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!
Bass Videos
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
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Visit Online
www.lettucefunk.com
IG @jesuscsuperstar
FB@jesuscoomes
FB @lettucefunk
Bass Videos
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
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
Bass Videos
Tour Touch Base (Bass) with Ian Allison
Ian Allison Bassist extreme…
Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.
I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/
Bass Videos
New Gear: Spector Woodstock Custom Collection Volume II
Spector Launches Woodstock Custom Collection Volume II…
Spector Musical Instruments expands their celebrated Woodstock Custom Collection with the Volume II series – a breathtaking series of 12 handcrafted, one-of-a-kind bass guitars, each one masterfully designed by members of the Spector team. Crafted in the Spector USA Custom Shop in Woodstock, New York, these works of art go beyond musical instruments and expand the boundaries of Spector Bass design.
Spector’s iconic design lays the foundation for the Volume II collection. Each bass showcases a unique vision, including the selection of tonewoods, electronics, captivating finishes, and intricate design details. The collection highlights Spector’s commitment to craftsmanship and artistry and the individual people and stories that make up the team.
“The Woodstock Custom Collection was such a huge success, and we had so much fun with it that we couldn’t wait to do it again,” said John Stippell, Director – Korg Bass Division. “With Volume II, we’re expanding on everything we learned from the first collection, as well as pushing our design and Custom Shop team even further. These basses are a testament to the inspiring talent, creativity, and skill of every person on the Spector team. I’m excited for all of these basses and love how they tell the unique stories of all involved.”
Visit online at spectorbass.com/
Bass Videos
New Gear: The Dingwall John Taylor Signature Model
Dingwall John Taylor Signature Model…
After playing a limited edition Dingwall live with Duran Duran, John Taylor has launched his
Dingwall Guitars production model, loaded with a Rupert Neve Designs preamp and
Rio-inspired graphics.
Dingwall’s major launch for 2023 was the limited edition Rio Dream Bass, featuring an
innovative Rupert Neve Designs onboard preamp. A year later, the range has been bolstered
with the Canadian company now offering unlimited access to its continued collaboration with
John Taylor of Duran Duran.
Dingwall CEO Sheldon Dingwall says the basses are a response to Taylor’s upfront bass style.
“John’s bass playing with Duran Duran really imprinted on me how a bass should fit into a band mix. The combination of tastefully busy syncopation, his punchy tone, and tight performance immediately drew my ear. His basslines have always had a special combination of energy and elegance.”
The John Taylor Signature model follows the formula of the limited edition Rio Dream Bass,
combining a lightweight Nyatoh body with three neodymium pickups to produce what Dingwall deems “wonderful playability and tones that display a rare clarity and refinement.” The JT Signature model also updates the Rio Dream Bass with a range of new colors; Metallic Black, Primrose, Cranberry and Seafoam Green, as well as a new 5-string variant.
Other specs include a bolt-on Maple neck, a Pau Ferro multi-scale fingerboard with the ‘Rio Eye’ inlaid at the 12th fret, and Dingwall’s new ‘Minimalist’ bridge. The headstock sports lightweight tuners and a Rio-inspired graphic that complements the body stripes, designed by longtime Duran Duran collaborator, Patty Palazzo.
Finally, an onboard preamp designed and configured in collaboration with Rupert Neve Designs, whose studio consoles have long represented the pinnacle of high-end audio engineering, promises a clear voice that balances punch and sustain. “Duran’s breakthrough single, the title track from 1982’s Rio, was originally recorded on a Neve console, so the history was already there,” says Sheldon. “But the team at Rupert Neve Designs absolutely nailed the tone.”
Like the Rio Dream Bass, the JT Signature has also been configured to Taylor’s own personal
specifications. “It all started when I was in Toronto about six years ago,” says Taylor. “A friend
showed me a Dingwall bass on his phone. I loved how it looked and immediately said to my
tech, ‘You’ve got to reach out to these guys!’”
For further information on the range options, head to dingwallguitars.com