Bass Edu
Walking the Bass Line 3
If you happen to stumble across this article, it may be worth reading Walking the Bass Line #7 which is the first in my series for new bass players or checking out all the articles about my bass journey. All about bass guitar
Two more influences
I’ve never been a great fan of standard teaching approaches when it comes to developing my musicality and learning more about bass guitar. YouTube offers hundreds of seemingly quick routes but I wanted to go down the route of the old-school musician, pay my dues and stand on the shoulders of giants in the hope of finding my musical voice.
In last month’s Walking the Bass Line article, I talked about John Paul Jones and Andy Fraser, the first two badass bass players I studied when I first picked up my low-end love.
The other two are:
Jack Bruce | Cream
Carl Radle | Eric Clapton (and others as a session player)
Jack Bruce
Jack Bruce Photograph – used with permission from Marek Hofman Photography
When I was a teenager in the early ’80s, Cream was a band that wasn’t really on my radar – I was that bit too young and my older siblings preferred listening to a real mixed bag from the Jackson 5 to Fleetwood Mac, Steely Dan, ELO and Roxy Music.
Listening to music with a focus on what the bass was doing was a whole new experience for me and not something I’d ever consciously done before. I would only ever notice the bass if the groove or riff was insanely catchy and jumped out of the track.
Now, I was listening to music in a completely different way and this time I actually knew the name of the bassist – hehe – in this case that would be Jack Bruce.
Instead of reinventing the wheel, the about section on his website is a great overview of such an innovative and inspirational musician:
Hailed as one of the most powerful vocalists and greatest bassists of his time, his improvisational skill and utterly unique, free-spirited approach to composition and performance would forever change electric music.
He was inspired by jazz and classical bass, including James Jamerson and also loved Paul McCartney’s playing, especially on the song ‘Rain’.
This made me chuckle when I read an interview in Forbes magazine when Jack was chatting about guitarist Jimmy Page who started off on bass guitar when he joined The Yardbirds
Bruce: “Yeah, he used to play bass. Again, I remember Jimmy Page from being a session musician. That’s why I never took Zeppelin seriously. They were a bunch of session musicians that we kind of looked down on. We looked down on everybody [laughs]. We looked down on Mick Jagger and Keith Richards early on when they used to come along and try to sit in with us. We’d tell them to piss off: “Go away, learn to play and then come back” [laughs].
Jack Bruce and Butch Photograph – used with permission from Michael Antoniou Photography
It’s strange when you read about people’s stories and experiences many years later. How could you possibly tell who out of the people you knew in your 20s would go on to become mega-famous, or despite their insane talent, achieve zero commercial success?
Playing music is not just about talent, it’s very much connected to that moment in time – that’s when the magic happens!
Now Jack says that he avoided solos! It seems to me that in Cream Live Volume all the instrumental passages were improvised lines that changed from night to night in reaction to Baker and Clapton’s playing. Suspiciously like solos to me 🙂
If you read my previous article you will know that I learned my chops by playing twice a week for two years in a covers band with my husband and a selection of drummers on the Isle of Man. We even tackled three or four of the songs from Cream Live Volume II including White Room, Crossroads and Badge.
Rather than improvise, which at the time I wasn’t confident about, I learned all the songs by ear, note for note and attacked them with suitable ferocity utilising the Gretsch and HiWatt amp on #loud.
Bruce has a unique style and really puts you through your bass-paces and I love the energy he brings to the bass line – especially on Crossroads – he’s up and down the neck like a bride’s nightie.
Watch this video of Cream playing White Room!! Sensational!!
Carl Radle
They call him the musician’s musician – a role model of a classic multi-genre bassist.
Carl Radle photograph – used with permission from Dan Howard
Radle was the consummate sideman who has worked with an impressive list of artists including Leon Russel, Dr John, J.J.Cale, John Lee Hooker, Art Garfunkel, Bob Dylan, George Harrison and Joe Cocker.
It was his gig with Delaney & Bonnie opening for supergroup Blind Faith that changed things up for him when he first met Eric Clapton, which led to him playing on the Derek and the Dominos’s album Layla and Other Assorted Love Songs.
Carl Radle Photograph – used with permission from Dan Howard
I first heard Carl’s bass playing on Clapton’s E.C. Was ‘Ere and I had no idea how beautiful bass lines could be. The motifs and melodies he played were sublime and brought to mind a picture of dancing across rocks navigating your way downstream in the middle of a fast-flowing river. His tone also. Rich and deep, a real bass sound.
