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MTD Basses by Michael Tobias Designs - American and Kingston Series

 My name is Shaun Johannes and I've been a bassist for the last 10 years. In that time I have played the following basses (In order) Academy, Cort, Warwick, Fender, Musicman and MTD.

John Lester - Live at the Freight and Salvage Coffee House and Carbonne - Di Piazza - Manring.

Reviewed by Nippy Cripwell

John Lester: Live at the Freight and Salvage Coffee House.
As a ‘live’ performance, and especially a ‘live’ Bass Player’s performance, this is a more than satisfying CD. John Lester explains during the show that he has evolved out of the group performance situation into that of the more austere solo Bass/singer. His show opens in this format and you are immediately struck by how full-bodied his songs are in spite of the obvious limitations you would expect with one Bass, one voice. Lester uses an 80 year old upright, a Joe Zon fretless and a Michael Tobias fretted Bass to accompany his voice in different song settings.
The 80 year old ‘Sarah’ struts lean ‘walking’ lines through ‘Rose Coloured Glasses’, the humorous ‘ I Like Brunettes’ with scat solo, a classic ‘All Blues’ with sax player Bob Johnson, and finally the show closer ‘They Come and They Go’. Just a comment on his Upright Bass sound; such a rounded, tight, humming tone, great for live performance!
The Zon fretless features in the modal composition ‘The Ways of a Woman’. Just listen to how much he gets going behind the great lyric. John Lester is an award winning song writer ; songs like this bear testimony to the fact. The fretted Tobias comes to the fore in the simple but beautifully crafted ‘I Saw You’ and the seriously funky ‘Your Tattoo’. The latter is, for a change, an indictment for tasteful slapping.
John Lester Live is something else, literally! This performance is an exercise in minimalism – music made by one man with one voice and one Bass, and occasionally adding one other instrument. It works because of the broadness of John Lester’s song writing palette and his ability to play the Bass so well in so many different styles. Enjoy it for the performance, the compositions and hey just everything!

Carbonne - Di Piazza - Manring.
One could sub – title this collaboration, Masters at Play. Such is the immediate impact of these virtuosi of the electric Bass guitar. All have awesome technique, gorgeous sound and mature, tasteful musicality. Each player has his own unique voice yet in ensemble they manage to blend effortlessly to enhance the individual composition, irrespective of the composer. And each of these gentlemen write wonderful compositions.
Yves Carbonne kicks off with ‘Anticipation’ dedicated to John McLaughlin. One can hear the European influence in the writing reminiscent of the Mahavishnu Orchestra/ ECM era. He has a rich fretless tone which he showcases over some wonderful accompaniment from the other guys; listen to Manring’s Ebow motif just before the solo (The Ebow gives the equivalent sound of the ‘steel’ on a Steel or Pedal Steel guitar). Again on ‘Detachment’ the stately Carbonne melody is really set up by Manring’s Ebow introduction before Yves takes it away on fretless. ‘Holy Spirit’ is a solo showcase for Carbonne’s dedication to Leo Carbonne, a really evocative piece.
Dominique Di Piazza brings a unique Flamenco approach to this project. His tour de force rendition of ‘Little Rose’ dedicated to Rosita Di Piazza is one of the CD’s highlights. Flamenco fire on the Electric Bass! For me ‘Ever Lasting Love’ has to be the most achingly beautiful ballad I have heard in a while. The mood is perfectly set up by Carbonne/ Manring before Dominique sings out the beautifully simple melody.
Michael Manring brings the American influence to the collaboration; a tougher rhythmic approach (check out Sub Jam), a denser harmonic concept and a complete mastery of all the tonal/ electronic effects available on the Electric bass. His ‘For Phillippe’ is a perfect example of Manring’s complex genius.
Possibly the highlight of this project is the interplay of the three Masters in the more improvised trio situations (‘ Nuestra Esperanza’, ‘Le Retour Du Loup’ and the humorous ‘What’s On Her Mind’ ) . Each has the individual strength and maturity to contribute tastefully so that the whole is greater musically than the parts thereof.
If you only buy one CD this year Bass brothers and sisters, this is the One.

Adrian Davison - Zeitgeist

Reviewed by Jade Abbott

Adrian Davison has a very piano-like approach to bass which I have never heard- especially his chord progressions. His style is very innovative and beautiful (especially being a pianist myself).

Overall the album is my favourite I have reviewed so far just for its inspiration and individuality.

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Altered - Altered

Reviewed by Jade Abbott

Altered is an instrumental 3 piece jazz band (Bassist, John Flitcraft; Guitarist, Jeff Miley and Drummer, Steve Holmes) consisting of some funky bass, which is the main focus of most of the pieces {To my bass-trained ears anyway), paired with some sweet jazz guitar and wicked jazz drumming. In basically all the songs on the album there is a solo for each instrument, which displays the excellent skill of all 3 artists. Their use of contrasting dynamics and crazy rhythms creates a lot of interest

But nevertheless I enjoyed listening to it and there are is some bits of really soulful bass in it and if you dig jazz bass then you’ll really enjoy it!

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Bernhard Lackner – Those Days and Jan-Olof Strandberg – Great Moments

Reviewed by Kai Horsthemke
 
‘Those Days’ is Austrian-born and -educated Bernhard Lackner’s debut album, co-produced by his New York bass teacher Adam Nitti. The opening cut, ‘Italojazzer’, features Flecktones tenor saxophonist Jeff Coffin, the only name here I am familiar with. It is a moderately-up fusion piece, with nice additional solo turns from Blair Masters on synth and Lackner himself, trading eights with Coffin. ‘We try to fly’ has a round, ‘pocket’ bass groove. Lackner and drummer Derico Watson work well together throughout, and the bassist delivers an upper-register solo that gets to the point without having to draw on any slap-&-pop histrionics. Scott Bernard is on guitar here, as on the next track, ‘It’s time to go’, Lackner’s nimble-fingered meditation on the perceived necessity of departure. ‘You never know’ seems like a narrative continuation of the previous track, Lackner and Watson again locking in pleasingly, before the tune turns hip-hop and is all but phukked up by a perfunctory rap (‘Yo! Check it out!’ etc.) by the implausibly monikered Earthworm Jim. ‘Why?’ appears to be a legitimate question here. Fortunately, it doesn’t take up too much time, and the tune soon returns to its opening groove. ‘Four Winds Drive’ is a solo bass vignette that is all mood and musical narrative. Again, the bassist’s restraint is a welcome defining characteristic. ‘It’s our world’ offers an indication that Lackner is not averse to using his thumb. Guitarist Bernard shines, as does Lackner himself, in 5-string thumb-funk and 6-string upper register alternating solo turns. ‘Song for you’ is a vehicle for Coffin and Masters, a pleasant ballad. The title tune concludes this refreshingly non-egotistical collection of predominantly medium-tempo ensemble pieces, with nice workouts by the keyboardist, guitarist and bassist, who rides out a set that, while perhaps short on sonic surprises and musical innovation, nonetheless contains enough to please the discerning ear.
‘Great Moments’ by Finnish bass virtuoso Jan-Olof Strandberg is a collection of 16 ‘moments’, or snapshots, that feature Strandberg on 4-, 5-, 6-string, fretted, fretless and piccolo bass guitars. Featured guests include Pepe Ahlqvist (check out his riveting harmonica solo on ‘In the shadow of the great’), guitarist Sami Virtanen (with superb contributions to ‘Undercover’, ‘T.D.’ and ‘Before the storm’), and Armand Sabal-Lecco on tenor bass (on the title track). ‘Rollercoaster’ and ‘To the rollercoaster’ offer suitably frenetic rides, with Strandberg on fretted and fretless basses steering proceedings. ‘Stanley & Sofi’ is a tribute to Stanley and Sofi Clarke, gentle but nevertheless technically demanding. ‘Before the storm’ carries all the foreboding suggested by the title, with the bassist creating rumbles and distant lightning flashes in strummed and slap-popped flurries. ‘Hey baby where are you now’ has a cute melody, appropriate for the title (or vice versa?). In conclusion: This is a hugely impressive set of crisp, articulate recordings, full of technical wizardry and instrumental prowess, but – for someone like me, who isn’t overly enamoured with thumb-funk gymnastics – also strangely unmoving. In this last regard, I strongly recommend investigating the bassist’s album ‘Illustrations’.

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Carbonne Di Piazza Manring

Reviewed by Jade Abbott

Carbonne Di Piazza Manring is a trio consisting of 3 bassists! Yes. Nothing else except the low end. Each bassist also has one Solo tune on the album
They each have an individual sound and style and technique, which seems to allow for them to pull this feat off. The one word that describes it perfectly is, Elegant

On the whole it is a pleasant listening and certainly presents many elegant ideas.

Darren Michaels - Equilibrium

Reviewed by Jade Abbott

First time I have heard of Darren Michaels and I've had to go do my homework so I could write this review - American Funk/Jazz/Rock Bassist Darren Michaels' Album Equilibrium is edgy and interesting

It's my new bass album of the moment and it seems to encapsulate both a very traditional bass jazz sound that makes good chilled listening music and merges it with newer stuff and a very modern sound that makes me want to move a little.

Darren Michaels - Green and Altered - Graphic

Reviewed by Julian Fairall

DARREN MICHAELS: Green
This was a CD I was most extremely happy to get my hands on. I’d read about Darren Michaels a while ago, and heard a few brief sound clips from his web site [http://www.darrenmichaelsbass.com], and “Green” was an album I’ve wanted to hear for some time. But in all honesty, this is one of those albums that at first sounds really good, and it is..make no mistake – this boy can play, but it doesn’t really go anywhere. Not to sound pernickety, but Michael Manring’s done this all before, only a lot better. I can’t really put a finger on it, but it’s almost like the songs were played without much consideration for arrangement and altogether dynamic. Now I know that one man’s poison is another man’s fun, but the whole “world music” or “new age” tag works really well, only when accompanied by strong material – and sadly, in my opinion, the material is not as good as the playing. I’d be really interested in Michaels’ other album, “Equilibrium”.

Overall: a nice solo bass album for those that enjoy solo bass, but IMHO, sadly lacks the spice to elevate Michaels into the big leagues.

