCUIT’S BASSMENT”, A Bass Musician’s Review”. In this December 2010 issue of Bass Musician Magazine, I would like to introduce to you a multi-talented player who is a complete gentleman and a real virtuoso on the Bass… Mr Bruno Migliari

Bruno Migliari may not be the kind of Bass player that you would normally expect to find in my “Bassment”, as many of you are probably aware of. I usually tend to lean towards the Rock side of the Bass playing “map”. But of course great bass players come from all walks of life and encompass every musical genre there is. It has become apparent that I am being approached more and more these days by bass players from the other side of the “Rock fence” as it were, and so it would be unfair of me not to take notice of these fabulously talented guys, and give them a chance to expose their fine talents by featuring them here in the “Bassment”. So from now on you will be hearing a lot about those bassist’s that reside in the area’s of Jazz, Blues, Soul, Funk, and any other genre you care to think of. Rest assured, there will always be a place for the Rock players as well.

I feel that every type of “Low end” player should now be featured in this column. By including different styles and approaches to bass playing, it will hopefully help to keep this column fresh, interesting, and relevant for all of you.

Bruno Migliari was born in 1971 and raised in Rio de Janeiro, Brazil, to Italian and Brazilian Parents, and spent many of his younger years growing up listening primarily to Brazilian music, and records by the Beatles as well. Such talents as Chico Buarque, Milton Nascimento, Caetano Veloso and Gal Costa were the favoured artists on his parents’ stereo system in those earlier years, together with Dave Brubeck, Lalo Schifrin, Ella Fitzgerald, Sarah Vaughan, Meirelle Mathieux, and Yves Montand. There was quite a variety of music going on in the Migliari household for the young Bruno to absorb.

At a very young age, Bruno began buying records with his weekly allowance money. His first four records he bought were…The 1982 release by Queen, “Hot Space”, the 1980 album Double Fantasy by John Lennon, together with “Revolver” and “Let it Be” by the Beatles. Bruno was always fascinated by music as a child and indeed various musical instruments as well. He would fool around with any instrument that he could lay his hands on at the time, which included his aunt’s acoustic guitar and a friend’s piano.

He was particularly attracted to the low end of the spectrum though, and specifically remembers identifying the sound of the bass very early in life, and feeling very moved by the subdued way in which it seemed to “control” the songs he listened to. Bruno says that it felt to him that the song was a ship, and whoever was playing those low notes seemed to him to be at the helm of that ship, almost guiding any given song to its musical conclusion.

By the time he was fourteen years old, Bruno had realised that music was far more than just a passing phase, or indeed a hobby to him. He decided that he wanted to play music professionally when he was old enough and try and make a career of it as a bassist…that was his ultimate goal. Private lessons began in ernest, to be followed up very quickly with an enrolment in a music conservatory, and within six months Bruno found himself performing in school competitions and other similar music contests. Within just a few years he was already playing in three different bands at the same time, and one of those bands actually gained recognition after winning a continuous series of music competitions.

By this time, Bruno definitely knew for sure that he wanted to be a professional musician, and began that “wood shedding” phase that we all know so well, which he would carry out relentlessly everyday from the moment he got home from school. The years of hard work eventually paid off for the young man, and Bruno did indeed officially realize his dream to became a professional musician after his last year at school when he was seventeen years old.

Now he had made this decision to make music and the Bass his life. Bruno began to embark on a very busy gigging schedule which included his own jazz trio gigs and also accompanying various other singers and musicians alike simultaneously. Bruno undertook this heavy workload while also attending Music College, at the same time pursuing a classical music curriculum on double bass. He worked very hard from a young age to become a very respected and versatile all round bassist who has excelled not only on the electric bass guitar, of which Fender is his preference, but has also become very accomplished in the music world on the double bass as well.

Ever since graduating in 1994 at Uni – Rio Music College, Bruno has continued to maintain a very well balanced diet of Pop, native Brazilian, and Jazz music, and confidently handles the “Low end” of things in any number of musical situations.

Since 2001 he has been playing bass for Brazilian singer/songwriter Frejat, and has also acted as music director for the TV series “Claro Que É Rock” aired on the Brazilian cable TV channel “Multishow”. He continues to remain involved in jazz-related projects, leading his own band called the “Bruno Migliari Trio”. He also leads the compositional project “8VB”, and co-leads the small orchestra “11 Cabeças” with saxophonist and arranger Henrique Band. Add to that being the rhythm section leader for the big band “Orquestra Popular”. Being a fan of the Jaco style of playing bass, he also leads the Weather report tribute group “Weather Forecast”.