Sadly Carl died at the young age of 37 but you can find out more about him on Wikipedia
Watch this video of Eric Clapton, Carl Radle and George Terry on second guitar playing live on The Old Grey Whistle Test to get a feel of their vibe!
Another favourite of mine is Have You Ever Loved A Woman from E.C. Was Here.
Radle is so chilled back – the space – the melodic counterpoints – it’s simply brilliant. The feel… and his cheeky little runs.
Developing your skills
Session playing
There is nothing more terrifying than having to perform on someone else’s record. It’s their work and they are always passionate about it and how it sounds.
Apart from recording with my band, I had also done quite a bit of session work before providing backing vocals (BVs) on a number of sessions for my husband Simon’s solo record, Cartesian Jetstream, The Mighty Revelators and Joe Marshall.
Even though I had only been playing four strings for a few months I ended up playing bass and singing backing vocals for the soundtrack to Ground Pilots animated film ‘The Race – A Magical Boy’ – gasp. There is no doubt that this focuses the mind and steps up your game!
Watch the video they made of the recording session when our Supertone residential recording studio was in Spain (reopening in Portugal in January 2025).
I’m playing bass, changing things up on the fly in response to direction – and my husband Simon, who engineered the three-day session, played guitar – on his knees!
Endorsements #1
I am amazingly fortunate to have business relationships with various cool manufacturers which all started with Mike and Spencer Lull at Mike Lull Custom Guitars and Basses.
I have found the bass community to be supportive and appreciate the love I have been shown over the years. Getting to know the people who help you make the music is really cool and adds another layer of meaning to your artistic work.
Bass Guitar Magazine
In September 2018 I was featured in Bass Guitar Magazine with a front cover mention and in-depth interview about all things bass!
It was a bit of a shock as the magazine’s editor and prolific rock author, Joel Mciver emailed me out of the blue! There’s nothing like an interview to get you thinking about what matters and why you do stuff.
Sadly the magazine is no more.
Bass guitars (part two)
As you may recall from my first article in this series, my first two basses were the Gretsch ThunderJet short-scale and the Mike Lull M4V.
One more bass I definitely knew I needed for my low-end stable was an acoustic. There’s something quite beautiful when you play an acoustic bass with an acoustic guitar – the tonality is rich and authentic – like wisdom speaking through the wood.
I also wanted a guitar I could play that I didn’t have to plug in to make a sound out of as sometimes I just want to pick up a bass and play without any kerfuffle.
The Fylde Guitars King John bass
Fylde Guitars King John Bass photograph – used with permission from Simon Campbell
My King John bass guitar – it’s huge!
I have an acoustic folk-rock background touring the UK with my band Megiddo in the ’90s.
When I met Simon on the Isle of Man we started playing acoustic duo gigs together, playing our own original material. We were both songwriters and hadn’t started writing together at this point.
Double harmonies and two acoustic guitars; very much a case of I’ll bring the bread and you bring the cheese – a musical tapas of influences.
We moved to Spain and started touring as a duo after the release of Simon’s second solo album The Knife – a mix of Americana, blues and contemporary folk. The set-up consisted of acoustic guitars, electric bass, piano / Mellotron, harmonica and Cajon. Some of the songs really needed the touch of an acoustic bass but that was for another day… maybe.
Out of interest, Simon contacted Roger Bucknall MBE, an English luthier who owns Fylde Guitars which is now based in Penrith, England. You can’t get better than a Flyde hand-built instrument and can see Roger’s craftsmanship played by the hands of outstanding musicians such as Martin Simpson, Eric Bibb and Gordon Giltrap.
Simon wrote an article about his—and subsequently our—relationship with Fylde which is certainly worth a read.
Roger said there was a two-year waiting list for him to build a new bass guitar but mentioned that he knew of a second-hand King John Fylde acoustic bass for sale by musician Joss Clapp. What to do?
I called Joss about the guitar, really got on well and came up with an agreement; we would pay a deposit now and collect the guitar in a year’s time. Joss was willing to wait to give us enough time to save up the rest.
So twelve months later, true to our word, we rocked up at Tebay service station near Penrith in the UK and met up with Joss.
We had a lovely chat and it was clear he really loved this guitar; it had a lot of history: Sting had played it, Joss had toured with Kathryn Tickell and other bands (being a mighty fine player in his own right) and it had also graced the stage of the Royal Albert Hall.
I reassured him it was going to a good home where it would be well treated and that I was really looking forward ‘us’ getting to know each other (the bass that is).