ALTERED: Graphic
I must confess to loving music like this. Serious chops with “left-of-centre” music always has interested me; and Altered [http://alteredjazz.com] make some great music. If you enjoy well crafted, well executed, slightly sick music – in the vein of Zappa, mid-70’s Miles and a whole lotta fusion thrown in for good measure – then rush out and buy this album right now! [http://cdbaby.com/cd/altered2] Bassist John Flitcraft has got some serious game, but he is best when he’s laying down some of the nastiest lines I’ve ever heard. His pizzicato attack on his MTD 5 string is stunning, as is his punchy yet understated tone. It’s the kind of overall album I will admit, will either have you reaching for the repeat or eject buttons. But it’s fresh and exciting, and best of all, it’s a musician’s album without being overly pretentious.

Overall: the trio format (which I enjoy) works so well. All three of these guys can lay it down with the best out there, and they do – but this is not an ego album…this is a great album!

Dean Taba - The Camarillo Waltz

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Edo Castro – Phoenix Grant Stinnett –G-Money Rob Gourlay/ Jim Stinnett – Two Low

Reviewed by Kai Horsthemke

When I first received Edo Castro’s album ‘Phoenix’ for review purposes, two things about it set me on guard immediately: first, the image of a 9-string bass on the cover (I mean, who on earth needs these things?) and second, the inclusion of that awful and omnipresent tune, ‘Amazing Grace’. Well, that was then. ‘Phoenix’ is a near-completely beautiful, exquisitely crafted album. Castro is much more concerned with mood and texture, not to mention melody, than with extroverted, chops-flashing bravado. Case in point: who would even think of covering Ralph Towner’s breathtaking composition ‘Beneath an Evening Sky’? Castro does it full justice, with the elegant fretless melody set against a chordal backdrop, rendering the complex time signature of the piece almost unnoticeable. ‘Bone Dreams’ adds pedal steel guitar (Rob Powell) and tabla (Debropriyo Sarkar) for texture, and ‘Song for the Electric Whales’ is a moving (and sonically accurate!) tribute to these magnificent creatures. The blues-based ‘Blue Asia’ features like-minded Mark Egan on fretless 8-string bass, apart from Castro himself. ‘Chance of Rain’ reprises the ambience of the second selection, and the title track is the only real ensemble piece here: it contains few surprises but is a pleasant track nonetheless. The Native American flutes of Blue constitute the featured instrument on two evocative tracks (indeed, the sole instrument on the 9-minute-plus ‘… Part 2’; how is that for unselfishness on the part of the bassist?), and ‘Rise’ is the Methenyesque album closer, with Castro on nimble fretless. So, what about ‘Amazing Grace’, then? It begins promisingly, with Castro reharmonising this trite tune. But then the voices come in, and everything goes downhill from here. To me (as someone with a profoundly atheistic worldview), the lyrics have always been simple-minded, and while Castro’s changes here should be noted, the vocal acrobatics further propel this piece into the abyss of the eminently skippable, unconnected as it is from the rest of the CD. However, this is the only blemish on an album that is otherwise a veritable gem.

Grant Stinnett comes with a considerable pedigree. He is the son of Jim Stinnett, who is featured here on bass (‘Raindrops’, ‘High Tide’), as well as on tasteful keys (on 3 tracks). The opening tune, ‘Raindrops’, is an appealing tap-plus-fretless feature, and ‘Chaotic Spot’ combines funk bass with tap virtuosity (bassist Brent Rusinow is featured here on the intro and a solo). ‘Dark Light’ features saxophonist Dino Govoni, as does Rob Gourlay’s composition ‘Lee’s Circle’ (which also showcases bassist Gourlay’s skills). ‘O’s Lament’ is a solo feature that allows Stinnett to pull out all the taps. The next track, ‘The Traveler’ (a father-son compositional collaboration) is one of my favourites here: great tune, beautifully played. ‘I don’t need Wings to fly’, with Stinnett also on guitar, Govoni on soprano sax and Jim Stinnett on keys, explores some of the ‘outer’ territories, an interesting piece. The father and son bass duet that follows is big on chops but also features wistful fretted and fretless melodies. ‘Money in your Pocket’ is a rocking trio tune (with Everett B. Pendleton on guitar and drummer Tom Arey), with a triple-tracked tapslap interlude by Stinnett. ‘Preview’ ends the CD, an all-too-brief solo vignette by the bassist. Big on skill and attitude, perhaps less so on compositional impact, ‘G-Money’ is a superbly recorded and mixed album that is best enjoyed on high-quality ’phones or by placing your head between two speakers.

Although a collaboration between two formidable bassists, Rob Gourlay and Jim Stinnett, ‘Two Low’ is also a showcase for the guitar/ vocal talents of Lionel Loueke. Let me start with the only track I don’t like on the album. I don’t mind its ‘eclecticism’, but ‘I miss Mr Rogers’ has an unattractively artificial sound to it, although it contains some real instruments. The soulless feel of the programming seems to infect the whole of the tune: this is the one to skip. That said, however, there is a wealth of aural information and delight here that invites repeated listening. ‘Jubilee’ kicks off the album, featuring Gourlay on tapped and Stinnett on fretless basses, a real celebration. ‘Landscape’ and ‘African Dream Quest’ belong together, with both bassists trusting the grove, Loueke flying high, with strong echoes of Zawinul’s solo work. ‘Double Agent’, again, has a strong groove, Gourlay introducing the talkbox effect on bass (remember the 70s?). ‘Ebenella’ has Gourlay tapping and chording and Stinnett doubling on fretted (for the solo) and arco double basses. ‘Motor’ is driving music, bound to put a huge smile on your face as you’re aiming for the horizon – great fun. ‘Si je …’ is a medieval-sounding, contrapuntal duet: gorgeous! ‘Slippery Moon’ introduces young Grant Stinnett on odd-time taps, with Gourlay playing the intro and comping, and Stinnett senior responsible for the melody and solo: this is a lesson in not treading on one another’s toes when 3 bassists get together. ‘JLP’ has Stinnett on double bass and fretless, after Loueke’s acoustic intro: a beautiful ballad, with Loueke soloing brilliantly, too. ‘Waltz for Jan’ is a gentle, yes, waltz that features Gourlay on fretted basses and Stinnett comping on upright, soloing on fretted bass. ‘Chipper’s Dream’ offers some relaxed swing, before Chick Corea’s sizzling composition ‘Got a Match?’ rides out the album. This is an utterly tasteful, unhurried adaptation, an appropriate closer, with Gourlay and Stinnett on fretted on fretless basses, respectively.

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Franc O’Shea - Alkimia

Reviewed by Kerry Blewett

Franc O’Shea is a bassist who was born in Swaziland but moved to England at a young age. His musicial influences extend over many genres in which he gained experience even residing in Spain for a few years and playing flamenco music extensively. As a result the musicians featured on this album reflect this diversity and have accompanied such greats as Paco de Lucia, Michael Brecker, Al Di Meola and Chick Corea to name a few.

It is very difficult to articulate anything more meaningful about the rest of the songs on this CD other than to guarantee that any serious bassist would be astounded by the virtuosity displayed by Franc and his accompanying musicians.

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Jake Kots - At a Glance and Mark Roberts - Voyage

Reviewed by Julian Fairall

CD REVIEW - JAKE KOT: AT A GLANCE

Jake Kot plays Kot basses - www.jakekot.com - AccuGroove cabs - Thunderfunk amps - DR strings - Bartolini pickups.

CD REVIEW - MARK ROBERTS: VOYAGE

Don’t get me wrong – players like Michael Manring can captivate me with the simplest of ideas (in the same way that Mozart does), and he is a new age player, but this was just plain and simple boring. Sorry – but that’s the honest opinion!

Jasmin Graf & Alfred Kallfass

Reviewed by Jade Abbott

Certainly the emptiest looking line up consisting of Jasmin Graf on vocals and Alfred Kallfass on bass. The German duo perform a series of covers from Abba to Seal to Phil Collins which take on a whole new funky form.

Overall, if you are looking for something a little different and would like an interesting as well as informing take on the role of bass this is an excellent choice

Jasmin Graf & Alfred Kallfass and Adrian Davison – Zeitgeist

Reviewd by Kai Horsthemke

Despite the superficial connections (first, the bass; second, both are duo recordings, in Davison’s case at least to a certain extent; third, Graf and Kallfass are German, and Zeitgeist is German for ‘spirit of the time’), these are two vastly different albums.

The collection of fairly unusual covers was recorded in Leipzig and features singer Jasmin Graf (in a series of first-takes, according to the sleeve notes) and bass guitarist Alfred Kallfass. While some of these (like Ani Di Franco’s Gratitude, Fairground Attraction’s The Moon is Mine, and Phil Collins’s Another Day in Paradise) are perfectly suited for bass-vox arrangements, others (ABBA’s Gimme! Gimme! Gimme!, EWF’s Let’s Groove Tonight, and Chaka Khan’s Sweet Thing) arguably constitute more courageous choices. Nonetheless, the bassist and singer do justice to all of these. Graf’s voice indicates that she is well versed in contemporary R’n’B; yet, she largely avoids the annoying showboating of many of her influences and peers. As does Kallfass – who is more than happy with letting the bass be guided by the structure of the song, rather than making the arrangements into flashy, multi-tracked showcases. The pieces are enticingly short – with very little room here for excess or the extraneous. Immediate favourites are readings of Vanessa Carlton’s A Thousand Miles and Cutting Crew’s Died in Your Arms Tonight, with Graf on earthy vocals and Kallfass making excellent use of harmonics. As is Steve Miller’s Fly Like an Eagle, which starts with an explicit funk that was always dormant in the original, but then gives way to a dreamily soaring finale. Two less successful pieces (to my mind at least) are Carl Douglas’s Kung Fu Fighting (which is a brief, rather puzzling oddity here) and Rio Reiser’s Land in Sicht. Graf’s voice sounds too mannered on the latter, and she is prone to a few ‘yeah, yeah’ interjections – which have always irritated me in songs sung in German, whether by Joy Fleming or by Xavier Naidoo. Fortunately, the listener is left with the impression of Joss Stone’s Right to be Wrong, a suitable vehicle for Graf. Kallfass shines throughout, technically as well as with a mature sense of arrangement and structure.

