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The beauty of "The End" is that there is not a sense of competition between the players, so much as there is a collaboration. By all counts it was a joyous occasion enjoyed by all three guitarists. While Paul and George's solos are excellent examples of the style of melodic hard blues rock that was being played on stages around London at the time, John Lennon's take on things is much more simplistic and crude. It is Paul's song, so he gets the first slot, and his playing is not very far from what Harrison is doing in the middle position, and this has caused. . . .
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IN THE BASSMENT
Check out this cool graphic of James Jamerson's classic P-bass line that we all know and love on Marvin Gaye & Tammi Terrell's version of Ain't No Mountain High Enough. Written by Nickolas Ashford & Valerie Simpson, with graphic score by Jack Stratton . . .
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WATCH THIS
Wes Montgomery 1965
Here is a rehearsal for the NDR Jazz Workshop. It was filmed at the NDR Studio 10, Hamburg, West Germany, April 30, 1965. In this video we see and hear Wes and an amazing line up of players: Martial Solal, piano; Michael Guidry, bass; Ronnie Stevenson, drums; Ronnie Ross, baritone; Hans Koller, alto: Johnny Griffin, tenor; Ronnie Scott, tenor. . .
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The Bass Master himself teaches a little of his playing technique. It's interesting because of the closeups showing his fingering style. And even though it's "very simple" root notes, he still slips in little flourishes to give it some shape, like where he goes C-"F"-D (instead of straight C-D), and how he slides down from F-E keeping the string open instead of muffled like the rest. Another cool part is his discussion at of how he was "tempted" to put in "fiddly bits" -- jumping up an octave -- and why you migh . . .
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GREAT GEAR
Wampler hits below the belt with the new dual-voiced Low Blow overdrive/distortion pedal for electric bass guitars. This pedal is designed to be a versatile distortion effect for bassists, featuring two clipping modes that result in distinct voicings that start with subtle overdrive and crosses over to jagged distortion. The Low Blow pedal is based on a circuit that Brian Wampler himself has been working on for years. It is meant to be a straightforward solution for bassists who are looking for a distortion pedal that's versatile enough to handle . . .
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ARTIST AWARENESS
Few can claim the title of living legend. Kenny Burrell is just such a person. In fact he's more - he's living history, past, present and future. His credentials are voluminous and accomplishments staggering, and he hasn't stopped. He has recorded at least 108 albums as a band leader and is today, at age 82, still on top of his game. His latest offering is Special Requests, a live set from 2012, which reached #1 on the jazz charts in September and was the most-reported jazz album on 51 radio stations. Burrell has one of the most recognizable voices in jazz guitar and . . .
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