Bass CDs
Bassist Fred Randolph Releases 4th CD of All Originals, “Mood Walk,”
It took Fred Randolph many years to decide which instrument he wanted to play, but when he finally settled on the bass, he knew he had found his true, creative métier.
Randolph is now releasing MOOD WALK, his fourth CD as a leader. Each of his three previous albums received wide airplay and stellar reviews, including his 2015 release Song Without Singing, which All About Jazz called “An exquisite project from bassist Fred Randolph, whose talents as a composer and arranger are what truly makes Song Without Singing an engaging musical experience. Presenting straight-ahead, Latin, Brazilian, and Afro styled rhythms, Randolph designs a varied musical package that will appeal to the most discerning aficionado.”
Randolph grew up in Honolulu where he started taking ukulele lessons when he was very young.
At the time, every young guy wanted to be a rock star, so he switched to guitar when he was 11 years old because he wanted to emulate Jimi Hendrix. When he was in high school, he began listening to jazz albums such as “The Boss” by Jimmy Smith featuring George Benson and became fascinated with jazz harmony. It changed his musical direction forever, and he became a serious student of jazz guitar.
After high school, Randolph went to UC San Diego. He admits, “I really went there to surf. But after growing up by the beautiful, blue, warm water around Hawaii, the ocean was too cold in San Diego.” So, he switched schools and enrolled in UC Berkeley. One of his guitar teachers in San Diego had suggested he listen to sax players like Coltrane to expand his jazz vocabulary. Soon after his move north, he rented a sax from a pawn shop in Berkeley and became hooked. He put aside the guitar and spent the next 12 years playing the sax.
After so many years and too many bad casuals, Randolph felt it was time for a change.
He was always a quick study when it came to music, and he had taught himself bass one summer years ago to play in a band. Although he hadn’t played it in over a decade, someone who remembered him from those days asked him to play bass in his band. Soon, one gig led to another. By that time, he had gone back to school and was working on his master’s degree in Composition at CSU Hayward. Says Randolph. “I fell under the spell of the bass, captivated by its endless possibilities and sounds. The acoustic and electric basses became my main instruments, and I started to study intensively. I listened to all types of jazz solos on other instruments and adapted them to the bass.”
After receiving his M.A., he pursued his professional career as a bass player. At first, he co-led the jazz quintet, The Zone, for several years, composing most of the music for the group’s first CD Grand Canyon Blue. Although he is a jazz musician at heart, his musical interests encompass a wide palette, and he also spent two years as a member of the Diablo Symphony Orchestra while leading his own jazz groups.
Randolph has performed as a sideman in many genres, from rock to classical, from salsa and samba to jazz, and he feels that great music has common elements that transcend style.
Music should be relatable on an emotive level, and a strong melody is perhaps the most important element in a song. The way a melody is phrased should resemble the natural cadences of speech, but harmony also conjures emotions. Randolph encourages his students to infer the emotion that each, individual chord evokes.
These elements are well represented on MOOD WALK. Randolph composed all the tunes on the album. He frequently finds inspiration from other compositions when he writes. “I often start writing by listening to other music. However, by the time I’m done, whatever I write doesn’t sound at all like the tune that inspired me,” says Randolph.
Randolph’s band comprises some of the finest musicians in Northern California.
Each band member is a leader in his own right. Trumpeter ERIK JEKABSON and pianist DAN ZEMELMAN have been members of Randolph’s band just about from the beginning. The core of the band also includes woodwinds player SHELDON BROWN and GREG WYSER-PRATTE on drums. Randolph wanted to add other colors to the music, so he brought on board some special guests, including GREG SANKOVICH on keyboards and organ; SILVESTRE MARTINEZ, who Randolph met on the salsa circuit, on percussion; BRIAN RICE on percussion; and DILLON VADO on vibes.
The album opens with “On the Upside,” which was inspired by Clifford Brown’s upbeat music. Randolph wrote “Unaware,” inspired by Chick Corea, about people who walk through the streets unaware of their surroundings. “T-Bone Slide” has an R&B shuffle feeling influenced by drummer Bernard Purdie’s playing, especially in Steely Dan. “Strange Game” is about the music business. Randolph wrote it after listening to the latest album by the legendary David Crosby. The bluesy “Mood Walk” is followed by the Latin-tinged “Knowing.”