We went to his van, collected the bass and drove off. It felt like a scene from a movie.
When I returned home I picked up the guitar and wow – what a sound… it is absolutely out of this world, like the echoes of an ancient civilization. Alive, full of history and wisdom, the wood feels like it sings stories of times gone by, of the earth, the people and the stars…
It also has to be noted here that my King John Fylde bass is huge; the neck is so long you have to take a taxi to the low F!
In Germany with my Fylde King John Bass! Look how big it is!! Photograph – used with permission from Simon Campbell
I tried playing it standing up with a guitar strap but that was an abject failure as we fell about laughing… the guitar sticks out so much I couldn’t see the front of the guitar and all that was missing was a sombrero!
I changed the strings to Thomastik-Infeld flat wounds and together with the Headway under-saddle pickup, my bass is the most enchanting of guitars. Yes, it’s a little battered by its many years on the road but that’s because it has travelled and been played – the reason guitars are made in the first place – not just to be hung up on someone’s living room wall looking perfect. Who wants that? That’s like being a bird and never singing.
When the old man John and I are together, something magical happens.
You can read more about the bass on my website via the button below.
When Simon and I wrote It Ain’t Right a track from our second studio album The Language of Curiosity it was a natural choice to play the King John acoustic. The bass line has a lot of movement in its melodic cycles and perfectly compliments the vocals.
Lyrically it is a protest song – listen out for the gigantic vocal harmonies – I envisaged hundreds of people gathered together on a hilltop singing in unison as the sun rose on the horizon.
My amps & cabs (part two)
I like to play loud on stage and at bigger venues using valve (tube) amps and big cabinets.
Shortly after I started playing I decided I needed a small amp as well and bought the Littel Mark III for my ‘practice rig’. Perhaps that is an unfair description as I do use it for small acoustic concerts when my valve/tube amps would be too much and overpowering.
Mark Bass // Little Mark III
My Little Mark III bass amp photograph – used with permission from Simon Campbell
I needed a practice amp which could also be used for smaller acoustic gigs. The MarkBass is on paper, more powerful and feature-rich than either of my valve heads and to call it a practice amp is a bit of an insult!
There is no doubt it’s a professional tool however I love that valve sound. It is very light with good EQ and fits in a small compartment under the speaker in its flight case known as R2D2!
My favourite feature is the speaker emulation control which rolls off the top end. FAT!
I may be upgrading my sound soon to the new Bergantino Forte’ HP2X amplifier with its rich harmonics as we are planning a Starlite & Campbell acoustic tour for 2025. I will need more versatility in my sound to suit the variety of music we will be playing.
Bergantino HD112
I needed a cabinet to match and there was really only one choice – the Bergantino HD112. Yes, it has a tweeter but there is an attenuation knob on the back of the cabinet which I have wound down to zero—see my previous article to understand why!
It’s small, relatively light with good power handling and sounds massive with a tight creamy low end, perfect for fingerstyle playing. The HD112 is my cabinet of choice for smaller gigs and has been used all over Europe; from outdoor concerts in Germany and Spain to intimate acoustic gigs in the UK – it’s simply a great piece of gear.
Starlite & Campbell outdoor concert featuring Bergantino HD112- Café Walkdkristal, Germany. Photo: Suzy Starlite
EHX POG 2 Polyphonic Octave Generator
Electro-harmonix (EHX) only came onto my radar when Simon started talking about the Big Muff, whose name I have always thought was a little saucy.
EHX always seem to have gear at a reasonable price point and at the time I was starting to explore the higher registers of the bass and thought it might be cool to buy an octave device.
I had no experience with these and looked into both analogue and digital pedals.
The EHX POG 2 Polyphonic Octave Generator is digital and seemed a good alternative as it has not only one or two octaves down but also an octave up and filters.
It tracks OK with flat-wound strings (that is how well it follows the original note) but is better using round-wounds. Naturally, your technique comes into play here – it’s essential to keep the notes ‘clean’ as any fluff will cause it some problems.
They have also just released a POG 3 which looks superb!
It hasn’t made it onto a recording at the moment as Simon tends to use a DBX subharmonic synthesiser—doesn’t that sound cool—or our Eventide Harmonizer H3000 for octave/harmonizer FX in the Supertone Sonic Laboratory. However, I do use it live which is great fun to change things up a bit.
I need a great analogue octave pedal. Any suggestions?
And finally
Next month I will feature my approach to two original songs from my band, a surprise gift from our son, another valve amp and more pedals.
