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Biscuit’s Bassment, a Bass Musician’s Review: Spotlight on Ken Arnold

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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 again to “BISCUIT’S BASSMENT”…A Bass Musician’s Review. Firstly I would like to wish you all a very Happy New Year for 2011 and hope that you have all enjoyed your Christmas and the accompanying festivities of the holiday season.

In this first issue of the New Year in Bass Musician Magazine, I would like to introduce to you a hard working bass player, who still has that real “passion” for his instrument and indeed life as well. He still is realizing his musical dreams to this very day. So please join me in welcoming Mr. Ken Arnold.

Ken was born to parents Gerald and Lucy in Rochester New York in the mid 60’s and was introduced to music almost from birth, as both of his parents were great music lovers, and listened to a wide variety of musical genres while he was growing up. His father was a mechanic, who also enjoyed playing the guitar and writing songs in his spare time. Ken’s mother was also a very enthusiastic singer as well, so there was lot’s to latch onto in those early years in a musical sense.

Ken reveals that his family came from very humble beginnings and had to survive on very little money, and had only few material assets in those early days, but he remembers that there was more love in their home than you could ever imagine, and that was more important than anything else.

Ken’s father began teaching him to play the guitar when he was barely old enough to hold one. Later on he also taught him how to read sheet music as well, and by the tender age of six he was already able to play all of the major and minor chords. Just a few years later the Arnold family and Grandma Lucy moved to Jacksonville, Florida when Ken was just eight years of age. Ken explains that Jacksonville was where most of his father’s side of the family lived at that time, and that the move to Florida was a very exciting time in many ways for him and that this would also eventually prove to be a place that would boost his music career in so many ways.

Ken found that the schools were very different in the South, but was eager to make as many friends as possible in this new environment, which led to a very fun filled upbringing and he quickly found that he had many “cousins” with which to pal up with. Ken’s family then moved away to Illinois for a brief period where Ken graduated at high school and then met up with many more experienced musicians including Jon Gentry, John LaTessa and also Jim Fitzgerald. Jon helped Ken with a proper technique for playing bass with his fingers, and Ken was never more enthused to play this way, than he first saw Geddy Lee playing bass with Rush on his favourite show at the time… Don Kirschner’s Rock Concert Ken was now totally in awe of just what the bass guitarist could do, and began to realize that maybe the higher you reach, the more you can accomplish, and this is where his tastes in music became more defined, as did his style of playing.

This was also the time when the quality of sound and tone began to really matter to Ken as well, and he found himself paying much more attention to his tone instead of just how loud he could play. Ken was now nearing the age of fifteen and he had already played two outdoor shows and a school dance, which fuelled the urge for him to accomplish even more. But despite all of this, Illinois did not hold the promise the family had hoped for and they would all ultimately move back to Jacksonville, which was a decision that made the entire family very happy. So indeed it was on that very last day of high school that the Arnolds hit the road and made their way back towards Jacksonville. But there was to be a twist to the tale.

Along the way Ken’s father decided to stop off just outside of Nashville Tennessee on that return to Jacksonville. On a fine bright summer’s day they all decided to stay at a National Park for the weekend. Ken and his father ventured into town where Ken found himself overwhelmed with excitement as this was to Ken, the Music City Capital of the World and here he was, standing right in the middle of it! The entire family fell in love with it there, so they decided to forgo the move all the way back to Jacksonville for the time being and to see what Nashville might hold for them all. The family all agreed they had found a new home meeting many great friends and quite a few Nashville legends along the way.

Ken’s family gained a position managing a motel on the Nashville strip which attracted many local and national touring acts, one being a band called “Bratz” (long before the dolls were ever a thought, ha-ha) and they happened to be staying at Ken’s parent’s motel. Bratz were playing the local hot spot called “The Brass A”, where Ken also helped with the lighting. It was at that very show called “Rocktober Fest” that Ken got his first taste of working with a high calibre production band. This earned him a spot working as the lighting engineer for their band on an ongoing basis, and he would also enjoy sharing stage time with them as well. When the tour ended it was now time for Ken to make his way on stage as the bassist for a touring band himself.

Upon returning from that first tour, Ken wasn’t even home a full day before he was introduced to Kari Reeves, the daughter of country music legend, Del Reeves, who hired him as her bassist to tour her first album.