Coltrane Plays the Blues was the inspiration for “Mr. Now.” Randolph has been a big fan of Todd Rundgren and wrote “Todd’s Idea,” featuring the old school sound of a Wurlitzer electric piano. Listening to NPR one day, Randolph heard a group from the Congo playing the Ndombolo rhythm, which inspired him to write “Nouveau Monde.” “Meadows” is an impressionistic Latin waltz styled after Brazilian composer Guinga. Randolph closes the album with “Funky N.O. Thing.” He originally wrote this 2nd line groove for his group, The Zone, and wanted to record a new version of it. Everyone gets to solo on the tune.
Randolph has always loved the power, valor, energy, and confidence of jaguars, which had spiritual significance in Pre-Columbian, Meso-American cultures. That’s why he used a painting of one on the cover of the CD. MOOD WALK was inspired by its beauty, mesmerizing movements, and mystery.
MOOD WALK is set for release in June 2020, and will be available at Amazon, iTunes, and everywhere.
Visit online at Fredrandolph.com
Danielle Nicole is excited to announce the release of her new album Fireflies, arriving August 28 via 40 Below Records. Pre-order here. Alongside the announcement, Nicole is sharing the album’s powerful new single, “Tug Of War,” a soulful anthem about reclaiming strength in the face of imbalance and emotional exhaustion.
“I wrote ‘Tug Of War’ for anyone finding themself no longer willing to accept the terms of a one way relationship,” says Danielle.
Long celebrated for her commanding voice, masterful bass playing, and emotionally fearless songwriting, Danielle Nicole traces the beginning of her musical journey back to a transformative moment in her teenage years: seeing Etta James perform live in Kansas City.
“We had a great blues festival in Kansas City,” Nicole recalls, “and I was able to see Etta James perform. She was fearless. My parents were musicians who played in cover bands, so music was always part of my family — but I didn’t realize I wanted to sing and perform, too, until I heard Etta.”
That reverence for the great soul singers, storytellers, and trailblazers who came before her has fueled a career spanning nearly 25 years, including 10 Blues Music Awards, a Grammy nomination, and international acclaim as both a songwriter and performer. With Fireflies, Nicole delivers what may be her most personal and musically adventurous statement yet — a raw, deeply felt collection recorded live to analog tape that explores grief, resilience, empowerment, and transformation through a rich blend of blues, soul, R&B, and roots music.
“There’s a lot of soul-driven music here,” she says. “A lot of storytelling. It’s a major step forward in my songwriting.”
Visit online at daniellenicolemusic.com/
Grammy Award-winning bassist, composer and cherished educator John Clayton — one of jazz’s most celebrated voices on the instrument — has released Two-o Duo, his 8th leader album exclusively via ArtistShare. This much-anticipated release features his longtime collaborator, vocalist and contemporary storyteller René Marie, and his son & frequent musical partner, 7-time Grammy-nominated pianist and composer Gerald Clayton. With a strong focus on duo playing, Two-o Duo presents 11 songs, spotlighting a range of material through different cultural eras, plus lyrical and compositional contributions from both Marie and the Claytons, respectively.
The worldwide digital release of Two-o Duo will be on July 3, 2026.
While the duo context and its many iterations shapes the project’s sound, Clayton seized the opportunity to explore further: “Since we were all there [in the studio], hanging out on the same day, why not do a few trio things as well?” Together, the three artists breathe through the repertoire, filling and leaving space and letting resonances linger. They embrace all that’s intimate and vulnerable. “Some really magical things happened,” he says. “If you’re close with somebody and you’re in the room with them, both of you feel the closeness that you share. There’s no word for it. It’s intangible. But it’s very real.”
When he began gathering ideas for the record, Clayton encouraged Marie to share repertoire selections that held meaning for her. His goal was to center her personal & eclectic musical tastes as part of the album’s character and development. “She’s not just singing jazz tunes,” says Clayton. “She’s singing songs that she would hear on AM radio, for instance, and pop hits. She’ll just walk around her house singing these tunes and the next thing you know, she’s asking her group if she can do these songs. She’s always been like that, which is a cool thing that I’ve always loved about her.”
The album opens on an utterly syncopated invention of “Blue Bayou,” the early ’60s ballad made famous by its co-composer Roy Orbison, then later by Linda Ronstadt. “We came up with this other vibe,” says Clayton. “I liken it to a cart that’s missing a wheel. It’s always just a little bit off.” With certain harmonic exceptions that allow the song to breathe through Marie’s treatment of the lyric, the Claytons keep it weird, anchored throughout by Clayton’s characteristically fluid yet propulsive bass lines. — even through Gerald’s piano solo. “It’s as if he didn’t want to destroy the weirdness.”
