Bass CDs
Bass Players Of Naughty
Bass Players Of Naughty…
Chaka Khan needs no introductions. With TEN Grammy awards and an estimated 70 million records sold worldwide, she’s one of the most important female voices of our time.
Chaka’s second record “Naughty” was released in 1980 and even though it didn’t get very high on the charts and it’s not her best-known work, it is considered by many a quintessential record.
“By the early ’80s, Chaka Khan and producer Arif Mardin had a great working relationship that was responsible for her hit solo debut, 1979’s Chaka… Naughty presents the two in a more centered working relationship… most of Naughty represents Khan in a holding pattern, without much material to accommodate her widening range. That being said, Naughty is only a few songs away from being a bona fide classic.” —?Jason Elias, Allmusic
Chaka Khan’s “Naughty” is a goldmine for bass playing, and features an impressive list of artists that makes it, by today’s standard, a classic.
In this article, we’ll talk about some of the best tracks, basslines, and bass players in this record.
Clouds; Anthony Jackson
The album starts with the all-time great Anthony Jackson on the bass. This album features Anthony at his best, with some of his most unique basslines and creative compositions to this day.
For the session, Anthony used his very famous “Career Girl” Fender jazz bass, which featured a 1975 Jazz bass body and a 1973 Fender precision neck, tuned down to a low C (C – F – Bb – Eb).
Anthony’s history with this record is nothing but amazing. Taking from Anthonys’ own words:
“Naughty, which was recorded in New York in 1979, went on without concern for the bass tracks. I was given absolute artistic license, with one exception, and an unheard-of amount of time – three months – to recompose the bass parts, whereupon I notified Arif (Arif Martin, the producer) of my readiness to record. I was given all the studio time that I required. I never found out how much my indulgence cost Chaka, but the end result is as pure an example as exists, in my own case, of the ends justifying the means.”
And boy, was he right! The end result was a bass masterpiece!
The track “Clouds” features a very solid groove that bounces through the track, and also Anthonys’ trademark use of a flanger.
Get Ready, Get Set; Willie Weeks
Bassist number two is the great Willie Weeks, one of the most widely recorded and diverse bass players of our time, Willie played with the likes of Gregg Allman, David Bowie, Eric Clapton, The Doobie Brothers, Stevie Wonder, and the list goes on and on…
In this record, he used his trusty 1962 Fender precision bass, and for this particular track, the bass is doubled with the synth, which was a trend throughout the eighties and gives the line a very bouncy, envelope filter kind of vibe.
Move Me No Mountain; Anthony Jackson
Move Me No Mountain is probably the best-known song on this record and it’s probably due to the absolute masterpiece of a performance by Anthony. The creativity and the virtuosity behind this bass track can’t even be described. The fills, the amount of space, and the choice of notes make this a line worth studying.
Nothings Gonna take You Away; Anthony Jackson
This track feels like Anthony is paying tribute to his bass hero: James Jamerson. His use of space together with Jamerson-inspired Chromaticism makes this track an homage to Motown.
So Naughty; Marcus Miller
Remember this is 1979, Marcus Miller is probably 19 or 20 years old; and he’s already playing at a scary level! Of course, he’s playing his 77 Jazz bass, and his signature slap sound is all over this track, but you can also hear (at around 15 seconds) that he’s showing some bad-ass fingerstyle playing. Marcus is not holding back on this track and he’s taking all the chances he can.
Too Much Love, Anthony Jackson, and Mark Stevens
Mark Stevens, Chakas’s brother, also makes his appearance in this record, and he’s no slouch either. In this track, we can clearly hear Anthonys bouncing quarter notes and Marks slapping over it. This tracks grooves like crazy and it’s a great example of a compromise between two great bass players.
All Night Is All Right; Anthony Jackson
This is a very minimalistic track, there’s not much to it at all. But it’s still incredible what Anthony can do with it. Anthony delivers some of the best fills in this entire record on this track (check out minute 1:00). As usual, the groove is spot on, and it shows that Anthony can also play it simple and lock it in the pocket.
What You Did; Mark Stevens
Mark Stevens slapping in this track with what seems to be a Fender Precision bass. The sound is thick and rubbery and does a great job supporting the brass instruments that are highly featured in this track.
Papillon; Willie Weeks
This was the hit single of the record. Willie Weeks is killing in this track with a sound resembling a Jazz bass and he’s totally locked in with the drum beat. Of notice in this track are the various tasteful and super melodic fills Willie delivers throughout the track.
Our Love is in Danger; Anthony Jackson
And we end the record just as we started, with Anthony Jackson in the lead. This is probably the most disco-sounding track on the record and Anthony’s signature plectrum sound together with his advanced muting technique is all around this track. And of course, Phaser! Anthony’s signature phaser sound that he created around the time of his stint with the OJ’s is also very prominent in this track.
This album is instrumental based and we can hear a lot of different instruments throughout it. But the bass is at the heart of this record. It’s a bass record and it’s stacked with amazing bass grooves and fills. This is a great record to use as a study piece, but also a piece of bass history that should be passed along throughout generations!