A retrospective of the years 1990 to 1995 in the bassist’s professional career, Zeitgeist features Adrian Davison on bass and Paul Marangoni on drums and percussion, both musicians also handling keyboard duties. Davison’s strength is tapping – which he demonstrates in veritable flurries and cascades of notes. Yet, he also has a keen sense of atmosphere and melody – something that makes Davison’s essentially ‘more-is-more’ approach not only palatable but enjoyable. The bassist’s accuracy and tapping and harmonics technique (all bass parts were recorded ‘live with no overdubs’) are astonishing, and the recording quality is superb. My ‘Anspieltips’ (suggestions for first listening) for this album are Ricochet, Voices and Opus 111-#1.

Jay Terrien - All the Dolls in the same Place and Lorenzo Feliciati - Live at European BassDay & more

Reviewed by Nippy Cripwell

Jay Terrien: All the Dolls in the same Place.
A look at the CD sleeve, the composition titles and Jay Terrien’s publishing company’s name, Drunker Quicker Music, gives you a snapshot of what you’re in for with Jay’s ‘All the Dolls in the same Place’ CD. Bit flakey, kinda trashy….? Actually no. All the flash is a set up for two Dudes with some serious Rock ‘n Roll roots, stretching out and ‘getting down with their Bad Selves’ (quote- one Frank Zappa) so to speak. Remember those times when the guys would set up a simple Riff/ Chord sequence and jam away for hours? – It’s that, but taken a few steps further.
Kudos to these two Bassist/ Percussionist brothers (Terrien, Pat Mastelotto) for setting up some great tunes without assistance from other Top End musical brothers and sisters.
The hallmark of Jay Terrien’s project is simplicity in the basic composition, embellished with some tasteful linear-contrapuntal arrangements. Underneath all this is some hard driving drumming/ percussion, which moves everything along at some pace. A good variety in mood, style and groove keep this project interesting, difficult when just two people are involved.
Throughout the CD Jay uses a wide range of effects and sound processing to create tone and colour variation. He uses guitar techniques like strummed double stops/ fuzz power chords, to great effect in his tunes. What ultimately makes it is the empathetic percussion grooves of Pat Mastilotto.
Jay Terrien brings an irreverent Rock ‘n Roll attitude to his music, which invites one to lighten up, get down and have some fun here!

Lorenzo Feliciati: Live at European Bass Day & more.
The ‘edge’ of live performance is so well captured on this recording. Lorenzo Feliciati plays his tail off but still has all the control of a real virtuoso. My lasting impression is of Italy’s Mt. Vesuvius smouldering, but with the cap down tight! He is an intensely busy player, but is so musical it all makes sense. The ‘European-ness’ of the musicians’ style is refreshing to this listener, you know, just a little off left!
The compositions are all strong, but check out ‘Don’t ask me to Dance’. It’s an almost perverse Tango with a convoluted melody. The piano solo supported by the ostinato Bass figure, is such a great counterpoint to the main theme, and the coda brings it to a strong ending. Wayne Shorter’s ‘Footprints’ gets a wonderful reggae- type feel. The Bass vamp is played with that palm-damped technique to such great effect and the Bass solo is a classic, a lesson in musical phrasing and the use of space. The Latin outro/ tag rounds it off so nicely! Alice (Lullaby), a ballad, has such an austere progression moving (1- flatV). Lorenzo’s solo is just gorgeous. The smoking track on the CD has to be ‘Groove First’. This is all about Mr. Feliciati! The A and C sections book- end a burning keyboard solo by Aidan Zammit. This is a project that shows you more with every new listening – check it out.

Jazz Pistols - Special Treatment

Reviewed by Kerry Blewett

The name of this band had me visualising an ageing, mellow Johnny Rotten crooning his way through some re-done jazz standards, how wrong could I be.
This German trio pumps out some seriously hectic rock-jazz. I can’t help wondering how it is that I haven’t heard more of them, the standard is so high that they can compete with the best. The band comprises Christoph V Kaiser on bass (see interview on the SABPC website), Stefan Ivan Schafer on guitar and Thomas Lui Ludwig on drums (I wonder if he plays a set of Ludwigs?). Check out the band’s website, it’s very nicely laid out with lots of interesting links and info.
I enviously read about Christoph’s two Fodera six-string basses, in answer to a question about what equipment he would like should money be no obstacle he replied that he already has the best. To top that he nonchalantly refers to the two Accugroove cabs that he uses, hell, where can I get my hands on one of those in S.A.?
This album (which is comprised of cover versions of reasonably well known tunes – given Special Treatment) starts with the guitar leading the other two into the funky title track. It soon progresses into wild (the kind I find very exciting) guitar work followed by a drum solo over a pedestrian bass foundation.
The next track “Odd Blues” is rather odd for a blues piece. It sounds more like Al di Meola to me. This is followed by a piece of funk-rock entitled “Bugs” which is the platform for the 1st bass solo of the CD. Man, but those Accugrooves sound sweet. The song builds into an extremely exciting groove before calming down again to the opening rhythms.
“Dirty Sanchez” features a Spanish style accoustic guitar flavour. It makes for a good movie soundtrack in parts. Shades of Earl Klugh are apparent here. The next song “Vix 9”, a cover of a Bela Fleck and the Flecktones song, is all about driving drums and speedy guitar parts. Some phenomenal dual bass and guitar riffs (The original, as the title suggests, features Victor Wooten on a 9-string bass).
“Mr Smithers” features Larry Carlton style guitar playing. “Borderline” starts with gentle accoustic guitar that is soon joined by fretless bass. I suppose that it’s no coincidence that the bass sounds like a cello bearing in mind that Christoph began his musical career playing cello.
“Angry Dragon” is a funky piece beautifully woven together with some interestingly executed off-beat rhythms. This is my favourite track of the album which is a difficult decision to make given the quality of the rest of the tracks.
“Palladium” rounds off the CD ala Dave Weckl Band.
My overall rating of this band and this CD is that it is a must hear for those who appreciate some excellent rock-jazz. This album was recorded in the band’s own studio in 2001. I look forward to hearing their live album recorded in 2006. There is also a DVD of their live performance which I would love to see. However, the website warns that the DVD plays on any PAL-DVD player but not on an NTSC-DVD player, I’ll have to check out which one my player is.

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John Lester - Live at the Freight and Salvage Coffee House

Reviewed by Kerry Blewett
 
Reviewing this album was a somewhat different experience to other reviews that I’ve done of solo bassists. The reason for this is that John Lester is not only an accomplished bass player but also communicates extensively as a singer/songwriter. This CD was recorded in 2001 on John’s 41st birthday.
John dedicates the 1st track “The Heart of our Family” to his parents who, as he puts it, “are responsible for the good life that he’s been living”, presumably because of being able to pursue a life of music.
“Rose Colored Glasses” is a cheerful be-bop tune performed on his 80 year old acoustic upright bass. The other basses used during this performance are a Joe Zon 6 string fretless and a Michael Tobias 5 string fretted. I get the feeling that the title of this song reflects John’s personal attitude towards life.
Next up is “The Ways of a Woman” which is a track that I first heard him perform on the Euro Bass Day 2004 CD. This is a beautiful song exhorting the world to embrace the ways of a woman in order to overcome many of the problems besetting it.
My personal favourite on the album is “I Like Brunettes” which must have upset some of the blondes in the audience. Fortunately for John his disarming wit raises significant laughter from the audience and I’m sure he escaped unscathed.
The next two songs “All Blues” and “I Saw You” feature Bob Johnson on sax and are an unusual mix with only the two instruments.
“Both a Blessing and a Curse” is an autographical tale about the reasons for playing music and also about the hard times and good times that any musician trying to make a living from playing music would be able to attest to.
“Your Tattoo” features a percussion player and is a funky slap-style piece of blues. John then brings up a guitar player and the trio performs a neat commercial piece entitled “Reach Out”.
Now a piano player joins the ensemble and the next song addresses John’s spiritual beliefs and his version of the beginning of time which envisages man and woman being created simultaneously and is called “Two”. The last addition to the band is a drummer to help out on the next song, which is a lively number called “On My Own”.
The final song reverts back to solo bass and is the 1st song that John wrote for his solo career. It is a haunting song of life and death entitled “They Come and They Go”.
My overall impression of John Lester is one of a deeply committed songwriter first and a bassist second

John Lester - So many reasons

Reviewed by Kerry Blewett

This is the second review that I’ve done on one of John Lester’s albums, the 1st being “Live at the Freight and Salvage Coffee House”. “So Many Reasons” is a studio project recorded in 2006 that affords him the opportunity of having more musicians contribute to each song, the live album relied mostly on John flying solo and later in the performance bringing on some guest artists.
Having now listened to John quite a few times I finally realise that his style of singing as well as the compositions remind me of Michael Franks. All compositions are John’s. Do yourself a favour and access his website, there are plenty of interesting things to discover. I was pleasantly surprised to learn that two songs from this CD, the title track and “Beware la Merde”, took top honours in the West Coast Songwriters International Songwriting Competition.
The title track is first up with John on the double bass. This is a gentle, pretty, uncomplicated love song. Next up is the swinging “Steppin’ Back in Time” which will be a hit with fans of trad jazz, the kind of big band jazz that you can catch on Sundays at the Radium Beer Hall in Orange Grove.
“Last Letter to Theo” is a soulful song dedicated to Vincent van Gogh’s brother Theo who supported Vincent van Gogh through his trials and tribulations as a painter. The winning song in the category of “best humorous song” is “Beware la Merde”, a quirky, figure-snapping little number about the perils of stepping out in Paris.
“Good Intentions” is a catchy up-tempo jazz number featuring John on electric bass. The next song “Both a Blessing and a Curse” is an autographical tale about the reasons for playing music and also about the hard times and good times that any musician trying to make a living from playing music would be able to attest to.
“Union Street” in San Francisco is where John lived for a while and built a demo recording studio. This song tells the story about three homeless people who lived on the street.
“Rose Colored Glasses” is a cheerful be-bop tune performed on his 80 year old acoustic upright bass. I get the feeling that the title of this song reflects John’s personal attitude towards life.
Once again I found myself thoroughly enjoying the work of John Lester and am not surprised by the rave reviews that he seems to attract worldwide.

