Bass Videos
La Chica Red Bull Bass Transcription
La Chica Red Bull Bass Transcription
La Chica Red Bull Bass Transcription: Like “Siempre Latino”, “La Chica Red Bull” is another track from Gerardo Contino’s album Somos Latinos. The track is a state of the art example of timba bass in full flight. This is 3:53 of bass bliss. John Benitez’s fearless; “play at all costs” approach is in full swing on this arrangement and he doesn’t hesitate to pull out all the stops throughout.
Contrary to “Siempre Latino”, in which Benitez takes a more minimalistic approach, “La Chica Red Bull” features playing of a much higher degree of rhythmic density.
He weaves and worms his way through the tune, constantly alternating between fingerstyle and slap and of course never being pattern-oriented or predictable. His playing is often laced with gospel-influenced fills peppered with slippery articulations that provide a perfect match for Axel Laugart’s serendipitously similar keyboard style. All in all, there is little he leaves alone on this song with each note given “just a little extra” to make it special.
Another interesting device used in this example is John’s subtle displacement of phrases that would normally occur on beat one in most timba basslines.
Each is a quarter-note figure on the two side of the clave and consists of the intervals 1-5-8 or 1-5-10. While these figures are very common in timba Benitez displaces them one beat ahead or on beat four of the previous measure instead of on beat one. Once again we have yet another example of John bringing something fresh and unique to an already exciting style of bass playing.
In transcribing Benitez’s bass parts, it is often alarming to see how much he is really doing in the course of one song.
While simply listening to the music, his parts seem to fit seamlessly into the context of which he is playing. However, when looking at his parts in written form you can really get an idea of the almost unlimited vocabulary and creativity that he has.
An entire bass method book could be written based on the content that John injects into this track.
However, what is important to pay attention to in this track as well as “Siempre Latino” is his approach to clave alignment. Cuban Timba has some of the most overt clave aligned bass parts in Afro Latin music and therefore is a great study for any bassist trying to learn more about clave and how it works. These two tracks were chosen for this book partly due to their opposing clave direction in order to demonstrate the subtle differences in playing in 2-3 versus 3-2.
As stated over and over again, there are many lessons to take away from these two songs as well as all the other transcriptions in this book.
While the minute details of what John plays on these recordings are important to pay attention to, it is also crucial to look at the big picture. Although each track is an entity unto itself, none of them were created in a vacuum. Regardless of the style or context, each bassline and solo is an extension of an overall approach. In the case of every master musician, every note they play is forged from a lifetime of influences and life experiences. No matter what, John’s voice shines through in a very complete and personal way.
This La Chica Red Bull bass Transcription and article are an excerpt from the first book John and I collaborated on in 2015 Freedom in the Clave. Stay tuned for many more transcription videos to come!
This month, we discuss right-hand techniques to minimize injury while playing bass.
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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Adam Russell, bassist for Story of the Year, hasn’t slowed down for a second.
With the band’s latest album A.R.S.O.N. dropping on February 13, 2026, they’ve not only delivered new music but also pushed their creativity further through a series of visually striking videos, several of which Adam himself co-directed and edited.
In this interview, we dive into the making of the new record, explore how Adam shapes his signature bass sound, and get the inside scoop on the band’s upcoming Camp Screamo Tour with Silverstein and Origami Angel.
Here’s Adam Russell.
Photo: Ryan Stephens
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Get ready for a conversation with one of Southern rock’s enduring forces, Tim Neilsen. For over 35 years, Drivin N Cryin has been delivering a powerful blend of grit, melody, and heart, and they’re not slowing down anytime soon. With their brand-new album “Crushing Flowers” set to drop on April 10th, the band is gearing up for another exciting chapter.
At the core of that signature sound is bassist Tim Nielsen, whose driving grooves have helped define the band’s identity and earned them a place in the Georgia Music Hall of Fame.
In this interview, we sit down with Tim to talk about the new album, the secrets behind his unmistakable tone, and what lies ahead for Drivin N Cryin.
Here is Tim Nielsen.
Photos: Chris Neilsen, Carlton Freeman, Ted Lanthangue, and courtesy Tim Neilsen
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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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