Owen Plays Jim's Hartke Rig

Jaguar Short Scale Ad

Jazz Bass Thoughts

So with the Xaviere J, I thought I'd really go to town on the Squier. Here are my thoughts.

The 50th Anniversary Jazz Bass did something interesting: they took all kinds of different features from the years and combined then into one bass. They threw originality out the window and created a "mash up" some key features from the 60s, 70s, 80s, and 90s.

That inspired me just now. Maybe I can do a mashup of my own, but instead riff on the features I always wanted but didn't have. There would have to be a base of stuff I like, though.

My 1987 MIM had EMGs, Badass II bridge, Schaller tuners & straplocks, neck pickup cover and a white pickguard. My 1964 was refinished Olympic white, had the same EMGs and Badass II, original reverse tuning machines, and a brass nut (and an ebony fingerboard with snowflake inlays--who did that????).

This Squier CV is a perfect bass to do this with, because I love the feel of the neck, and the body shape is great. Let's think this through:

1. Badass II bridge. I always liked mine and had it on the MIM and the '64. At my age, I honestly don't care so much about it--the standard bridges seem fine, but it was oh so important to me back then for the sustain. I do think it helps with slap tone a little.
2. EMGs. But let's be different this time. I loved the EMG J-sound, but looking back on my playing, I was a little "treble-heavy" and "crunchy." Let's inject some bottom end and do P/J for a change. I had two P/J basses back then: the Tune and the Jackson. I think the guys in my band liked the Tune best on gigs. It sounded fine for slap. Rather than put the P pickup where it is supposed to be, I think I'll put it right where the Jazz neck pickup is now; less routing, and I can hide it with the ashtray cover.
   
3. Let's go with a color other than white. And let's go with a non-tort pickguard. Lots of options there, but I keep coming back to Sonic Blue.
4. Let's go matching headplate. Being honest, I don't like the look of the Tru-Oil on the headplate (it's fantastic on the neck, though). Let's do that headplate in a matching color. That will be awesome.
5. Let's do 1962 stack pots. I always loved those, and when I wanted them before you couldn't get them. Now they're available. They appear expensive, but that's okay. We can do the build over time. They would add $100 to the cost. Hrmmmmm....
   
6. Let's do reverse tuners. I loved the tuners on my 1964. No reason to repeat the mistake of the Schallers from back in the late 80s.
7. The Badass II will keep me from putting the ashtray cover over the bridge (I'll need to fill the holes). The neck ashtray will hid the fact that it's not a J.
   

Xaviere P w/ Pickguard Removed

Rocco Prestia Lessons on YouTube

Lucky Charms @ Whaley Jam

Jazz Bass Bodies

Xavieres

R&B Bass Masters

Okay, here's a new project. I am going to study Ed Friedland's R&B Bass Masters book and treat it like a college course. There are 10 excellent bassists profiled in the book, and I have gathered all the examples of songs. Here are some initial ideas:

• Identify the source track for each example
• Copy out the part on manuscript paper
• Identify the key
• Master the part as written with the drum track
• Attempt to play along with the actual song

The bassists that are featured are:

• James Jamerson
• Chuck Rainey
• Tommy Cobgill
• Duck Dunn
• Roy Porter, Jr.
  
• Jerry Jemmott
• David Hood
• Willie Weeks
  
• Ronnie Baker
• Bootsy Collins

I think the major part of the "course" will be listening. I should blog about it here. The first section is on Jamerson, and there are 6 tracks to listen to and I think 4 examples to play. I want to really mark up my copy and go to town with it. This will be kind of a warm up for working with the Standing in the Shadows book again.

Song Collection

Just finishing my "song collection" phase, where I get recorded versions of all the "Recommended Cuts" in Ed's R&B book. All but 3 were on Rhapsody, and the remainder were from 2 hard-to-find records: Donny Hathaway Live, and Roberta Flack's Chapter Two. I found versions of these three on YouTube. Now I have them all. I'll put them all in one place so I can listen to them as I study. For me, listening to these tracks will be as important as learning to play them.

It's funny--I am such a collector. Just listening to Willie Weeks on "Everything Is Everything," as Donny Hathaway tells the crowd, "the baddest bass player in the country." Solo is at about 8:44--what a great groove. The guy is just killer. I needed to have all the songs that Ed mentions in the book; not just find them one at a time. I wanted them all. Whoa, a quote of "Shortnin' Bread" and everything. Great playing. "Willie Weeks!"

Brand New Funk Machine

Why I wanted it

Xaviere Bass

Sell Nick's Hofner Bass

Here are photos of Nick's bass so I can sell it for him.

Another Funk Machine?

Maybe get one of these?

Yes. Get one. Here's a shot of your last one:

Galien Krueger MB210

Guitar Signing Tech

Owen Plays with Peter Hook and The Light

So I figured I should put all this down in one spot so we can remember it.

In late August of 2011, I noticed that Peter Hook was doing a North American tour playing Joy Division songs. The closest they were coming was The Metro in Chicago. Because Owen had been learning a bunch of JD songs on the bass, I had an idea that I might take part of his bass to the show and have Peter sign it. I sent a note about this to Peter through his web site.

Well, on September 2 Peter wrote back and said:

Bass players need encouragement at all times! So bring your son and his bass, but dont take it apart, you'll ruin it ha ha! To the soundcheck ? You won't get much attention but he could sit in and thence could go home? I know the owner Joe very well so doubt it will be a problem, when you get to the soundcheck ask for phil MURPHY remind me just before the gig please, regards hooky
Sent from my iPad

And an idea was born. After talking it over with Kathy to make sure it would be appropriate, I e-mailed the managers at The Metro to see if Owen could attend this 18+ show. After a week or so, the manager got back with me and cleared it.

I kept in touch with Peter via e-mail, and eventually got in touch with Phil Murphy, the tour manager, on the telephone. Owen and I were put on the backstage list and cleared to be there at the soundcheck. My pal Bill came along with us.

I picked Owen up after school (luckily he had a half day) and we got right on the road headed toward Chicago. Once in Chicago on the Dan Ryan the traffic was terrible, and we arrived at the venue at about 5:15. The soundcheck was just starting and Peter wasn't there yet. Everyone there was super nice to us as we listened to the band and the sound tech EQ the drums and get the mix right through the giant FOH speakers. The band started playing full songs, and then Peter arrived. He went up on stage and soundchecked his gear and mics, then played a bit. He noticed me and Owen and waved us up to the stage.

Owen walked up on stage during a song and stood there for a while with Peter, who was very nice to him. After a song was over, he motioned to his son Jack (the bass player in The Light) to unplug has bass and let Owen plug in. Peter plugged Owen's bass into the giant Ampeg SVT rig that was up on stage (there were two of them, one for Jack and one for Hooky). That rig was mic'd and a DI signal went to the FOH and monitors. Owen immediately started playing the bassline for "Shadowplay," and without missing a beat, the drummer started with the cymbal intro that goes with the bassline. Soon the entire band was playing and Peter looked like he was having a great time watching this little kid play his song. Peter sang the lyrics and the band did the entire song from start to finish.

Complete this later.

"So I think we should send this out to Owen, who I think is here tonight? Are you still here Owen? [waves at balcony] Because he is the future, after all. He did a great job with this next song. Better than me, really. Rather fucking embarrassing, actually."

Current J Bass

DecoColor Guitar Signing Pens

Getting Owen's Bass Signed

Photos of the Johnson Viola Bass

Click on these for higher res versions (and click them again to get full size).