John Lester – Live at the Freight and Salvage Coffee House; Big Dreams and the Bottom Line; So Many Reasons

Reviewed by Kai Horsthemke

My introduction to northern Californian John Lester came with his contribution The Ways of a Woman to the European BassDay 2004 compilation CD. Bassplayer/ singer Lester is an award-winning songwriter, and it would appear that he takes all three of these facets of his musicianship equally seriously This is what makes him unique among the handful of artists that include John Wetton, Sting and Jay Leonhart. He has the vocal abilities and songwriting talents of Wetton and Sting, as well as the unique bass voice of someone like Leonhart. Lester is an unflashy but oh-so-tasteful player, with impeccable intonation, equally adept on upright, acoustic and electric (fretted and fretless) basses, and with a voice that is essentially his own, albeit occasionally reminiscent of Stephen Stills.

‘Live at the Freight and Salvage Coffee House’ dates back to 2001 and is an intimate, immediately welcoming affair on the occasion of the bassist’s birthday. It kicks off with The Heart of Our Family, a solo double bass tribute to his parents. Rose Colored Glasses is a blues that also features the first bass solo here (again on upright): great voice, great playing. The Ways of a Woman is a fretless feature – a hauntingly beautiful ballad with intelligent lyrics that Lester’s voice more than does justice to. I Like Brunettes is a droll, bluesy double bass celebration of the un-fair sex that includes some engaging scatting. All Blues is the only cover here: it features Bob Johnson on what sounds like alto sax and is a real treat, especially if one has never heard it sung. Lester contributes a second convincing solo, again on the upright. I Saw You is a further bass-sax duet, before Lester picks up the fretted bass for a solo feature, Both a Blessing and a Curse. Not only is his singing moving, his bass solo is the epitome of taste. Your Tattoo is another fretted bass and vocal feature, this time in terms of subtle slap-‘n-popping, and introduces percussionist Paulo Baldi. It is catchy piece that indicates great synergy between the two players, something that also pervades the next piece, now with the introduction of electric bassist Kenon Chen, a sparse, minor-key reggae tune: Reach Out is unflashy but all the more likeable for that very reason. Two leaves the creation / evolution debate unresolved, but at least it takes a firm stand against the creationist twaddle that Adam came first, the kind of androcentric bullshit that spawned millennia of sexist practice. Nyree is on piano here, and Lester turns in a compelling solo on fretted bass. On My Own introduces percussionist Celso Alberti and features Lester on strummed fretted bass. They Come and They Go is an appropriate closer to the set. A solo feature that occupies similar thematic terrain as Suzanne Vega’ Tom’s Diner and Tom Waits’s The Heart of Saturday Night, it constitutes a meditation on the ephemeral.

Recorded in 2003, ‘Big Dreams and the Bottom Line’ contains studio versions of several of the live set’s tunes, plus a few ‘new’ tracks. Like all of Lester’s songs, the former are fully composed / constructed, so the versions here do not differ substantially from the live versions. Most significantly, and to his credit, Lester steers clear of studio trickery, preferring to allow the songs and his playing ‘sing’ for themselves. The Ways of a Woman remains as gorgeous as ever, while On My Own now features fretless bass, the strumming tasks being assumed by acoustic guitars. The drum track, too, is more prominent here. I Saw You is played on acoustic bass guitar, a folksy piece that would not be out of place in the repertoire of Suzanne Vega, Kristin Hersh or Shawn Colvin. Two retains its Latin flavour, but is piano-free here, with Baldi and Alberti on percussion and drums respectively. Broken is the first of the ‘new’ tunes, with Lester on basses and nylon-string guitars, a melancholic, minor-key meditation on loss and longing. The Happy Man is an earthily funky, nonmelancholic number, with Lester on electric and acoustic basses. The Heart of Our Family is strongly similar to the live version, without any loss in haunting immediacy. Lester is on fretless again on Out of the Clear Blue Sky. It would take another review altogether to comment on the quality and intelligence of his lyrics: suffice it to say that Lester’s singing and songwriting are on a level that would put a lot of the currently lauded hotshots to shame and expose their lack of imagination and musicality, and the triteness of their efforts. Reach Out retains the reggae flavour of the live version, with Lester supplying all the bass parts and vocal harmonies here. Sister is a likeable nylon-string guitar and fretless piece, and Your Tattoo differs more substantially from the live version. The slap/ pop bass accompaniment now comes in later, with Lester opting for a melodic hook to carry the song on the instrumental front. The Garden is gentle, bossa-style album closer. Lester again employs ‘live’ percussion, instead of the flat, soulless programming a vast number of players resort to.

‘So Many Reasons’, the 2006 studio album, carries over two pieces form the live set. The title track, So Many Reasons, that kicks off the set has Lester on double bass, with percussion and unobtrusively arranged and performed backing vocals completing this attractive, Michael-Franks-reminiscent Latin number. Steppin’ Back in Time is a full-on, suitably blast-from-the-past swing number, replete with piano (Bas van Lier) and brass/ sax (Robbert Scherpenisse – trumpet, Lucian McGuiness – trombone, Theo Travis – tenor saxophone). Last Letter to Theo is a gently melancholic ‘thank-you’ addressed to Vincent’s brother, Theo van Gogh – the cover of the album, incidentally, is taken from the artist’s ‘The Sower’. It constitutes a reflection on a life of both artistic exuberance and profound suffering, with Travis providing tasteful commentary on flute. Beware La Merde (no need to translate this!) is a jazzy, upright-bass-driven caution to tread carefully on the soiled sidewalks of life, while Good Intentions is a gently syncopated, funky piece that is also a showcase for Baldi’s percussion skills. Both a Blessing and a Curse marks a departure from the live version. Lester employs the upright rather than the fretted bass, as well as a drum track, courtesy of Steve Rossi. She and I is a gently haunting song, with Lester on double bass and acoustic guitar and Travis on soprano sax, again not too remote from Michael Franks-charted territory. Fear Itself offers a hypnotic grove and vocal phrase, and deals with the all-pervasiveness of fear (itself). (As Dennis Hopper’s character said in the late ‘70s Wim Wenders film, quoting Roosevelt: ‘There’s nothing to fear but fear itself.’) ‘Union Street’ is driven by acoustic guitar and features a tasteful fretted bass solo. Rose Colored Glasses differs from the live version in including Bob Johnson on tenor sax, plus a sharp drums ‘n perc accompaniment. Rainbow over Magen’s Bay is an upbeat, reggae-flavoured ditty – perhaps my least favourite of all the tunes on these three albums. But this says a lot about the astonishingly consistent and high-level songwriting craft of the man, because it is still a very good song.

In conclusion, then, the albums reviewed here offer something for bass enthusiasts, something for lovers of pleasing, moving vocals – and especially something (lots of things) for lovers of good songs. If this were a just universe, John Lester would have had at least 5 songs in the top ten and a similarly high number of Grammy nominations.

April 2008

Joseph Patrick Moore – Decade 1996-2005

Reviewed by Kai Horsthemke

‘Decade’ is a ten-year retrospective on the bassist’s recorded output that spans five albums and features Joseph Patrick Moore on fretted, fretless and upright basses. As one might expect, given the scope of the project, there are several styles and musical moods contained on this compilation that – fittingly – kicks off with a new tune:

Decade has a Steely Dan-type groove and features JPM on a variety of basses, finger-funk melody and tiny fretless inserts.

In An Instant is a piano-led ballad/ Latin number, also featuring guitar, a composition by pianist Alvie Givhan that has Moore in an exclusively anchoring role.

Groovemessengers (The Story of Jazztronica) is a nifty bit of acid jazz that Moore underscores on upright, adding brief melodic statements, in between flurries of keys and muted trumpet.

Datz It has all the funk the title promises, with JPM taking the initial melody. This is also a feature for guitar (Jazz Is Dead and Phil Lesh stalwart Jimmy Herring sizzles here) and some juicy organ and sax stabs.

Down Under, a cover of the Men At Work favourite, features folksy flute and Temple Passmore’s voice, as well as some impressive drumming – but on the whole, to my ears at least, it fails to add any new dimensions to the tune.

Mystery is a burning live number, a fretless feature that also showcases some hyperactive keys, presumably courtesy of Buzz Amato.

Soulcloud, too, is a live recording, a slower but nonetheless percolating piece that, unfortunately, ends a little inconclusively.

Brave Up is a more traditionally jazzy tune, both in terms of instrumentation, bass, drums, piano/ keys, sax – Jim Spake – and trumpet – Scott Thompson) and execution.

Masoko Tanga is an intriguing cover of the Police composition that really works as a (subtle) bass feature.

Chief Dagga is a live, tasteful slap/ pop tune, with swirling keys (synth, electric piano) and intriguing shifts in time signature.

Herbie, by the sound of it, is a funky tribute to Mr. Hancock rather than the famous VW beetle, showcasing Adam Nitti on electric bass, JPM on upright, and some neat electronica more than halfway into the piece.

Ashes to Ashes has a Pastorian grove and is, indeed, a tribute to both Jaco and Charles Mingus, with convincing sax, piano (Bill Anschwell) and guitar breaks (Jimmy Herring).

Fall is another track from the album ‘Live in ‘05’, a gentle funk/ Latin number with happening synth, deep pulsating bass plus a convincing finger-funk solo.

Jamband Express is, indeed, that: a moving, grooving, bass-anchored jam band journey, 12 bars and beyond, that also features trumpet, flute and drummer Jeff Sipe.

Waterfalls has cascades of electric bass notes and arcoed upright taking the melody: one of my favourite pieces here.

Gypsy Moon Father Sun, too, is from the 2005 live set, a slow bit of funk that features muted trumpet, keys and deep-grooving drums.

Rain Dance is a Native American type of tune that introduces Larry Blewitt on percussion, Kenneth Lovell on wooden flute and JPM on harmonic-driven electric bass.

Pause # 1 is a brief dedication to Miles: Moore is featured on Marcus-style deep-funky bass, with some wicked sampling and Scott Thompson on Milesish horn.