Acclaimed bassist and composer Ben Wolfe is thrilled to announce the August 9, 2024 release of The Understated.
This evocative new album features a collection of new original compositions by Wolfe paired, with re-imaginings of some of the composer’s classic material, with a particular emphasis on the ballad song-form. The album features ten tracks, five of which are ballads – a bold move for any composer – Wolfe creates a cohesive narrative here that challenges the listeners perception of the classic ballad. The Understated features Wolfe alongside artists who make up the very frontline of modern jazz, including pianist Orrin Evans, tenor saxophonist Nicole Glover, drummer Aaron Kimmel, guitarist Russell Malone and pianist Sullivan Fortner.
Wolfe has always been drawn to finding beauty in subtlety. He perceives a certain tranquility and elegance in the Coltrane Quartet, Louis Armstrong’s Hot Fives and Sevens, the legendary Miles Davis bands and rhythm sections, and the music of Charlie Parker. While he, of course, revels at the immense world-building energy of this music, it’s the “other side” – the elusive, magical aspect that endlessly captivates him – the understated. The composer draws inspiration most from the ensemble work of these hallmark jazz ensembles. Despite the individual parts being extraordinarily beautiful on their own, the musicians in these archetypal ensembles play only what is needed to serve the music, paying particular attention to the band-sound more-so than their individual sound. The Understated embodies this ethos with a tremendously impactful ensemble-oriented approach.
Wolfe sought to continue the thread started by “Lullaby in D” from his previous critically acclaimed release Unjust. Wolfe indicates, “Something about that take was so perfect to me. It had been brought to life, and it had that ensemble thing.” Wolfe assembled the quartet who recorded “Lullaby” (including longtime collaborator Orrin Evans, as well as recent frequent collaborators Aaron Kimmel and Nicole Glover) and two very special guests, Russell Malone and Sullivan Fortner. The recording process took place in one room with no headphones or isolation booths, further emphasizing the group’s collective awareness.
This record succeeds in bringing Wolfe’s expansive music to life through extremely conscientious group playing. Nothing is forced or pushed; everything that needs to be stated is stated. The single from the album, “Waltz,” encapsulates the spirit of the project. Wolfe says, “I view albums like a complete painting, so singles have been difficult for me. This song is very much in the spirit of the whole but doesn’t give away the record.” The piece features a sentimental melody delivered with grace by tenor saxophonist Nicole Glover, before Glover and Evans embark on stirring solos dancing in and out of the tune’s harmony.
Other new original compositions featured here include “Ballad in B”, which perhaps best demonstrates the group’s stunning cohesion. This tune is a refreshing diversion as it features a serene repeated melody without overt melodic improvisation. The following track, “Anagram”, begins with Kimmel’s rhythmic refrains and a unison melody played by Glover and Wolfe and is a true ensemble piece. On this track, Wolfe shines with a lyrical solo. The moody short interlude “So Indeed” is a lyrical masterwork that leaves the listener wanting even more. “Beautiful You” features master guitarist Russell Malone on the track’s melody. The emphasis here on restrained lyricism is a prime reminder of the old adage “it’s not the notes you play, it’s the notes you don’t play”. Each pocket of space in between melodic moments leaves room for the listener to breathe deeper and deeper into the song. The driving “Triangle Man” features fantastic improvisation from Glover and Kimmel. The tender “Barely Spoken” concludes the album with a feature for pianist Sullivan Fortner.
The album also weaves in references to Wolfe’s past works, creating a personal musical universe. “The Poet Speaks” is the opening track on his first record, 13 Sketches. “Occam’s Razor” was composed years ago for a collaboration with a choreographer and painter, and was a much different composition in its original form. “Love Is Near” was originally found on The Whisperer. With ballads in particular, Ben uses voicings and sounds that represent certain things to him, intentionally referencing his other compositions to generate connections between his songs.
Wolfe’s tremendous compositions on this album are also influenced by the group of musicians that he assembled for this release. Wolfe remarks “One of the things these five musicians share in common is that not only are they true ensemble players, they will always play something unexpected and special.” Listeners will find calm and beauty within the ensemble performances throughout The Understated.
Visit online at benwolfe.com/
Bassist, band leader, and composer Orlando le Fleming continues to make music that crosses genres as readily as he crosses the Atlantic, with this new album ‘Wandering Talk’, to be released physically on 23rd August via the UK’s premiere jazz label, Whirlwind Recordings.
After 20 years in New York City, he’s back in his native UK, forging new pathways and renewing old partnerships. His love for the acoustic tradition continues unabated alongside his deep affection for the robust, muscular electric fusion that emerged in the 1980s, and he has received critical acclaim from media including The Guardian, Financial Times, Jazzwise, and All About Jazz among others. He has also toured and recorded with some of the world’s greatest jazz musicians including Branford Marsalis, Kurt Rosenwinkel, Antonio Sanchez, Ari Hoenig, and Wayne Krantz.
The Romantic Funk project was born in New York’s legendary 55 Bar to explore that legacy: now the new album ‘Wandering Talk’ builds on the critical acclaim generated by ‘The Unfamiliar’ (2020), building on the framework with a set of collaborators that brings together London and New York, past and present, acoustic, and electric, and merges it all into a spectacular whole.
