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Brian Ritchie on “Please Do Not Go” by Jimi Durso
Brian Ritchie on “Please Do Not Go” by Jimi Durso… Click to download Brian Ritchie on “Please Do Not Go”
A too often overlooked bassist, Brian Ritchie did same brilliant work with the Violent Femmes, had a signature style and sound, and was one of the first people I know of to do it on the acoustic bass guitar. “Please Do Not Go”, from the Violent Femmes debut album, feature Ritchie with an 8 bar unaccompanied solo in the middle (measures 28-35).
The song is basically a three chord reggae using the I, IV and V chords in G. The progression is a full bar of G and then a half bar each of C and D. Since no one is backing up Ritchie, this gives him both the responsibility of delineating the chords in his solo line, and the freedom to deviate from it without concern for clashing. Ritchie does both Brian Ritchie – masterfully. The first two bar phrase (measures 28 and 29) he puts the root notes on the strong beats, and does so in the low range (the low G that kicks off bar 28 as well as the C on beat one of the next measure and the D that anticipates beat three). We also hear an emphasis on chord tones: measure 28 is almost exclusively notes from the G7 chord, and in measure 29 we hear C and E (the third of C) on strong beats and D on the strong beats in the second half (as well as a low A to make the D sound clearer).
For the next two measures, Ritchie starts out expanding on the idea he set up, playing almost the same line for the G chord (including the hip trill from the major to minor third, which foreshadows the G minor sound to come), and even starts out the next measure with a C major triad. But when the D chord comes up, Ritchie deviates radically from that sound. He does play a low D, and even does so on some stronger beats (the “four” and the “and of two”), but the other notes, G and Bb, spell out a G minor triad, juxtaposing a bluesy sound.
Toward the end of the measure he starts a G mixolydian scale that he continues into bar 32. He doesn’t play the third of the G chord until the end of this measure, and even then it’s a scalar passing tone to the root of the C chord in the next bar. So he doesn’t necessarily take our ear away from the blues he injected before.
And in bar 33, after revisiting the C major lick from measure 29, he again plays G minor where the D chord should be. A fascinating aspect of this measure: he combines the ideas from measure 29 and 31, so that for the listener it’s at that same time familiar and novel. A very clever way of developing a statement.
For the final two bars, he goes back to G, but goes up from a high G (Notice how for the first two measure of G major, he emphasized the low G, but for the second two, he uses the high G. Also very clever.) Then another variation on the C major lick, and for D this time he just pounds out the root note. This not only brings us back to hearing it as the V chord (after all that G minor stuff he did with this chord before) but also creates a sense of finality to his solo (making it clear to the rest of the band that it’s time to come in with the pre-chorus).
Twang!
Bass Videos
Interview With K3 Sisters Band
K3 Sisters Band Interview…
It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.
Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music, music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.
Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.
Here is the K3 Sisters Band!
Photo, Bruce Ray Productions
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Bass Player Health
What is a Pinched Nerve? with Dr. Randy Kertz
What is a Pinched Nerve?
In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.
Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!
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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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Gear News
New Gear: Ashdown ORIGINAL-EVO-C112T-300
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.
Product Specification-
Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg
For more info please visit www.ashdownmusic.com
Gear News
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…
The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.
This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.
The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.
It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.
Anticipated Availability: May/June 2024
For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/
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