The last tune, Qui es-tu Marie Jeanne?, is a gorgeous ballad, my other favourite track here, with JPM on both electric and arco/ pizzicato upright basses.

‘Decade’, then, offers a wide-ranging mélange of musical styles and vocabularies, with something to appeal to even the most fastidious of tastes, a great introduction to what Joseph Patrick Moore has been up to until now.

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Lorenzo Feliciati – Live at European BassDay and More

Reviewed by Kai Horsthemke

After getting to review Italian low-end maestro Lorenzo Feliciati’s studio album, ‘Upon My Head’, I was keen to listen to the live album recorded in the same year, 2004. The latter reprises three of the tracks on the studio album, with three of the live tracks being ‘new’ (to these ears at least), and contains two additional studio tracks.

‘Coffee Flavour’ is a gentle opener to this set, rich in harmonics and arpeggios, and indicates the bassist’s rapport with his drummer of choice, Lucrezio de Seta, and keyboardist Aidan Zammit. The piece is essentially a chordal sequence; here as elsewhere, the bassist’s tone is round, growly and big. Things get more intense on the propulsive, jittery live version of ‘Thief Like Me’. Again, perhaps, low on ‘take-home’ melodic value, it nonetheless features the trio in stealthily telepathic mode. ‘Don’t Ask Me To Dance’ is familiar from the aforementioned studio album, a mock tango, and the bassist’s tongue appears to be firmly in cheek here – as does Zammit’s, with the pianist’s bombastic and over-the-top flourishes. ‘Footsteps’ is a successful rendition of the Wayne Shorter classic, with Zammit responsible for the melody. Five-minutes-plus into the track the band hit overdrive as they transport the tune to Cuba – where it remains. Great! ‘Alice (A Lullaby)’ – presumably pronounced ‘Ah-lee-chay’ – is a gentle, harmonic-laden and child-friendly composition. Yet, the tune (already familiar from the studio version) contains various twists and surprises that make it one of the highlights here. ‘Groove First’ is all that, and more: with additional keyboardist Vittorio Iue, it is a high-energy burner, with strong melodic content and enticing accents and rhythmic shifts, featuring Feliciati at his nimble-fingered best. The ‘extra studio tracks’ introduce soprano saxophonist Fabrizio Mandolini. Feliciati also plays acoustic guitar and keyboards on ‘The Dance’, a vibey, Weather-Reportish tune that seems to suggest that, fortunately, the bassist has succumbed to the request to ‘move his body’ (see track 3). ‘Smart As You’ is more angular, the rhythm section supplying the initial propulsion, before the track changes mood(s), with Mandolini flying high and bass and drums briefly reappropriating the opening groove. An enjoyable outing!

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Mark Egan - As we speak

Reviewed by Kai Horsthemke

Mark Egan came to the attention of most of us in the mid-70s, as a member of the first Pat Metheny Group, with whom he recorded a number of classic albums. Between 1982 and 1990 he released not only two solo albums, ‘Mosaic’ and ‘A touch of light’, but also six albums with PMG partner in rhythm, drummer Danny Gottlieb, as ‘Elements’. I still have all of these albums on vinyl, always having loved the bassist’s fretless work that, while clearly influenced by Jaco, nonetheless established a turf of its own. Apart from some recordings with Gil Evans and collaborations with the Hooters and Joan Osborn, I didn’t hear much of Egan after 1990, to my considerable regret.

In short, this is a climactic double CD that anyone who is interested in bass and in the possibilities of telepathic sonic communication ought to get to own. In other words, a gem of an album!

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Paradox - The First Second

Reviewed by Kerry Blewett

It’s nice to see that one of my all-time favourite drummers is still swinging, or should I say, still funking, which is for me, the genre of music that Billy Cobham has become best known for. The other two musos in this trio, Bill Bickford on guitars and Wolfgang Schmid on bass are unknown names to me. At least that was the case until I did some Internet research and discovered that they have a wealth of albums and projects under their respective belts.

This album was recorded live in Istanbul (as far as I can determine) in 1998. It is a vibrant affair and a very clear recording. The performance is incredibly slick especially considering the complexity of the playing. Whether or not there were any over-dubs before the CD was pressed is not clear but it sounds really “live” with some audience noise coming through during the songs.

I struggled for a while to think of how I was going to critique the individual songs and then finally gave up. There seems to be no sense in trying to describe the playing on each song, these guys are just awesome. What I found particularly pleasing was that the songs and arrangements do not represent simply a display of technique but are really catchy and exciting to listen to.

From my research, it appears that this is a once-off recording of Cobham playing with the other two. I was also astounded to see the quantity of projects listed on the Internet when doing a search on Billy Cobham, he has been incredibly busy over the years.

For those who are not in the know, Bill Bickford on guitar is right up there with John Petrucci and Michael Landau, I hope I’m not insulting anyone here. Wolfgang Schmid on bass also plays with a huge array of other musicians and I found his website www.wolfgangschmid.com very interesting. He is one of the more exciting bass players when it comes to the solo pieces.

Phishbacher - Infinity Ltd

Reviewed by Kerry Blewett

Wow, what an exciting quartet. This CD appealed to me right off probably because I’m a huge Dave Weckl fan. I don’t mean to detract from Walter Fischbacher’s originality in any way but I very often hear shades of other musicians’ work in whoever I happen to be listening to at the time. Only once I read the interview on www.bassplayers.co.za did I realise that Walter’s idol is Chick Corea which explains the musical influences that I heard.
Walter Fischbacher is a pianist/keyboardist who hails from Austria but is now resident in New York City. He is joined by Bernard Ullrich on tenor sax, Ric Fierabracci on bass and Hari Ganglberger on drums. I really appreciated his tribute on the sleeve of the CD to Tommy Motola and Clive Davis for ignoring his work totally, thereby forcing him to get his act together completely on his own. This he has done on his own label, Lofish Music.
The opening track is called “The Opening” and progresses from a slow laid-back beginning to more frenetic rhythms later in the song. Very funky.
Track 2 “Call Pete” contains a rather pedestrian beat overlayed with a tasteful sax solo.
“Lizard” is a rather lengthy slow groove. I found this one to be a compulsive foot-tapper. Again, the manner in which the various sections of the song are put together just reminds me so much of the Dave Weckl band with Steve Weingart on keyboards.
The next track “Dano” starts off with some impressive bass guitar soloing before breaking off into a very laid-back jazzy number featuring Randy Brecker on trumpet.
An octave bass effect is featured very nicely to introduce the next track “Pavel”.Thereafter, the tune progresses into a dance-beat type of number, at least I’d be able to dance to it.
Track 8 is called “Level 12” and is a swinging, jazzy number, which is, as Walter Fischbacher himself says in his interview with Martin Simpson, a nice show-off tune for the jazz cats.
The second last track “B Nice” is a funky groove which I imagine is played in the key of B. Lastly, “Triple S” starts off slowly with some guy fantasizing about sucking a woman’s toes, I guess it takes all types.
My overall impression is that these are extremely fine musicians who I would love to see performing live.

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Schubertiana - The Affiliate Artists of Kean University.

Reviewed by Nippy Cripwell

Schubertiana: The Affiliate Artists of Kean University.
This is essentially a recording of Schubert’ Quintet in C Major, a work written for String Quartet plus Double Bass. When Martin slipped this CD in with the others for review, I thought it would be too ‘Classical’ to have any immediate reference for our Bass Collective. But while listening to it the thought occurred to me, any Bass player could learn a lot just listening to how a Master composer writes for Bass in what is probably the purist form of Classical music – the String Quartet. With only five voices to listen to, it is easier to hear the individual lines weaving through the movements. One can hear the Bass in it’s usual role laying down a foundation for the upper voices, as well as reinforcing melodic statements with the cello, and even being featured as a voice on it’s own. Stretch yourselves, Bass People, take a jump to the right, and see how a ‘Cool Dude from Way Back When’ wrote for players of the Bottom End.

The Kristin Korb/Todd Johnson Trio (featuring Kendall Kay) - Get Happy and Frederick Charlton - Bach on Fire

Reviewed by Nippy Cripwell

Get Happy: The Kristin Korb/Todd Johnson Trio
(featuring Kendall Kay)

‘Get Happy’, the title of this CD says it all. The immediate reaction on hearing this would be: a really hip, swinging trio burning through a selection of The Great American Song Book tunes, plus a few other originals. But then look at the liner notes. This trio consists of Kristin Korb – Acoustic Bass/ Vocals; Todd Johnson – 6 String Electric Bass; and South Africa’s own Kendall Kay – Drums. Put in this perspective you will appreciate just how dynamic this performance is.
Kristin Korb sings swell AND lays down some serious Bass lines on Acoustic Bass. That’ Hard Stuff! Her lines are strong and melodic; the instrumentals stand out: Just a Closer Walk With Thee, her own Sunshine & Slim and Goin’ Home. I suspect her singing has influenced her approach to her Bass playing; she ‘sings’ her way through the changes as opposed to a more angular harmonic approach. All you young people, listen to how this lady constructs her Bass lines and LEARN!
Todd Johnson has got to be a guitar player. His approach to the 6 String Bass is that middy, chunky chordal way of playing, reminiscent of early Wes Montgomery. He is understated but swings hard. The tone he gets is so refreshing, so different to what one generally hears from the 6 String Bass sound.
For a bright fresh take on ‘Standards’ Bass playing- this is a must.

Bach on Fire: Frederick Charlton

‘Frederick Charlton has compiled a vast ten movement “Suite” of his favourite selections from the famous 3 “Partitas for Unaccompanied Violin” by Johann Sebastian Bach’. This is the culmination of some 30 years work of transcription and performance; a monumental undertaking.
From a Bass playing perspective it is enlightening to hear these Bach compositions performed so ably on the instrument. The technical challenges posed in playing Bach are extreme; difficult interval leaps, complex harmonic progressions, double stopped passages. Intonation is so crucial to clearly distinguish the harmonic movement in Bach. The sound on the Bass must be kept light and nimble to prevent the music from sounding ponderous. It is difficult enough on an instrument tuned in fifths; it is compounded on a Bass (tuned in fourths). Added to this is the physical endurance and concentration required. Some of the movements are long (Ciaccona from Partita No. 2 is 17.30.)! All these challenges emphasise the heights Mr. Charlton’s performance has achieved.
Frederic Charlton is critically acclaimed, and rightly so. Bach’s music is sublime though not always easy listening. Make an effort to listen to ‘Bach on Fire’, the music will open your mind and the Bass playing will open your perception of performance possibilities.

