Bass Videos
Interview with Bassist Mark Egan
Bassist Mark Egan…
Many of you will remember the interview Steve Gregory did with iconic bassist Mark Egan back in 2018.
Since then Mark has been incredibly busy touring (pre-COVID), and has just launched his new album for our listening pleasure. “Electric Blue” is the culmination of an ongoing musical relationship that has lasted nearly half a century between Mark and drummer Danny Gottlieb. (See track by track breakdown below!)
Available now on CD and vinyl on Wavetone Records
We got a chance to give this fabulous collection a listen before the September release and you can see what we thought about it in our “Music On Our Radar” feature.
Join us as Mark shares the interesting details around this project, his gear, record label Wavetone Records, and plans for the future.
A Track by Track Breakdown of Electric Blue by Mark Egan:
1. “Back and Forth” — This song started with a multi-tracked drum/percussion groove. We then added a groove fretted bass line, a fretted bass comping bass part, then a soloing fretless bass. The form was derived from the Fibonacci Sequence also known as the Golden ratio, a special number approximately equal to 1.618 that appears many times in geometry, art, architecture and nature. By taking the total number of measures and multiplying by the golden ratio and repeating that process several times, we came up with different sections where we placed the chord changes.
2. “Cabareté” — This is a song that was previously recorded on my trio record, About Now, with Danny Gottlieb and keyboardist Mitch Forman. It’s a song that was inspired by a trip to the Dominican Republic to perform with Elements in the town of Cabareté and it captures the spirit of the people and scene there. We thought it would be a good vehicle for improvisation and have always enjoyed playing it as a duo.
3. “Down The Road” — Danny started this laid back groove on brushes and drum kit with overdubbed cymbals and we came up with this chord form with me playing a fretless groove part for the basic track. An additional fretless solo bass part was overdubbed.
4. “Electric Blue” — The title track of the project is an improvisation with a drum feature that was first recorded as duo with just drums and bass. Danny overdubbed two tracks of shakers. The track has a very wide dynamic range and features Danny’s powerful open groove playing.
5. “Come What May” — The basic groove was recorded with drums and bass as an improvisation. A fretless solo was overdubbed as well as bass harmonics.
6. “Blue Sound Bath” — This is another example of our duo improvising where we discuss a general mood and direction and then just go…. The last part features Danny’s signature cymbal playing with bass harmonics.
7. “Hookey” — This is a short and playful groove that we put together in the studio. It starts and ends with an 8th note bass line that serves as a melody than is a vehicle for a bass solo and interplay in a punky sort of groove.
8. “Offering” — The closing track is a multi-tracked improvised piece. The original tracks are drums and double-neck bass with digital delayed loops. Another bass melody track on double-neck bass was overdubbed along with cymbals and percussion. We have recorded tracks like this with our group Elements and we wanted to record a similar mood as a duo.
Electric Blue available now on CD and vinyl on Wavetone Records
For more information, visit online at markegan.com
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.
CONNECT WITH OTEIL BURBRIDGE
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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