Bruno’s credits for both recording sessions and tours, which were either national tours of Brazil and/or international tours of Europe and the USA, are as follows:

Ana Carolina… Milton Nascimento…Marcos Valle…Maria Gadú…Lulu Santos…Barão Vermelh…Lobão…Leoni…Paulinho Moska…Monique Kessous…Orlando Morais…Lokua Kanza…Martinho da Vila…Fernanda Abreu…Isabella Taviani…Denise Reis…LiberTango…Quito Pedrosa Quarteto…Marco Lobo Quinteto…Ricardo Leão, Barrosinho, and Maracatamba.

Bruno works professionally as a full time bass player, which includes playing electric, acoustic, and upright basses. He is an arranger and composer, and can also be called upon to sing background vocals if required on other artist’s material. He has even been known to challenge himself as lead singer on occasion, sometimes with his own projects.

I think we can all agree that Mr Bruno Migliari has deservedly earned his place in the “Biscuit’s Bassment” column here at BMM, and I would like to take this opportunity on behalf of you, the readers, to wish him the very best in his future musical endeavours, of which I am more than sure he will make a success of.

I would also personally like to thank Bruno for contacting me and becoming a member of the “Bassment family”, and Bass Musician Magazine as a whole. It was my pleasure to find out about this excellent bassist and his music. Without the contributions from bassist’s such as Bruno, and previous, as well as future interviewee’s, my column would indeed fall short of what I hope to accomplish here at Bass Musician Magazine. I thank you all so much.

From myself, and on behalf of all the staff at Bass Musician Magazine, we wish Bruno Migliari and all of our readers a VERY HAPPY CHRISTMAS in 2010.

Peace and Respect Always………….. BISCUIT

Please check out all of Bruno’s links below and listen to his spirited music and wonderful bass playing style. And don’t forget to join him on MySpace, Facebook, and Reverbnation as well, and please give him your full support, and tell him BISCUIT sent you!

Email: migliaribasso@me.com

Visit:      web.me.com/migliaribruno

Listen:    www.reverbnation.com/brunomigliari

www.myspace.com/brunomigliari

www.ilike.com/artist/Bruno+Migliari

Watch:    www.youtube.com/migliaribass

Follow:   www.facebook.com/pages/Bruno-Migliari/9957916626

www.twitter.com/migliaribasso

Hire:       www.promusiciansonline.com/perfil.php?mid=MTYy

And a final quote from BRUNO MIGLIARI

Bass, the final frontier… these are the voyages of a professional musician in search of new – and old –music; to boldly play what he hasn’t played before.

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Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)

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Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)

Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)…

Flemish Master Pieter Bruegel the Elder probably had many things in mind when painting his Hunters in the Snow in oil on oak wood in 1565. This masterpiece tells plenty of little stories about winterly pastimes and precarious livelihoods in the Early Modern Age. What Bruegel presumably did not have in mind was that this painting would, several centuries later, become one of the most popular ones in fine arts globally, displayed in a permanent exhibition at Kunsthistorisches Museum (Museum of Fine Arts) Vienna. The painting’s popularity was lately taken to a different level as it was replicated by hand to design an exclusive BITE bass.

An international art collector and bass player who regularly visits Vienna to immerse himself in the wonderworld of Kunsthistorisches’ Bruegel Hall asked BITE to replicate the painting on a bass body. BITE Guitars, an Austrian premium manufacturer exporting most of their basses to the US, has become renowned for colorful artwork basses, offering a range of manual and digital techniques. The firm’s art director Peter, a trained scenic painter of Oscar and Palme d’Or rank, specializes in photo-realistic reproductions. He also painted the bass for Robbie Williams’ 2023 world tour by faithfully replicating Robbie’s own stage design onto the tour bass.

Peter copied the Bruegel motif onto the bass body in minute detail, little twigs even by one-hair-brush. Positioning the rectangular image section on the body shape proved to be a special challege that he met by repositioning little elements, a bird here, a horse and cart there.

It all came together in a memorable video shooting in front of the original painting in the Museum’s Bruegel Hall: venerable fine arts, premium handicraft and groovy jazz tunes.

View video at the museum: www.youtube.com/shorts/2evdqfR6gUE

What’s the conclusion of BITE’s client, our Vienna, art and bass lover? “It’s a magical bass! When I touch the strings, I feel warm inside.”

Specs highlights:
Bass model: BITE Evening Star, the proprietary BITE premium model with inward curved horns
Pickups: 2 x BITE 1000 millivolt passive split-coils (PP)
Neck: roasted maple neck and roasted flamed maple fretboard

Price tag incl. insured door-to-door express shipping:
New York: 4726 USD
London: 3645 GBP
Berlin: 4965 EUR

Full specs available at bite.guitars/old-master-bass/

Bruegel Hall at Kunsthistorisches Museum Vienna: 
khm.at/en/visit/collections/picture-gallery/the-best-of-bruegel-only-in-vienna/

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Bass Videos

Interview With Bassist Ciara Moser

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Interview With Bassist Ciara Moser

Bassist Ciara Moser…

Ciara and I sat down for this interview a few months after the launch of her debut album, “Blind. So what?”