The Limit - Reinventing the Sun

Reviewed by Kai Horsthemke

Although this grunge/ power rock trio is clearly dominated by the guitar and voice of frontman Mark Daniel, Todd Grosberg’s contribution to the overall sound and style of the band should not be underestimated. He adds not only muscular, loping bass lines that (together with Bob Chmiel’s powerhouse drumming) propel the music along, but his vocal harmonies also add a very pleasing dimension to the band’s aural impact. The Limit appear to be influenced equally by classic rock bands like Led Zeppelin and the Seattle sound of, say, Pearl Jam. They sound like they must be gas to catch live. In fact, my only criticism would be that the recording itself is a bit murky: a more defined top and bottom end would do justice to both the catchy compositions and the performances by Grosberg and his fellow thunderniks.

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21st Century Grasslands - Kai Alami

Album: 21st Century Grasslands
Artist/Band: Kai Alami

Jade Abbott

NOTE TO READERS: It seems I have been given the job of one of the official reviewers, so I decided to introduce myself. I am but 17 years old ^_^ and slowly working my way around the bass world, so many of my reviews aren't 'technically correct' [If there is such a thing] but I'll just tell you what I find in the music. I get all into the music so you might find me going off on some intense imagery every now and again but that's the way I like to listen. I'm also not particularly focused on finding faults in the music and rather look to the good. Thanks. Jade

An Exquisite delicacy of tunes. =)

An Evening @ St. Pauls

Album: An Evening @ St. Pauls

Reviewer : Jade Abbot

I finally reviewed this one after months of asking =)
Bassing at it's heart & soul. The mixing is a bit questionable in some areas - when it comes to voices (but they aren’t important anyway). The recording consists of a variety of South African artists, with the focus mainly on bass. Dave & Bert do a bunch of Bits & Pieces, which is pretty astounding as well (Listen out for the Pink Panther, I thought it was quite fun!). From there you have a bit of Martin himself with some good technique advice & 2 tracks by Kai which I thoroughly enjoyed. My favourite is the (over 18 minutes long) improvisation done by Concord & Victor. Improvisation has always been something I’ve admired and these two pull it off AMAZINGLY! I could listen to it all day. In fact it’s already on repeat.

If you’re looking to hear a bit of SA Bass Talent (especially if you were there on the night) then get hold of the St Paul’s Bass Evening from Martin .

Avatar - Dambuster

Reviewed by Kerry Hiles

From the opening chord, screaming like an air-raid siren, you know you're in for a good time. Part Pixies, part Peppers, part Pearl Jam, this album features tight playing, interesting musical arrangements and enough versatility to keep surprising you throughout its 36-odd minute running time. The whole concept of the album grabs your attention before you've even pressed play: the cover is a bunch of pilots standing next to a plane, all dressed up in combat-gear, with the super-imposed faces of Avatar members. These fine musicians are: Mac Vandermeer (vox, guitar), Doug Ackerman (guitar, vox), our own Llewellyn John (bass), and Gerhard Spykerman (drums) - all featured on the inside-cover in uniform (yum!). The album's 11 tracks have been subdivided into themes: Take Off, In Flight and Bombs Away - each theme backed by appropriate warplane photos on the back cover. I like it.

Dambuster is equally at home speeding down the M1 on your car system as it is at a house party or club. Get your hands on a copy NOW!

Bedlam - Mounes Mors (The Dead Ones)

Reviewed by Kerry Hiles

BEDLAM is Floris du Toit and Leon Grobler on guitars, Danie Burger on bass and lead vocals (ten-outta-ten for singing bass-players!) and Rudi Greffrath on drums and perc.  I know NOTHING about death metal, so was very pleased that Danie had actually written an article on the track Mounes Mors in Issue 6 of The Bottom Line, detailing the inspiration for the song. But, let's start at the very beginning...

Track One - Styx: 

Okay, when I was visiting my mom in East London over the festive season, her hi-fi wouldn't even begin to play the cd.  I should've known. Gentle, edgy guitars start the track and then suddenly, death vocals scream into the air, making you run for cover.  What follows is absolute metal mayhem: screeching guitars, pounding drums and impressively frightening vocals.  I thought each person did their bit quite ably, but I was not bowled over by the recording quality on the entire EP - sounded a bit garage-band demo to me.  I think that with the right mixing, the effects attempted (both digitally and musically) would have worked much better.  It is a great pity that the bass was barely audible throughout, because I think that Danie has some great stuff to offer. Some nice mood changes through this track, although I found the playing a bit rushy in parts.

Track Two - Wicked Uxor:

Lovely - odd bars are littered throughout this track!  The song reminds me of something that the Beastie Boys might have done, only with vocals that require razor blades to sound this mean.  Danie tackles this punishing vocal genre quite well, never afraid to experiment with the sound or back down from a particularly tricky part.  Well done - looking forward to more.

Track Three - Mounes Mors (The Dead ones):

The track, inspired by the book "The Dead Time" (JG Ballard), starts with a well-played punchy bass intro, but as the song progresses, the tightness between the four musicians becomes a bit blurred - is this a result of the recording process?  Some interesting changes and a completely out-of-character musical interlude make for great listening, and this track allows the clearest presentation of the talents of the bassplayer and drummer.

Track Four - Closed Eyes:

My favourite track on the EP:  great guitar lines to kick the song off and cunning "feel" changes throughout, as well as the most mature-sounding vocals yet.  All four tracks on Mounes Mors are written and arranged by BEDLAM and good ideas abound throughout the EP, but I can't help thinking that the members of the band need to mature quite a bit as players before tackling another recording.  All a bit redundant, really, as the band no longer exists.  Such is the fickle world we gig in. 

Honestly, I would not watch this band live - just not my cup of tea. But I can appreciate that BEDLAM would fill a dark club with moshing heads and sweaty bodies.  The energy in the music is so evident and some of my friends who are familiar with this genre were quite impressed by the deathiness of the metal.  All, however, commented on the poor quality of the recording and most thought it came from a tired, worn tape that had been dumped to cd.  Let this be a lesson to all: you are only as good as your last recording! 

PS:  Danie did provide me with a cd that was better mixed and the vocals and bass were a lot clearer.  However, generally, my comments remain the same.  While I know this is a demo EP, just a note (to everyone!) : NO person who hears a cd and doesn't rave about it immediately is going to wait for the artist to try to sell the product over and over again.  The music-buying public allows you one shot at success - use it wisely!

Carlo Mombelli - Abstractions; Happy Sad; Bats in the Belfry; When Serious Babies Dance

Carlo Mombelli - Abstractions; Happy Sad; Bats in the Belfry;
When Serious Babies Dance

Kai Horsthemke

Okay, here is the bottom line: Carlo Mombelli is our national bass treasure. The vision, prodigious talent and craft already evident on his band Abstractions’ album ‘On the Other Side’, released on LP in 1986 when Carlo was in his early-mid 20s, would only deepen and grow richer over time. Perhaps now, 20 years after the release of this groundbreaking debut that also featured guitarists John Fourie and Jochen Runde, drummer Neill Ettridge and guest Duke Makasi on tenor sax, is an appropriate occasion for looking back over some of the bassist/ composer’s recorded output.

Kai Horsthemke/ July 2006

Carlo Mombelli - Bats in the Belfry

Concord - This Is My World

Concord - This Is My World

Kai Horsthemke

Perhaps disappointingly to some, Concord Nkabinde’s second album is (again) not a ‘bass album’ in the conventional sense. Not only are there hardly any ‘killer’ bass features here – six tracks, indeed (3, 7, 8, 10, 11, 17), do not have any ‘real’ bass at all, and on tracks 1 and 12 the deep-end duties are assumed by Fana Zulu, albeit impressively. So – this may seem like an overly humble statement by a guy who is rightly considered to be one of the foremost bassists in the country. But then again we’ve known that for Concord it has never been the bass that counts but, first and foremost, the music. It is largely with this understanding that I’ll talk about the album.

On the whole, the CD’s leitmotiv is provided by ‘Afrika’, a warm bit of Afroptimism. Whereas the theme pervading the first album was/ is one of a celebration of interculturalism, ‘This is my World’ is characterized by a vote of confidence both in Africa’s future and in its place within (and value to) the world and global development. Nqubeko Mbatha provides a sizzling harmonica synth solo on this track, but the string synth sound is not even consciously cheesy – it is just plain dated.

‘My Paradise’ is an enjoyable song, although I would have loved Concord to burn up a real bass here. Neil Gonsalves plays a delightfully jazzy piano solo.

If memory serves, Concord played ‘Umoya Wami’ as an introduction to his SABPC workshop on 23 October. It is one of the strongest tracks here, with sterling brass and vocal arrangements.

Similarly strong is ‘Song of Forgiveness’, which has gorgeous fretless slide harmonics and soprano sax work by Brendan Ross.

Cuts 6, 7 and 9, in keeping with the album’s theme, forswear any scepticism about Africa’s place in the world.

‘Truly, truly, truly’ resumes Concord’s fruitful musical relationship with Lili Feng, who is featured here on vocals and zither.

‘What goes around comes around’ is darkly gorgeous, although I’m beginning to think that Concord actually likes these sub-cheesy string sounds! Mbatha shines on organ, and Concord adds enticing bass flourishes towards the end.

‘Cul’ Ingoma Afrika’ brings to mind Angolan singer-guitarist Waldemar Bastos and, to a lesser degree, Richard Bona – and extends the leitmotiv of the album; the cute voices belong to Philile and S’qobilo Nkabinde.

‘Esta Noche/ Lobubusuku’ is a further example of the beautiful possibilities of intercultural exchange and sharing, this being the second track on which Concord sings (partly) in Spanish.

