Bass Videos
La Mulata Bass Transcription
La Mulata Bass Transcription…
La Mulata Bass Transcription: John Benitez’s complete bassline to “La Mulata”.
“La Mulata” is a selection from the Frankie Vasquez/Martin Arroyo record “Los Soneros del Barrio”. The album is a masterpiece and maybe one of the most underrated salsa records of its time, even among other recordings of this particular band. The eponymous album was made in 1999 and was the debut record for this band, and unfortunately was released soon before the untimely passing of pianist Martin Arroyo. The band went on to make other recordings, including “Remembranzas” and “Siguiendo la Tradicion”, both of which became highly regarded albums in their own right.
La Mulata Bass Transcription:
However, there is something undeniably special about this first record.
The album features eleven tracks including rearranged salsa classics with some originals. What is especially intriguing about this recording is there isn’t a single ballad or cha-cha-cha, only relentlessly swinging dance numbers from start to finish. The recording is teeming with hip arranging, beautiful coros and of course the unparalleled singing of Vasquez. Indeed there are strong contributions by all musicians and singers involved. Nevertheless, the most fascinating aspect of this album may indeed be Benitez’s brilliant bass work.
The album is an interesting study because, on one hand, we have a band of top-notch salsa musicians playing the music in a very “tipico” fashion with John Benitez on bass doing quite the opposite. What is incredible is that what John chooses to play doesn’t just work, it works so well that one could not imagine a better part being played there in the first place. According to Benitez his only instruction from the bandleaders was “play what you hear”. What we have on this recording is Benitez unleashed, given full freedom to do whatever he wants with ingenious results. In fact, what he does here could possibly be some of the most creative and nonconformist bass playing on a New York salsa record.
This particular tune demonstrates John’s freedom within the eighth note grid in a very cool way. In the cuerpo, or body, of the song he takes a very rhythmically dense approach with many percussive dead notes that pepper the standard tumbao. The approach is more akin to bassists such as Gary Willis, Rocco Prestia, or even Cuban bassists such as Rafael Paseiro and Feliciano Arrango. This approach is more common in funk, fusion and Timba styles of bass playing, versus the more legato style often associated with salsa. Contrary to the way it may look on paper, the tactic serves as the perfect foil the somewhat scant vibe created by the percussion.
Conversely, when the montuno kicks in he switches tactics and opts for a spare yet highly syncopated method.
The montuno is nothing unusual from the standpoint of the other musicians and the genre itself. It is a I-IV-V-IV progession in F major, one of the most common chord progressions in Latin music found in countless songs and styles across Latin America. However, with his limitless imagination, Benitez is able to take this almost stereotypical chord sequence make it sound as fresh and exciting as anything else out there. To be honest, there really isn’t a clear-cut way of describing what he is doing here. It is neither Salsa nor Timba. In fact, it isn’t really any particular style one could easily label. On the contrary, it seems to be an approach that is entirely his own, constantly creative and never formulaic or cliché.
Every track Benitez touches on this record has something distinctive and inimitable.
His unorthodox approach to otherwise canonical music is a quality that truly sets him apart from the usual dossier of bassists in the style. It is highly recommended that you listen to the entire album to witness firsthand the sheer breadth of what John plays on each song. Every tumbao has something in it that seems to come out of nowhere, forged from the mind of a true master who is aware of everything and fearful of nothing.
This article is an excerpt from the first book John and I collaborated on in 2015 Freedom in the Clave. It can also be found in my second book El Sonero del Barrio. Stay tuned for many more transcription videos to come!
Oteil Burbridge & Lamar Williams Jr. Champion Love Over Hate in New Single “Hush” | New Album ‘The Offering’ Out May 1.
Bassist Oteil Burbridge and vocalist Lamar Williams Jr. continue the rollout of their forthcoming collaborative album The Offering, with the release of its second single, “Hush”. A slow-burning Southern soul meditation rooted in love, peace, and emotional clarity, the track is a centerpiece on the album with a potent, thematic statement, in Williams’ words to “block out all of that nonsense” and “remember that there is more love in the world than hate.” The full-length album arrives May 1 via Flóki Studios, recorded on Iceland’s northern coast and produced by drummer, engineer, and Soulive co-founder Alan Evans.