Two-o Duo’s first instrumental, Gerald’s blues composition “Nail… In Need” expands the album’s familial connection. When he performed it live at Pasadena’s Bacchus Kitchen, his godfather, drummer Jeff “Hammer” Hamilton fell in love with the aptly named tune and recorded it with his trio. Another deeply felt, intuitive gesture, “Beautiful” showcases Marie’s ability to embody a lyric’s poetry, musicality and stark humanness. “There’s a beautiful arc to this song where you feel René preaching with more intensity as the song goes on,” says Clayton. She amplifies that energy through her part-spoken, part-sung performance of “On the Day You Were Born,” taking her lead from Clayton’s melodic and conversational bass intro. After reading through Marie’s original lyrics ,and experiencing their dramatic yet intimate delivery, both John and Gerald contributed pieces of the composition, leaving plenty of room for the unfolding of Marie’s story. “I was frozen by its dramatic impact on me,” says Clayton. Together, they recorded a single take. “When it was over and we listened back, I said, ‘We could do another take, but it won’t be better. It’ll be different but it won’t be better.’ So we left it.”
A song that touches so many listeners through so many generations, Martin Rojas’ “En La Orilla del Mundo” pays homage to Charlie Haden and features John and Gerald at their most tender and resonant. Opening on piano-arco duo, the artists treat the iconic melody with curiosity and care. “It’s one of those songs I’m jealous I didn’t write,” says Clayton. “I don’t know what I’m capable of but I wish I were capable of writing a song like that [laughs].” Back and forth between them, Clayton and Marie pass intimate energy, dream walking through Billy Joel’s timeless love song “For the Longest Time.”
Combining “When You’re Smiling,” “Smile,” “Make Someone Happy” and a sweet shadow of “Put on a Happy Face,” Two-o Duo’s “Smile Medley” shares a moment of joy, with an almost literal translation of something abstract: genuine connection between artists. Marie provided the song selections but the arrangement, according to Clayton, was a team effort. Of their approach to “Some Other Time,” he says, “I feel Rio in the air on this one.” Clayton’s tight arrangement creates the movement of brushes without the brushes. “It’s a samba but we allow the listener to provide the drums.”
The arco tremolo introducing Duke Ellington’s treasured ballad “Come Sunday” sets the tone for a fog lifting moment when Gerald’s piano enters. “There’s a completeness to this song that’s absent in the first A because it’s just René and me,” says Clayton. “And then when that A comes in again, it’s Gerald. And now he’s got the entire orchestra — the piano — to fill in the gaps that you weren’t getting when it was just us.”
Clayton and Marie deliver a contemplative, rubato verse and ending on “Somewhere Over the Rainbow.” Her handling of the verse prompted Clayton, again, to pull out his bow. “René knows how to invite freedom and inspire creativity,” he says. “It’s what every artist wants to bathe in.” Two-o Duo concludes on Gerald’s layering composition “Forth,” performed as a duo with Clayton. The latter creates a bass orchestra in concert with Gerald’s piano and collection of keyboards. “I didn’t know what the song was about. I just had to read the music and watch it unfold. It wasn’t until the mix that I finally went, ‘Ahh…’ and heard how the pieces came together … It’s like unwrapping a gift.”
Dedicated to Clayton’s dear friend, the recently departed engineer Joel Moss, Two-o Duo is a gesture toward connection, in generous tribute to family, friendship and the sacred bond between artist and listener. “There’s always something spiritual about people who are related. It usually isn’t conscious and it doesn’t always have to be in your face. There’s some kind of line unspoken that’s going through there. I may not be related to René but we’re sharing energy. And the audience may not know what’s going on but they’re going to feel something, too.”
Bassist Chuck Bergeron has enjoyed working in a wide variety of settings over the course of his more than four-decade career, from hard-charging small groups to the boisterous big band swing of his South Florida Jazz Orchestra. But he has especially cherished his interactions with singers.
On his new album, Bass and Face, Bergeron realizes his long-held dream to pair up with some of his favorite vocalists for a set of intimate duets. Out June 5, 2026 via Summit Records, Bass and Face features a world-class roster of voices pairing with Bergeron on a diverse repertoire of songs. The line-up includes Janis Siegel of the legendary Manhattan Transfer, Pete McGuinness, Roseanna Vitro, George Rabbai, Lisanne Lyons, Deborah Silver (Grammy-nominated for her 2025 collaboration with the Count Basie Orchestra), Kate Reid and Nicole Yarling, as well as two iconic singers who are no longer with us: Sheila Jordan, who passed away shortly after the recording, and Kevin Mahogany, whose contributions stem from a 2005 session undertaken during Bergeron’s seven-year stint in the singer’s band.