Ross and Mbatha, again, excel on the ballad ‘Ilanga’, and Concord turns in a spellbindingly tasteful solo.

For bass enthusiasts, ‘He-Zo-We’ will be one of the highlights, Concord’s paean to the bass that features some incredible low-string work.

‘Anginanto Esandleni’ is a jazzy ballad, showcasing pianist Gonsalves and Concord on singing fretless.

To be honest, I don’t share Concord’s optimism about our continent. There’s far too much disease, poverty, violent crime and warfare, corruption, superstition, xenophobia, sexism and sheer stupidity around to feel comfortable in this regard. Yet, I wholeheartedly endorse Concord’s belief that music is a major healing and unifying force, within our society and for Africa as a whole. Concord’s own music is a substantial step in that direction.

Kai Horsthemke

October 2006

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Derek Fenner/ Johan Nel – Tranquility/ The One; The Simfield Project – Skin Deep; Martin Simpson – Lost in Space

Derek Fenner/ Johan Nel – Tranquility/ The One
The Simfield Project – Skin Deep
Martin Simpson – Lost in Space

The first of these CDs is a 2-track single, featuring Derek Fenner on bass (and lead vocal?) and Johan Nel on guitar and backing vocal. The One has a standard I-VI-IV-V progression, and the harmonies are reminiscent of Alice in Chains. Simple and unassuming, it is penned by the bassist, while Tranquility is the guitarist’s composition, an instrumental that features gentle interplay between guitar and bass. Like the first track, it is unpretentious and easy on the ear.

Kai Horsthemke/ June 2006

Don Jeaney - We've Got the Love

Reviewed by: Llewellyn John Upon seeing Martin at the last "Web launch meeting at The Bassline" he handed me this disk and asked if I would like to review it. Well, Here it is..
 

Artist: Trevor Don Jeany & Henri Don Jeany

I was familiar with the cover from seeing it advertised in "THE BOTTOM LINE" and was interested in hearing this disk after meeting and watching Trevor do a gig at the 'Springer' show.

Llew (bass boy)

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Gito Baloi - Na Ku Randza

Gito Baloi – Ekaya

Gito Baloi – Ekaya
by Kerry Hiles

Mpfumo Samba kicks this album off with Gito's bass harmonics intro and great drumming and perc from Gaston Goliath and John Hassan respectively. It'll prick anyone's ears up! Recorded in 1995, this album boasts some of this country's greatest names in music (Moses
Molelekwa, Tony Cox and Scorpion Madondo are just a few of the famous), all beautifully co-ordinated into a collection of tunes that had me
humming days after hitting the "eject" button.

The last track features bass guitars and vocals riding on top of subtle perc by John Hassan. Called Basic G.B, it is a short, but oh-so-sweet focus on the man himself - an absolute pleasure to listen to. Grab yourself a copy of the cd and prepare for some great music.

Gito Baloi – Herbs & Roots; Kerry Hiles – Missiles; Concord – The Time, the Season

Gito Baloi – Herbs & Roots
Kerry Hiles – Missiles
Concord – The Time, the Season

What the albums discussed here share is an emphasis on composition and the song/ tune as a whole, rather than on showcasing the bass – which is not to say that the bass assumes a back seat on any of the CDs.

Kai Horsthemke/ November 2005

Gordon’s Suitcase – Good Girls Like Good Music

Gordon’s Suitcase – Good Girls Like Good Music

Kai Horsthemke

Gordon’s Suitcase is an unusual South African band that specializes in organic ‘ambient groove’/ acid jazz. Essentially a guitar-led instrumental quartet that enlists the odd trumpet or oud (the latter courtesy of Greg Georgiades), plus some clever electronica, their debut album doesn’t feature the bass as such – but the instrument is nonetheless an essential cog in the Gordon’s Suitcase machinery. Open Range Super Hero has a little bass vignette towards the end, and the Doors’ Riders … fits neatly into the band’s chosen genre, with Malcolm Ross replicating the original driving bass. Also check out the pulsating bass that kickstarts the final tune, Missile Crisis. There is not a single weak track among the 13 pieces here, making this a thoroughly enjoyable debut. 

Apart from bassist Ross, Gordon’s Suitcase is Peter Angelopulo on guitar (whom I remember as a fledgling guitarist and contributor to the ‘Helen of Troy’ sessions I did in 1993 for his father Charles, and who has replaced original member Rainier Prins), Illimar Neitz on guitar and drummer Jake Loots: a suitcase that holds (and keeps) the promise of taking you on a delightfully psychedelic aural journey. 

Kai Horsthemke
September 2006

Highway Jam - Always Being

HIGHWAY JAM
“ALWAYS BEING”
By Unholy Terror

Having thoroughly enjoyed reviewing Highway Jam’s Grasslands (See Issue 8 of The Bottom Line), I was rather pleased when Martin arrived at my house with a pile of discs (more reviews to follow soon) that included Always Being. This 12-track album was recorded by Willem Möller at Sharp Street Studios, and was produced by Mike Meiring (Highway Jam Guitarist and Vox) and (Our Brother in Bass) Kai Horstemke. But let me skip my usual loooooong introductions this time and jump right into the music.

Overall, Always Being differs significantly from Grasslands, but still sounds distinctly Highway Jam. What is great about most – if not every one – of the songs brought forward by these guys is that they provoke clear images in your mind, which makes reviewing their albums an absolute pleasure - it is kinda like taking a vacation! After a vicious day of work and traffic, this might be just what you need, along with that glass of red wine or JD, and particularly if you can’t get your hands on that leather couch
…
To quote myself (I believe the phrase is egocentrism) from the review I did of Grasslands: In sum, even to a metalhead with extreme tunnel vision when it comes to what I listen to, this album rocks. Very well done.

Highway Jam - Grasslands and Titus - Fade

Reviewd by Unholy Terror

Recently Martin asked me to surrender my previous band’s EP (Bedlam – “Mounes Mors”) to the careful scrutiny of Kerry Hiles, a review which I am sure you will get to see soon. In exchange, he promised, I would get to review two discs brought forward by members of The Collective. So, as you can derive from the mere presence of this column, I agreed, and to my doorstep he delivered CDs of Kai’s band Highway Jam and Julian’s band Titus. And this is what I thought. 

What stands out for me is how Titus utilises excellent melodious elements to stay quite heavy without falling into either a pop sound or a senseless incoherent noise. So, if this sounds like your cup of tea, check it out. If it doesn’t - check it out anyway, you might just be surprised.

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Leon Bosch – The British Double Bass

For lovers of ‘classical double bass’ and of 20th century music, this album offers a double treat. Western Cape-born bassist Leon Bosch presents a set of recordings here that feature compositions for double bass by 20th century British composers whose names aren’t exactly ordinary household knowledge. And what an aural feast this compilation yields! Bosch is living what must be every ‘classically’-trained bassist’s dream: getting not only to play but also to record some of the key works for an instrument that has been viewed as the ‘black sheep’ of the orchestra. (I recommend that bibliophiles consult Patrick Süskind’s one-man play/ novel ‘The Double Bass’/ ‘Der Kontrabass’, for further edification.) Bosch is more than ably assisted by Korean pianist Sung-Suk Kang – her second collaboration with Bosch (check out “Virtuoso Double Bass’, also released by Meridian records) – and by string and percussion ensemble I Musicanti, under the direction of violinist Susanna Candlin. Bosch’s arco execution is near-flawless, his pizzicato work is compelling (listen to Elizabeth Maconchy’s ‘Music for Double Bass and Piano’ and Thomas Pitfield’s “Sonatina …’), and he more than holds his own in a solo capacity (David Ellis’s ‘Sonata op. 42 for Unaccompanied Double Bass’ and John McCabe’s ‘Pueblo for Solo Double Bass’, the latter written specifically for the artist). While some pieces here are lighter than what one would normally associate with 20th century music, there is not a single recording here that is anything less than both pleasing and intriguing, and Bosch shines throughout: a truly beautiful and well-annotated album!

Kai Horsthemke
April 2008

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Martin Simpson - Bass to Bass

Reviewed by Julian

Recorded between March 
1997 and September 2000.
Basses used: Warwick 
Streamer 4-string and 
Cort Artisan 5 (tuned E-C)

What I love most about music is that it is so subjective and what turns one person off turns another person on. In general though, the good tunes are a favourite of most of us and the ‘also rans’ get forgotten about over the long haul. To get what I’m saying, is that, I’m willing to bet that ‘Comfortably Numb’ is just about everybody’s favourite track on Pink Floyd’s ‘The Wall’ as is ‘Whole Lotta Love’ on Zep’s second offering and ‘Persephone’ is on Wishbone Ash’s ‘There’s The Rub’. Bass To Bass isn’t my favourite album offering but what it sets out to achieve is to bring together all the crazy, luny, ideas I’ve come up with over the years and give the listener a pretty good picture of what I’m all about (like me or hate me) but because of this, I feel the album lacks co-hesion. Julian has put together a very honest and well-written review of this album and although I may not agree with everything he says, he pretty much endorses my own feelings about this disc. The programming of a drum box (Boss DR660) for a few tracks was an area I really wanted to explore but I realised quite early in the recording process that it was one of those avenues I’ll probably never explore again, especially as drum features play a big part in the music I compose. Actually, Get Lost and The Death March Boogie were also earmarked for the drum machine treatment but sanity prevailed in the end and Larry Rose & Vinnie Henrico came in to rescue these two tunes. I have, at home, a copy of The Death March Boogie, where I two-hand tapped my way throughout the tune but John and I felt that it lacked consistency in terms of note duration and note levels (remember that this was recorded in analogue and I had to tap consistently for a full seven minutes) so we hit the synths instead. Get Lost is definitely this album’s ‘Comfortably Numb’ with the track Bass To Bass coming in a close second and Tuesday Morning is undoubtedly the album’s ‘also ran’ track. Orbit doesn’t really do much for me personally I have to admit but where I differ strongly with Julian is Space Rock (Splash Down) which is one of my fave pieces on this crazy disc.