While much of The Offering grew out of Burbridge’s banjo-based writing, “Hush” emerged from he and Williams’ shaping a deliberate sonic vision. Burbridge says they were “trying to capture a more old school Memphis, Macon, Muscle Shoals vibe,” leaning into a Southern soul feel that fits Williams’s phrasing. The end result is a song that is unhurried with a deep pocket that allows the groove and the song’s message breathe and stand at the forefront.
The album features an all-star lineup of drummer John Morgan Kimock, percussionist Weedie Braimah, organist Melvin Seals of the Jerry Garcia Band, pianist and violinist Jason Crosby, guitarists Tom Guarna and Jaden Lehman — musicians whose overlapping histories connect the Allman Brothers Band, Dead & Company, the Jerry Garcia Band, Soulive, and West African percussion traditions.
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When I heard that American Vanity, formerly known as Burn the Jukebox, was gearing up to release a new album this summer, it felt like the perfect moment to catch up with bassist and vocalist Virginia Franks.
With a fresh name unveiled just this past January and a clear shift in musical direction, the band is entering an exciting new chapter, one defined by both sonic evolution and a deeper, more focused message.
In this conversation, Virginia opens up about the inspiration behind the upcoming record, how she crafts her distinctive bass tone, what fans can expect from their upcoming tour, and where she sees both herself and the band heading next.
Join me as we dive into it all.
Here is Virginia Franks.
Photo, Devin Kasparian
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For decades, we’ve had the privilege of following the remarkable career of Nathan East, listening closely to his albums, tracking his milestones with Yamaha Instruments, and watching his evolving partnership with Laney Amplification with great interest. Along the way, we’ve talked gear, tone, and technique, while hearing his unmistakable musical “voice” woven into the work of more iconic artists than we could possibly list.
Today, we’re thrilled to reconnect with this true giant of the bass world following the release of a very special new album, Father Son, produced by Nathan alongside his son, Noah East. It’s a deeply personal project that showcases not only extraordinary musicianship but also a powerful family bond.
Join us as we dive into the making of this outstanding record, explore the new Laney Nathan East Signature Bass Preamp, and look ahead to what the future holds for one of music’s most respected and influential bassists.
Here is the one and only… Mr. Nathan East.
Photos, John Abbott @johnabbottphoto
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Disclaimer: This bass strap was kindly provided by Italia Leather Straps for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
I’ve spent years searching for the perfect wide bass strap, something that delivers both comfort and durability without compromising on style. That search ended nearly two decades ago when I discovered Italia Leather Straps.
Handcrafted in the USA from premium Italian leather, Italia Straps offers an impressive range of straps for both bass and guitar players. What immediately stood out to me was the exceptional craftsmanship; every detail, from stitching to material selection, reflects a commitment to quality. These aren’t just accessories… they’re long-term investments for serious musicians.
After more than 19 years of consistent use with my original strap, I can confidently speak to its longevity and comfort. Even under the demands of extended performances, the support provided by a 4” wide strap makes a noticeable difference.
In this review, I’m taking a closer look at the 4” Elite Series Leather Backed Bass Strap, now available in a sleek new Slate Black finish. It’s a refined addition to an already outstanding lineup, combining aesthetic appeal with the same trusted performance.
For more information, visit www.italiastraps.com.
Since 2012, Tom Doyle has been holding down the low end for UK alt-rock heavyweights Don Broco, helping to shape the band’s groove-driven, genre-blurring sound into one of the most distinctive in modern British rock. With thunderous tone, razor-sharp precision, and an instinct for hooks that hit just as hard as the riffs, Doyle has become a crucial force behind the band’s ever-evolving sonic identity.
As Don Broco gear up to unleash their highly anticipated new album, Nightmare Tripping, this feels like the perfect moment to dive into the mind of the man anchoring the chaos. From his musical roots and influences to the gear and techniques that craft his signature sound, Doyle opens up about the journey so far and what lies ahead.
Join me as we explore Tom’s evolution as a musician, the creative process behind Nightmare Tripping, and his vision for the future in a band that refuses to stand still.
Here is Tom Doyle.
Photos by Ton Pullen