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!
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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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.
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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