So here was Ken Arnold at just 18 years of age touring with a band filled with musicians who in his own words, were “miles above his level”. And at last, he felt that he had finally accomplished his dream, but this was only the beginning.

Ken toured with Kari for several months, then returned to recording and playing with other acts such as “Damsel” touring in and out of Nashville until those bands eventually dissolved or moved on to other things. Now Ken wanted to get back out there as soon as possible and back on stage where he belonged, so he decided to leave the comfort of Nashville and head out to where the action was really going on at the time, in southern California. His Grandma Lucy was now living in San Diego and as she was always a huge supporter of Ken’s musical endeavours and really enjoyed having him around again. Los Angeles was just up the road and he had already met several great musicians there, so it was now time to try the L.A. scene and test his abilities there.

Talk about a complete shock to the system! The L.A. club scene was littered with bands that were dressed in the most wildly flamboyant outfits, and all of this was unlike anything Ken had ever seen before in his life.

Bands such as Motley Crue and Racer X were the hottest ones to go see back then, and it was in that environment that Ken found out just how fiercely competitive the music business really was, and still is of course. Talent seemed to be only a small part of what you needed in your repertoire to give you any chance of gaining gigs and recognition. Another problem was that at the height of only 5’6” (wearing boots) Ken found himself disqualified from many bands before even getting to play a note, simply due to his height (or lack of it ). But determination ruled Ken’s soul and he went on to relentlessly work his way through band after band, playing in and around the western area of the U.S., all of which was a wonderful experience, although this did nothing to ease the fact that he was feeling extremely home sick.

After his grandmother passed away, Ken felt that it was time to be back with the family. So in1987 he went back to Nashville only to find that the family had just decided to move back to Jacksonville, Florida again. After a couple of fruitless years in Nashville he eventually returned to Jacksonville himself in October of 1989 where he has remained ever since.

Looking back, Ken was now only 24 years old and had accomplished several tours all across the country, played on two albums and stepped up on stage with, what were in his eyes “superstars”. So what was left to do now?

There was, and still is so much more that Ken Arnold would want to accomplish, but so far all that he had achieved had only just barely managed to pay the bills, and he was certainly not rolling in money by any stretch of the imagination. But what he did realize was the fact that he had gained so much priceless experience, which left him with the determination to achieve even bigger and better things.

Throughout the years Ken Arnold has played with several bands, but few that would venture out of their “comfort zone”. But this all changed for him during the spring of 2005 when he hooked up with drummer Charlie Ost, who then also introduced him to keyboardist, guitarist and lead vocalist, Greg Arena. Ken also brought in a good friend of his called Mike Reilly on lead guitar and formed the band 629. After several live performances at places like the Hard Rock Live in Orlando and Jones Beach Band Shell in New York, 629 were eventually signed to an indie label called ‘Dobe Records’ who released their first album ‘Reflections’ in 2008. Just prior to that time Ken was approached by P.J. Rubal, who is the Artist’s manager for Spector Bass guitars, and it was he who would grant Ken an artist’s endorsement with Spector after seeing Ken’s rack of Spector basses at the Hard Rock Live shows. Ken has also just recently became an endorsee for Hartke Amplification Systems, so as we are both connected by Spector and Hartke, I guess Ken and yours truly are almost related, Ha-ha.

Ken Arnold and 629 are now currently working on their second album, which will be followed up with a tour very soon, so watch this space and keep your ears to the ground and watch out for them, and of course, Ken Arnold…On Bass!

Email Ken for further info at……… playbassken@aol.com
Band website…………………………. www.6-2-9.com
Ken Arnold on Facebook………….. www.facebook.com/KenArnoldJax

Bass Videos

Interview With Bassist Erick “Jesus” Coomes

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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

Visit Online

www.lettucefunk.com
IG @jesuscsuperstar
FB@jesuscoomes
FB @lettucefunk

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Bass Videos

Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians

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WORKING-CLASS ZEROS With Steve Rosati and Shawn Cav

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

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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 @foderaguitars @overwaterbasses @mgbassguitars @bqwbassguitar @marleaux_bassguitars @sugi_guitars @mikelullcustomguitars @ramabass.ok @chris_seldon_guitars @gullone.bajos

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Bass CDs

New Album: Jake Leckie, Planter of Seeds

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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. 

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.”

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Bass CDs

Debut Album: Nate Sabat, Bass Fiddler

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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

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