Much love
Suzy
Ready to take your rhythm section from good to unforgettable? It’s time to dive into bass and drums practice exercises that actually work.
If you and your drummer have been jamming for a while but still feel like something’s “off,” the missing ingredient is likely structured groove practice. Playing songs is fun, but real groove is forged in the fire of repetition, timing drills, and trust-building exercises.
So grab your drummer (or a drum machine), warm up your fingers, and get ready to go deeper than ever into the pocket.
Why Groove Practice Matters More Than Rehearsal
There’s a big difference between rehearsing a set list and actually practicing groove. Rehearsals are about song structure, transitions, and cues. But bass and drums practice exercises are all about feel.
Here’s why it matters:
- You develop musical chemistry
- You improve your internal timing
- You learn to communicate nonverbally
- You build consistency that carries into live shows
These exercises will help you achieve that, one locked-in groove at a time.
Exercise 1: The 2-Bar Loop Challenge
This is one of the simplest, most effective bass and drums practice exercises out there, and it’s addictively fun.
How to do it:
- Choose a simple 2-bar drum groove.
- As the bassist, play a simple line that locks into the kick and supports the snare.
- Loop those two bars… again and again… for at least 5 minutes straight.
- Focus on micro-adjustments: tone, dynamics, feel.
Why it works:
Repetition builds groove memory. This exercise strengthens your timing and teaches you to feel slight variations in the drummer’s pocket.
Exercise 2: Play With and Without a Click
Drummers and bassists both benefit from click practice, but here’s the twist: learn to feel the groove with the click, then test it without.
How to do it:
- Set a metronome to 70–80 BPM.
- Play a 4-bar groove with the click for a minute.
- Mute the click, and keep playing for another 2–3 minutes.
- Bring the click back in. Are you still in time?
Why it works:
This tests your internal clock as a unit. A tight rhythm section should be able to stay locked, even when the external reference disappears.
Exercise 3: Trade Eighths and Sixteenths
This one boosts your responsiveness and strengthens your groove vocabulary.
How to do it:
- Drummer starts with a basic beat.
- You play eighth notes for two bars.
- Switch to sixteenth notes for the next two bars.
- Go back and forth for 5+ minutes.
Optional twist: Have the drummer switch up their pattern too… ghost notes, syncopated hi-hats, rim shots. You adapt.
Why it works:
It trains you to adapt rhythmically while staying glued to the groove.
Exercise 4: Groove Call and Response
Think of this like a musical conversation.
How to do it:
- Drummer plays a 1- or 2-bar groove.
- You “respond” with a groove that complements or mirrors it.
- Switch… now you play first, and the drummer answers.
- Keep the phrases short and groovy.
Why it works:
It develops groove intuition and trains you to hear rhythmic ideas and respond with intention.
Exercise 5: The Ghost Note Sync-Up
This one’s a deeper dive. Ghost notes are subtle, so this is about listening and matching energy, not just rhythm.
How to do it:
- Drummer plays a groove with ghost notes on the snare.
- You add subtle ghost notes (muted plucks, low-volume notes) in between your main bass notes.
- Try to mirror the drummer’s energy, not necessarily their exact pattern.
Why it works:
Subtlety = groove mastery. Matching ghost note dynamics helps you blend and groove like pros.
Exercise 6: Dynamic Drops
Playing tight isn’t just about time, it’s about touch. This exercise sharpens your control.
How to do it:
- Groove at medium intensity.
- At random intervals, drop to whisper-quiet playing.
- Then build back up to full volume, together.
- Do it without talking or cueing—just eye contact or feel.
Why it works:
Real rhythm sections control the emotional flow of a song. This teaches dynamic awareness and builds musical trust.
Bonus: Record Yourself
No matter which bass and drums practice exercises you do, always record yourselves, even on a phone.
Listen back. What worked? What felt stiff? Where did the groove pop?
You’ll improve twice as fast when you can hear where you’re tight (or not) as a rhythm section.
How Often Should You Practice Together?
Ideally:
- Once a week for 30–60 minutes of groove-specific practice
- Rehearsals are separate… this is groove-only time
- Consistency is more important than length
You’ll start to notice the groove showing up in rehearsals, gigs, and recordings.
Remember… Groove Isn’t Luck, It’s Built
A tight rhythm section doesn’t happen by accident. It’s built on intention, sweat, patience, and yes, plenty of mistakes. The more bass and drums practice exercises you do together, the more effortless the groove will feel.
Remember: the audience may not know exactly what you’re doing, but they’ll feel it. That’s the power of a locked-in groove.