Bassist Tony Saunders Reimagines Two R&B Classics on “Return of the Mack (I Like It)” with GRAMMY® Nominee Gerald Albright
During January’s NAMM Show, two?time EMMY?winning bassist Tony Saunders played a demo mashup of Mark Morrison’s “Return of the Mack” that weaves in El DeBarge’s “I Like It” for 9?time GRAMMY® nominee Gerald Albright. The saxophonist instantly heard its radio potential and agreed to play on the recording. The newly released single is now climbing the Billboard and Mediabase charts.
Joining Saunders and Albright on the track is GRAMMY®-winning keyboardist Michael Mani (Carlos Santana, Eric Clapton, Tori Kelly), who produced the single with Saunders along with playing keyboards, synths, key bass, vocal processing, drum programming, and guitar synths. John Mitchell added live drums to anchor the rhythm track.
“I’ve always loved ‘Return of the Mack’ — the groove is off the hook — and I knew I’d record it someday. ‘I Like It’ has also been one of my favorites, and because it’s in the same key, the mashup came together naturally. The reaction from fans when we play it live is incredible,” said Saunders, who records for the Baja/TSR label and received clearance to release the single on his own imprint.
Saunders dedicates the new single to the memory of two of his cousins, Kurt Kaywood and Oliver Rodgers. They passed away two weeks apart as Saunders was finishing up work on the track. “They played an important part of my life, always introducing me to new things.”
“Return of the Mack” peaked at No. 2 on the Billboard Hot 100 in 1996. El DeBarge’s “I Like It” was the group’s breakthrough hit, peaking at No. 2 on Billboard’s R&B chart in 1982.
Last week, Saunders was on-set in Sacramento shooting a cameo appearance in the Belton Mouras Entertainment film Fingers: The Vegan Zombie Musical, which is expected this Halloween. In addition to scoring several films, Saunders made his big screen debut in 1986 in the Francis Ford Coppola blockbuster Peggy Sue Got Married playing in a scene as a band member of Nicolas Cage.
Saunders’ musical path began with taking piano lessons from Herbie Hancock. He was gifted with an organ by Sly Stone and received his first bass from Creedence Clearwater Revival’s Tom Fogerty. His professional career began when he was invited to play in his father’s band. His father was Merl Saunders, and the co-band’s leader was Grateful Dead legend Jerry Garcia. Tony Saunders’ diverse musical journey spans jazz, funk, rock, R&B, and Latin music. He also composed the musical Rock Justice with Jefferson Starship’s Marty Balin.
Saunders debuted as a solo artist with 2011’s Romancing the Bass. His latest collection, 2024’s The Romance Continues, spawned multiple Billboard Top 10 hits. Over the years, Saunders has collaborated with contemporary jazz luminaries Jeff Lorber,Paul Brown, Paul Jackson Jr., Nils, Jeff Ryan, Randy Crawford, Blake Aaron, and Adam Hawley.
In addition to releasing more new music this year, Saunders is eager to perform with his new band: Mitchell on drums, bassist Vernon Hall (Tony! Toni! Tone!), guitarist Tim Landis, and keyboardist Ray Roland.
“I have played with a lot of musicians in my life, but this group really gets the Tony Saunders vibe!”
For more information, please visit www.tonysaunders.com.
VIDEO: “Who Are the People?” – Composed by Brandon Kyle Miller, Performed by Golden Flower
Golden Flower is an improvising quintet from Orlando, Florida… violin, trumpet/flugelhorn, Rhodes/piano, upright and electric bass, and drums, whose debut studio album “Are You Even Awake?” releases June 12, 2026, on Romantic Poker Records.
Brandon Kyle Miller handles both upright and electric bass with effects throughout the record, navigating everything from deep funk grooves to Indian classical-inspired rhythmic structures to post-rock textures, often in the same song. The album was recorded live at Phat Planet Studios and mixed and mastered by Aaron Gandia, and represents five years of development from a band that has clearly found its voice.
Standout bass moments include the deeply grooving “Piecemeal” and “Distant Glow,” the slow-burn intensity of “Intrasomatic” (composed by Brandon) and “The Search Goes On,” and the album’s epic closing triptych “Perihelion I, Interlude, & Perihelion II,” which moves through funk, African 12/8, and metric modulation with purpose and power.
The band also cites Roy Hargrove, The Bad Plus, Kneebody, and Vijay Iyer among their touchstones, a lineage that should resonate with Bass Musician readers.
Pre-order: goldenflower.bandcamp.com/album/are-you-even-awake and visit online at goldenflowermusic.com