Blind since birth, she is a powerhouse of talent; she is not only a professional bassist, but also composes music, and is a producer and educator. I am just blown away by her talent and perseverance.

Join me as we hear about Ciara’s musical journey, the details of her album, how she gets her sound, and her plans for the future.

Visit online:

www.ciara-moser.com 
IG @ moserciara
FB @ ciara.moser

Photos by Manuela Haeussler

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Gear News

New Gear: Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar

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New Gear: Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar

Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar…

Black Ice Enterprises introduces Black Ice Boost and Black Ice Distort, small, battery-free devices that can be easily installed in a bass or guitar.

Black Ice Boost offers two selectable stages of up to 7 dB of boost, broadly concentrated in the midrange frequencies to add humbucker-like qualities to Strat®, Tele® and other types of single-coil pickups. Black Ice Distort is an overdrive module that can be configured to offer anything from slight overdrive to distortion. Both models are compatible with all passive guitar pickups and electronics (they’re not compatible with battery-powered active pickups).

Black Ice Boost (SRP: $119.95; MAP, $79.95) can be installed using several wiring options, including a simple “stealth” install that utilizes a single push-pull pot, and a dual-switch option that allows users to select between two different levels of boost. For those using the boost along with Black Ice Distort, a second push-pull pot or switch can be used to select a clean or distorted boost.

The Black Ice Boost module is approximately 2/3 the size of a 9-volt battery, and can be easily installed in most instruments with no routing or permanent modifications required. The tone of the instrument remains completely unaffected when the boost is bypassed.

In addition to use with popular single-coil pickups, Black Ice Boost can also be used with other pickup types. Use it to fatten up a P-90 style pickup, or add girth to a low-wind humbucker. Jazz Bass® players can use the additional midrange content provided by Black Ice Boost to produce a sound that’s reminiscent of a P-Bass® or soapbar-type pickup. Black Ice Boost is not recommended for use with high-output humbuckers and other dark-sounding pickups.

Black Ice Distort (SRP: $27.95; MAP, $21.95) is an overdrive module that can be configured for just a touch of grit, or a more aggressive grind, all the way to a 1960’s-flavored fuzz. While its battery-free circuit will never replace the more refined sound of a well-designed pedal, it provides handy, there-when-you-need-it access to a variety of fun old-school flavors, and is a great way to add additional textures to an already overdriven amp or pedal. Bass players will especially dig its raw dirty grind.

Like Black Ice Boost, the sugar-cube-sized Black Ice Distort provides a lifetime of tone with no maintenance or power source required. A variety of wiring options are included that let you activate the Distort via a switch or push-pull pot, or by easily converting your guitar’s tone control into a control for the Black Ice Distort circuit. It can be used in conjunction with the Black Ice Boost for a wide variety of useful tones.

Black Ice Boost and Black Ice Distort are now shipping.

Visit online at www.blackiceoverdrive.com

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This Week’s Top 10 Basses on Instagram

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TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @loritabassworks @meridian_guitars @alpherinstruments @phdbassguitars @mgbassguitars @mauriziouberbasses @utreraguitars @sugi_guitars @branco_luthier @blasiusguitars

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New Gear:  D’Addario’s New Humidipak

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New Gear:  D’Addario’s New Humidipak

D’Addario’s New Humidipak Absorb Protects Instruments Against Excess Moisture…

Utilizing two-way humidity control technology, D’Addario’s new Humidipak Absorb protects against damage to wooden instruments in environments with too much humidity. 

Humidipak Absorb allows players to safely return an instrument and case to the ideal relative humidity level. Using Boveda’s patented two-way humidity control technology, Absorb automatically soaks up excess moisture at a safe rate, re-establishing the right humidity level and eliminating the guesswork of revitalizing your instrument. 

Like all the Humidipaks before, using Humidipak Absorb is easy—there’s no dripping sponges or manual adjustments. All players need to do is put the humidification packets in the included pouches and place them in the instrument case, close the lid, and relax. The instrument and case will remain at the optimal 45-50% relative humidity level for 2-6 months. 

D’Addario’s other Humidipaks, Restore and Maintain, are still available for those who need to increase and sustain the humidity around their instrument. 

To learn more about Humidipak Absorb, visit ddar.io/absorb-pr 

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