So next time you and your drummer get together, skip the set list. Start with the groove. The music will thank you for it.
My next series of lessons using the pentatonic scale will continue exploring several sequence variations and the ideas they generate. After working on these sequences as strict exercises, melodic ideas should begin to creep into your playing. Spend enough time on each exercise until they become muscle memory. Make a conscious effort to apply these ideas to your groove and solo repertoire.
The first exercise follows a pattern starting with the second scale degree, third, fifth, and root. Follow the pattern up and back through the scale.
The second exercise starts with the pattern– root, 3rd, second scale degree, and fifth. Follow the pattern up and back, respectively.
The third exercise starts with the pattern—root, 5th, second scale degree, and the third. Follow the pattern up and back, respectively.
It will take more than one practice session to commit the ideas to memory. Make a commitment to making these exercises a normal part of your practice routine. Good luck!
Being a great bassist isn’t just about scales, chops, or playing complex lines. At a certain point, you realize the real difference between a solid player and a true professional comes down to one thing: how you think about the music.
Thinking like a professional bassist means developing a deeper level of awareness, where every note has a purpose, every space is intentional, and every decision supports the music.
1. Know Your Role
The bass sits right between harmony and rhythm. We’re not just there to “hold it down”, we help shape the feel and direction of the groove.
A professional bassist is always asking:
- What does this song really need?
- Do I need to lay back, push forward, or stay out of the way?
It’s not about playing more—it’s about playing with purpose.
2. Listen First, Then Play
One of the biggest mistakes players make is thinking about what to play before actually listening.
Real listening means:
- Locking in with the drummer
- Following the harmonic movement
- Being aware of the band’s dynamics
Pro bassists don’t just react, they anticipate what’s coming next.
3. Groove Comes First
Technique matters… but groove is everything.
You can play all the right notes, but if the feel isn’t there, it won’t connect. On the flip side, a simple bass line with great time and feel can make the entire band sound better.
At the professional level, the priorities are clear:
- Time
- Tone
- Feel
Everything else comes after that.
4. Leave Space
Silence is part of the music.
Knowing when not to play is a skill that separates experienced players from mature musicians. Space gives the groove clarity and lets the music breathe.
You don’t have to fill every bar.
Sometimes the best note is the one you don’t play.
5. Serve the Music
The ego can get in the way of great playing.
Professional bassists aren’t trying to impress; they’re trying to make the music feel right. That means making choices that support the song, even if they’re not flashy.
That’s real musical maturity: doing what the music needs, not what your ego wants.
Thinking like a professional bassist is a lifelong process.
It’s about constantly growing in how you listen, how you feel, and how you respond in the moment.
At the end of the day, it’s not just about the notes you play; it’s about how you support, connect, and elevate the music.
“Play less. Listen more. Serve the music… always.”
— Jaime David Vázquez
Hello bass players and fans of bass playing! This month, we’re going to talk about The Art of Playing Live! ARE YOU READY TO GROOVE?
There’s a powerful shift that happens the moment you step on stage.
Practicing at home is about control.
Playing live is about connection.
And as bass players, we live right in the center of that transformation.
We are not just supporting the band… we are anchoring the entire musical experience.
Groove Over Everything
In a live setting, perfection is overrated.
The audience won’t remember how many notes you played… but they will remember how you made them feel. The way your bass locks in with the kick drum can move an entire room without saying a word.
Playing less, with intention, often creates more impact than filling every space.
Great bass players understand this: Space is part of the groove.
Listening is Your Superpower
One of the most underrated skills on stage is deep listening.
Your connection with the drummer defines your foundation.
Your awareness of the vocalist shapes your dynamics.
Your sensitivity to the band creates cohesion.
When you truly listen, you don’t just play your part, you become part of the conversation.
And that’s when live music stops being structured… and starts being alive.
Presence Speaks Louder Than Notes
You don’t need to be front and center to command attention.
Presence is not about position—it’s about energy.
A bass player who is engaged, expressive, and connected elevates the entire performance. Your body language, your movement, your eye contact—it all communicates something beyond the instrument.
If you feel the music, the audience will feel it too.
Preparation Creates Freedom
The best live moments often feel spontaneous—but they are built on preparation.
Knowing the structure, transitions, and dynamics of each song gives you the confidence to explore without losing control.
When you’re prepared, you don’t overthink.
You react. You adapt. You create.
And that’s where the magic lives.
Adaptability is the Real Skill
No two stages are the same.
