You might wonder what I’ve been doing musically in the time between records. Rest assured, I’ve already started planning my next album, but there a few things I need to care of first. More on that soon.
Meanwhile, one thing I’ve been doing is woodshedding the bass. I want to improve the bass parts on my songs, which too often play a set pattern that follows the left hand of the piano rather than jam out and groove. I went thru a Geddy Lee phase a while ago, and learned the bass parts to a few Rush songs, including Xanadu. I even toyed with the idea of getting a Stienberger or Rickenbacker to get that punchy, toppy prog sound. (Although last tour I saw Rush, Geddy was playing a Fender Jazz.) But while I love writing in out meters and all that, I haven’t really been able to make his style of playing work with my songs, and have been looking for a less chopsy, more soulful direction.
My bass is a Fender P, and I’ve been reinvestigating my roots in the p-bass pantheon. I recently got a couple of books to study. One is R&B Bass masters, that has chapters on guys like James Jamerson, Chuck Rainey and Donald “Duck” Dunn, with a bio and a lesson. The lessons include drum parts that they suggest you lay into a sequencer, which have really specific annotations like “54% swing”. The other books is transcriptions to the bass parts from the first two Led Zeppelin albums. It all started one day a few weeks back when I picked out the bass part to Moby Dick, and thought it might be good to learn The Lemon Song. But I figured it’d be a lot easier just to read the parts than work them out by ear, so looked for the book and shaw’nuff someone had written it.
I remember as kid being captivated by John Paul Jones’s bass playing, and even with so much awesomeness going on in the rest of the music just listening to the bass over and over. Some of the he-man-woman-hater-club lyrics seem a little trite to me after all these years. The Lemon Song reminds me for all the world of the Chuck Jones Grinch Grinch cartoon. “You ain’t nothing but a no good two bit jive – with arsenic sauce!”
In any event, perhaps unique among hard rock and metal players, JPJ has a solid grounding in soul and R&B, and his riffs show it. (After 1970 or so it seemed all the English groups forgot how to use 7th chords. Maybe this was around the time Jimmy Page sold his soul to Lord Voldemort, who took back the 7th chord like the Ursula took Ariel’s voice, I dunno.) And it turns out the parts are not that hard. The electric bass is in fact just about the easiest instrument to play, provided you have big strong hands. It’s all about the groove and the musicality. There’s tons of great chromatic passing tone ideas and syncopation, almost straight out of bebop. Then laying into the heavy fourthsy stuff. Looking forward to getting it together to the point where I can cop some riffs.