Martin Simpson - Lost in Space

Reviewedby Kerry Hiles

(CD Single of 5 tracks)

The opening track on this album (Space Rock - Lift Off), while having "spacey" keyboard sounds, made me think of the credits-music of an exciting 4x4 documentary in the jungles of Africa somewhere. Great rock guitar riffs and whispered promises of adventure pull you along for just over 3,5 minutes to an ending that, for me, lacked a bit of a bigger drum influence. I also found the track a bit rushy in places. Otherwise, a great piece of work. Would you be interested, Martin, in composing for documentaries? I have an uncle in the business...

This is a very balanced review of the Lost In Space cd and I commend Kerry for her well written article. Concerning the cd in general – three of the tracks were originally recorded for my Bass To Bass album but eventually got ‘relegated to this cd single’. The track, Space rock, was recorded 5 times with different instruments taking the lead role. The opening track was the first version recorded and I’d really like to go back into the studio and re-do it with a live drummer – either Larry Rose or Brent from Just Jinger. Track two got dumped onto this disc to make way for the Quinterican instead of being kept for the album which I now feel was a bit of a mistake on my part – I also like this track. Get Lost – what more can I add to what Kerry has already said – we had a lot of fun putting Mauritz’ tracks down. Orbit, as Kerry mentioned is a bit repetitive and really only appears on the disc as a filler track. Heinz and Annerine both played on the same three tracks and I chose the best two of each person’s work for the album so this track wound up on this disc. The second Space Rock track was the last version recorded and as Kerry mentioned could really have used a live drummer but we still had a lot of fun putting it together - especially the Sax and Keyboards.

Martin Simpson - Space Rock

Reviewed by
Quinn Hawley & Frank Pantland

4-track cd recorded
between 1989 and 1998
At B# Studios

I gave this disc to Quinn to review as he’s about 15 generations or so younger than me and I was interested in what a youngster thought of this ‘old fogey’ music. The lads were quite correct as identifying it as 80’s music – Oh Yeah and Space Rock were written in ’87, Werewolf By Night and Tuesday Morning were written in ’88. Oh Yeah! & Werewolf By Night were recorded in the late eighties / early nineties and Space Rock & Tuesday Morning were recorded in ‘97/’98 for my Bass To Bass album. After getting harassed by my mates to let them hear some sort of finished product, I hurriedly put this 4-track disc together.
As the lads say, there is absolutely no direction at all – it just happened that these four tracks were completed and they went onto the disc – simple as that! All four of these tracks can be heard on my Bass To Bass album although the Tracks Space Rock and Tuesday Morning are in slightly different formats. Looking back on this disc makes me think of the huge mistake I made by not having a drummer on all the tracks – I think Space Rock and Tuesday Morning would have benefited a thousand fold if I had booked a stickman for the sessions but it’s no use crying over spilt milk – it’s done, history, finito, time to move on. The drummer on the other two tracks is a very young Garth McCleod who many years later played in the band Sugardrive – he hasn’t heard the finished tracks yet!! When Kerry reviewed Lost in Space, she mentioned that some tracks made her think of cruising down the highway (and also made mention of the drum machine tracks) – that’s quite interesting . Thanks lads for spending some time reviewing this disc – I’m not so sure about speeding the tracks up by 100 bpm or so though – sounds a bit rad to this old geezer!!!!!!

Martin Simpson - The Bass Remains the Same

Martin Simpson - The Bass Remains the Same

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Paul Hanmer and Unofficial Language - Primal Steps

PAUL HANMER & UNOFFICIAL LANGUAGE: Primal Steps

Julian Fairall

So you think you can play the bass? Well, if you can play anything like Pete Sklair then I’d agree that you can…but if not, like the rest of us mere mortals, then I’d suggest maybe the triangle!!! Seriously, Pete is a monster, and not a lot of South Africans, let alone SA bassists even know who he is. Man, that’s a tragedy of note. Do yourselves a favour and check out everything this man does. I’m a huge Paul Hanmer fan as it is, so having this already is no surprise, but this particular Hanmer album is one of my favourites for another reason - ex-Tananas drummer/percussionist, Ian Herman lays down the thickest grooves with Pete. This is one of those albums that every music lover should own, and every bass player should steal from. A beautiful blend of local music styles, combined with Hanmer’s unique playing gives us an album that 13 years later still excites and still is a necessary addition to any collection:

Overall: Buy it!

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Sipho Gumede - From Me to You

Sipho Gumede - From Me to You
By Kerry Blewett

Sipho Gumede was a name that I had often heard spoken about but I had never attended one of the man’s performances or heard much of his music. Unfortunately, his untimely passing robbed many of us of the opportunity to ever see and hear him play live. Therefore, it has been an interesting insight into Sipho’s music to be asked to review one of his CDs.

My overall impression of the CD is that it is a very pleasant offering by an accomplished artist whose loss can only leave a huge vacuum in the South African music scene.

Sipho Gumede - New Era

Sipho Gumede - “African Sunrise” (2004); Kerry Hiles - “Missiles”

Sipho Gumede
“African Sunrise” (2004)

Kerry Hiles
“Missiles”

Sipho Gumede
“African Sunrise” (2004)

Kerry Hiles
“Missiles”

1) Bartholomew Street: great unique voice, good melody lines and backing vocals. Bass playing works well for the song. A little more in the production and this song would compare with anything international.
2) Lovers Knot: vocals again great, bass is good but not really grooving or swinging enough, bass tone is nice but for me a different tone would work better for this song. The simple production works for the song.
3) Sending my Love: a lovely song but drum sound and feel ruin it for me, same as track 1, I believe it could be a hit.
4) Our Love: nice funky feel (drum programming actually works), a little bigger on the bottom end of this one and it will really groove although it does still groove as is.
5) Salesman: nice open “jazzy” feel (a little like “Sting”). For me this song would work a lot better with a live acoustic bass.
6) Insane: quite spacious in verses but overall quite a grooving song with a strong chorus.
By Dave Askes 2006

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The Vulcan Nerve Pinch – Frequently Used Shortcuts in Recording Demo Tapes

The Vulcan Nerve Pinch – Frequently Used Shortcuts in Recording Demo Tapes

Not being much of a trekkie, I didn’t get the significance of the band’s name until the explanation on track 5. But the CD’s title must rank as one of the better (if not best) in recent rock and pop recording history.

The VNP are a Bloemfontein-based outfit whose preferred style of music is – broadly – grunge. Guitarist Jake Kritzinger sings in the strained, urgent style of EddieVedder, and additional grungey elements are the unpredictability in the chord department, the toying with light and shade, as well as the turbo-charged rhythm section of Francois Marais (bass and additional vocals) and Jaco de Wet (drums).

An enticing drum figure kicks off track 1(Extreme Fake Over), while track 2’s (Stop + Listen) beginning is a distant cousin of Status Quo’s psychedelic classic Pictures of Matchstick Men, a cut on which JK’s voice is perhaps a little less convincing than on the other tracks. Marais features more prominently on track 3, (Alphabetic Listings) the fourth cut (Madeira Cove), fulfilling a more harmonic function, albeit in deeply distorted mode. Essentially, this is a mini album, with ‘track 5’ consisting of a radio broadcast and re-run of the previous 4 cuts, the band providing English/ Afrikaans comment on the proceedings. This is a great idea, as it provides an inroad for the uninitiated.

While listenable, the band’s sound is not very original. Then again, there are arguably very few bands in recent years that can claim this – Nirvana, Radiohead, Morphine … and perhaps Lark in South Africa. Nonetheless, this mini album furnishes four good reasons for looking forward to the band’s first full-length release. 

Kai Horsthemke

March 2006

Titus - Times Flying

TITUS' “TIMES FLYING”
by Unholy Terror

As 2003 takes its final dying breaths, I thought it good to get out one or two more columns to properly sign out the year. And how better to do that than reviewing a disc – or more specifically - Titus’ four-track EP called “Times Flying”.

All in all, “Times Flying” is well worth the listen, even though it is over before you know it (Yay for whoever thought of the repeat button!). Although not as heavy or progressive as “Fade”, it features some great riffs and arrangement, all the while staying tight, melodious, and original. Well done.

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Véronique – As I Am

Véronique – As I Am

This album is an absolute pleasure, featuring a variety of catchy songs that are well-sung by a vocalist that trusts her voice to do what she needs it to do. In some rare cases, I think V could have benefited from going for a dirtier, more “rock” sound in her voice. Her songs ooze attitude and sometimes I felt that the vocal approach was just a bit sweet to allow certain songs to really kick ass. But, like I said, these were rare cases.
The album features the monsters of SA studio musicianship, so there’s no comment necessary on the playing side!

Do yourself a favour: get this album. It is well worth supporting great talent like this.

Virtuoso Double Bass

Review published in Double Bassist, Issue No 41 Summer 2007

The Fantaisie Sonnmabula and Capriccio di Bravura find Bosch in more volatile form. He dispatches the Fantasie’s introduction with flair and imagination, launches into ‘D’un pensiero’ and ‘Ah! Non giunege uman pensiero’ with style and feeling and gauges the crescendo of virtuosity towards the climatic conclusion with skill and élan. Following Kang’s calm piano introduction, Bosch brings to the Capriccio a winning spontaneity, lyricism, panache and range of colour. With the benefit of a warmly resonant recording, these are persuasive performances which carry one along, cocooned in the rich, sonorous tone of Bosch’s Gagliano.

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Vulcan Nerve Pinch

Vulcan Nerve Pinch

Album: THE VULCAN NERVE PINCH 

Line up of Band:           Francois Marais (Bass)

                                    Jake Kritzinger (Guitar)

                                    Jaco de Wett (Drums) 

What Makes A South African Band Sound Good In My Mind? 

For one – Tightness

They need to sound like a unit and more importantly, sound like they have fun doing it. 

Then there are the songs themselves. Do they all the sound different or are they all the same? 

Finally, do they avoid that awful clichéd South African “Rock” sound and can they actually sing and play their own instruments? 

This is the 5 track demo of Bloemfontein rockers THE VULCAN NERVE PINCH 

What we have here is a band that sounds tight and it sounds like they’re having fun. They are solid although they do lack originality to really make them stand out in the musical world.

The only thing that does make them stand out is their cool demo cover. 

There is still a long road ahead for them if they want to make it as a band. Hopefully, we’ll hear from them in future if they stick together.

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