Different rooms. Different sound systems. Different audiences.
Sometimes, even different band dynamics.
A strong bass player reads the room and adjusts.
Maybe you simplify.
Maybe you dig in harder.
Maybe you leave more space.
Live performance is a living organism, and your role is to keep it grounded while allowing it to breathe.
Playing live is not just a performance… it’s a responsibility.
As bass players, we don’t just play notes… we shape the feel, the pulse, the emotional core of the music.
So the next time you step on stage, remember:
You are not in the background.
You are the foundation.
And everything moves because you do.
Stay tuned for more great stuff in the next issue and keep in touch with #bassmusicianmag,
#basslines, #bmmbasslines, #keepgrooving, #keepthegroovealive&kicking, #jdvinstrumental, #groovewars, #fullbassattack, #jdv, #boricuabass, #groovingtheworld, #bassgrooves, #groovemaniac, #6stringbass, #goodpracticemakesperfect #theartofplayinglive, #livemusic
The bass line is the heartbeat of modern music. It bridges rhythm and harmony, connecting the groove of the drums with the harmonic structure of the band. A well-crafted bass line does more than support; it defines the feel, direction, and emotional impact of a song. From Motown to rock, jazz to Latin music, the bass serves as both anchor and storyteller.
What Makes a Great Bass Line?
A great bass line balances time, tone, note choice, and space. While technical skill is valuable, musicality and intention are what truly elevate a bass performance.
1. Time and Groove
The primary responsibility of the bassist is to lock in with the drummer. This rhythmic unity creates the pocket, the groove that makes listeners move.
• Play slightly behind the beat for a laid-back feel
• Sit on top of the beat for energy and drive
• Maintain consistency to build trust within the band
Legendary players like James Jamerson demonstrated how groove can define an entire genre.
2. Note Choice and Harmony
Bass lines outline chord progressions and guide listeners through harmonic movement.
Essential tools include:
• Root notes to establish tonal center
• Fifths and octaves for strength and clarity
• Passing tones to create motion
• Chromatic approaches for tension and release
A strong bass line makes harmony audible even without chords.
3. Space: The Power of Restraint
One of the most overlooked aspects of bass playing is silence. Space allows the music to breathe and enhances the impact of each note.
Ask yourself:
• Does this note serve the song?
• Am I leaving room for other instruments?
Great bassists know that what you don’t play is just as important as what you do.
Styles of Bass Lines
Walking Bass
Common in jazz, walking bass lines use quarter notes to create forward motion while outlining chord changes.
Ostinato and Riffs
Repeated patterns, common in rock, funk, and Latin music, establish identity and groove. Think of iconic riffs that define entire songs.
Melodic Bass Lines
In modern genres, the bass often takes on a lyrical role, using phrasing and dynamics to create memorable melodies.
Tone: Your Sonic Signature
Your tone is your voice. Factors that shape tone include:
• Fingerstyle vs. pick vs. slap
• String type and gauge
• Instrument choice
• Amplification and EQ
A warm, round tone suits ballads, while a brighter tone can add articulation and presence in dense mixes.
The Bass in Contemporary Music
Today’s bassist must be versatile. In modern productions, bass lines may blend traditional playing with effects, extended range instruments, and melodic approaches. Six-string basses, looping, and chordal techniques are expanding the role of the instrument beyond its traditional boundaries.
The bass line is more than a supporting role, it is the foundation upon which music stands. Whether simple or complex, the best bass lines serve the song, connect the band, and move the listener.
As bassists, our mission is clear: support, enhance, and inspire through groove and musicality
Stay tuned for more great stuff in the next issue and keep in touch with #bassmusicianmag,
#basslines, #bmmbasslines, #keepgrooving, #keepthegroovealive&kicking, #jdvinstrumental, #groovewars, #fullbassattack, #jdv, #boricuabass, #groovingtheworld, #bassgrooves, #groovemaniac, #6stringbass, #goodpracticemakesperfect, #jdvbass, #jdvinstrumental
Maestro Ron Carter, Sharing the Spirit – June/July 2026 Issue
New Music: Danielle Nicole, Tug Of War
Right Hand Technique Strategies with Dr. Randy Kertz
New Music: Golden Flower, Are You Even Awake?
Interview With Bassist Adam Russell
Right Hand Technique Strategies with Dr. Randy Kertz
April 6 Edition – This Week’s Top 10 Basses on Instagram
April 13 Edition – This Week’s Top 10 Basses on Instagram
20 April Edition – This Week’s Top 10 Basses on Instagram