Following the same principles that served the project in NYC, le Fleming booked four Friday nights at London’s renowned Vortex Club to workshop the music that would become the album, with a rotating cast of players which he honed down into the final line-up. Old London friends Tom Cawley (piano/keys) and James Maddren (drums) completed the rhythm section. New acquaintance Nathaniel Facey was picked from the ranks of the UK’s brightest young saxophone players. NYC stalwart Philip Dizack flew in from the US to play trumpet and reaching back to Orlando’s school days and forward to his own family, one-time classmate Chris Martin (Coldplay) and his own daughter Nadia combined to provide vocals on a special setting of Rumi’s poetry.
As before, the music combines fusion’s flash and fire with a contemporary sensibility. This time, Orlando’s questing spirit sends his superb band forward to investigate fresh areas of creativity in dynamic and texture.
Visit online at orlandolefleming.com
Album: John Entwistle, Rarities Oxhumed – Volume Two
Rarities Oxhumed – Volume Two is the second of the series of posthumous releases coming from John Entwistle.
Rarities Oxhumed – Volume Two is a compilation that was curated by drummer Steve Luongo, who served as John Entwistle’s producer, bandmate, business partner and good friend for many years. As Luongo states, “When I agreed to do two volumes of John Entwistle rarities, I knew volume two had to be even better than volume one. It is!” The collection of songs on Volume Two are from his years with the John Entwistle Band and include re-mastered versions of studio tracks including “Endless Vacation”, alternate mixes of tracks like “Sometimes”, and live tracks including The Who cuts “Real Me”, “Long Live Rock” and an epic version of “Young Man Blues”. The latest preview track to be released is the Who cut “Had Enough.”
Listen to “Had Enough” here: push.fm/ps/hadenough
Rarities Oxhumed – Volume One was quickly embraced by longtime fans as it featured gems like “Bogey Man” featuring Keith Moon, “Where You Going Now” (demo for the Who), and a raw live version of “Trick of the Light” recorded during the John Entwistle Band’s final tour in 2001. Deko Entertainment is thrilled to have been able to bring both volumes of this unearthed music of John Entwistle to the fans and forever solidify him as one of the greatest rock musicians ever.
For more information, visit online at dekoentertainment.com/john-entwistle
Mark Egan, Cross Currents…
It is exciting every time I get a new album from Mark Egan as he is such an amazingly versatile player and I never know what to expect (except for excellent artistry!) In his latest release, Mark has teamed up with Shawn Peyton on drums and Shane Theriot on guitar to bring us “Cross Currents”.
This collection of eleven tracks transports me to the Gulf Coast (New Orleans specifically). Mark’s fretless basses lay down a solid groove and lots of juicy solo work for this rootsy collection of funk, ambient, swamp-rock, second line, ballads, Cajun and even Indian Raga.
This trio is super-tight and the musicianship is flawless as each member has ample opportunity to shine. Even though each player is very talented in their own right, I feel that the collective energy is greater than just the sum of the players on this album. Each musician contributed to composing music for this project but the lion’s share are Mark’s original pieces.
I spent the summer of 1981 in New Orleans and this wonderful music takes me back to those fond memories. I participated in a wacky raft race on Lake Ponchatrain and this opening track elicits images of fun, sunshine, music, and great food.
This is another superb album that everyone will enjoy. Get your copy today! Cross Currents is available online at Amazon.com. Visit Mark online at markegan.com.
ALBERTO RIGONI’s New Project NEMESIS CALL Announce “Kingdom of Shred” Album, Feat. Super Talented Guests Such as Mike Terrana, Alexandra Zerner + Many Others
Worldwide known Italian bassist and composer ALBERTO RIGONI (soloist, BAD As, Kim Bingham, Vivaldi Metal Project, etc.) announces the new album “Kingdom of Shred” of his new project NEMESIS CALL.
Alberto says:
“Even if my latest album “Unexpected Lullabies”, dedicated to my newborn Vittoria Parini Rigoni, was released on June 4th 2024, I felt the need to compose new music (yes, I really can’t stop!). This time will be quite challenging because I’m willing to release an instrumental shred/prog/rock/metal/melodic album, that will feature many talented top-notch musicians such as drummer Mike Terrana, Alexandra Zerner, Alexandra Lioness, Aanika Pai (11 years old!), Keiji by Zero (19 years old!), SAKI and many others TBA/TBC). It won’t be easy to manage all such great musicians but I will make it! Are you ready to face a new prog experience? The album will be released in Digipack CD and in high-quality digital format approximately at the beginning of 2025 or maybe for Christmas!.”
As an independent artist, Alberto Rigoni has launched a fundraising campaign to support the project. Support at www.albertorigoni.net/nemesiscall. 20% of the income will be donated to Lega del Filo d’Oro (www.legadelfilodoro.it/it), an Italian association that helps deaf and blind children!
Visit online at www.albertorigoni.net | albertorigoni.bandcamp.com | facebook.com/albertorigonimusic | www.badas.rocks
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