Within the last two or three months, after decades of playing guitar, I’ve begun playing bass in one of my musical projects (Borrowed Time).
Until then, my attitude toward bassists was, “fine, play the damn root on the one, after that, whatever.”
I had no idea.
I thought it absolutely pathetic that the most popular part of The Bassist’s Bible was the appendix in the back listing the bassists in various bands over the last few decades.
Who could give a shit?
Bassists. That’s who.
Everyone else should, too.
As I’ve discovered recently, while learning to play bass, there’s a reason for that: bassists usually get no credit at all, and they can be incredibly creative and vital to the success of a band.
How many bassists can you name right now? I’ll bet you can count them on the fingers of one hand. The really good ones you’ll probably name are Paul McCartney, John Entwistle and, if you’re a jazz freak, Ron Carter, Charlie Mingus, and Jaco Pastorious . . . and beyond that? Probably few if any.
Why are they so important? They anchor a song and more importantly drive it and can provide counterpoint to the lines above.
Check this tune out from the last Pinche Blues Band CD: Life Is Good. My pal Michael Zubay drives the hell out of it. It would be nowhere near as compelling without his driving bass line.
On this song, people tend to just listen to the vocals (Abe), my (guitar) solo, and Fred’s (organ) solo. NOT the bass line which drives the whole thing.
How does he do it? Rhythm. It’s one . . . AND (of 2nd beat — hammering it) . . . and four and one . . . AND . . . etc.
It’s only since I began playing bass myself, after decades of playing only guitar, that I really began to appreciate bass players.
Thanks guys. Over the decades, I’ve never properly appreciated you. I’m proud to join your ranks. It’s the most musical fun I’ve had in a long time.
Sharp and Pointed 