I’ve been told to progress in Jazz we need to listen and copy other players. Exactly as we learn to speak, we then use all this information to create our own sentences or bass lines. Ray Brown in one of the great upright Jazz bass players. I found his version of All The Things You Are, which had a few ( well a lot actually) nice lines in it, so I decided to transcribe those parts, or verses containing the lines I like the sound of.
The song is played at quite a fast tempo for this song.
In the first verse the section over the ii-v-i (bars 17-20) are particularly interesting. I also liked the sequence he used in bars (61-63). There’s a lot more to it, but I think analysing it yourself is much more useful than someone doing it for you. I certainly has given me many more ideas when playing walking bass lines. Anything part you like in this.
I’ve only written the chords over the first verse. Also note, I used iRealPro for the backing, which meant I couldn’t replicate the same turnaround in the first verse, but it’s written in the music.
My Walking bass lines particularly over the jazz blues progression all seemed the same, so I decided I needed to do something about it. I’ve studied some Charlie Parker sax lines which mostly full over jazz blues, at least the lines I’ve currently looked at have. The next thing would be to listen to the bass line on these recordings and listen to lines I could use in my own playing. I find it easier to write them out, that way I will always have a record of them to look at. Of course, these old recordings don’t have the best sound sound separation as more modern recordings. Picking out the bass was really hard in places. For this reason, I only transcribed the first 4 progressions (48 bars). Curley Russell is the bass player.
One thing to note in the transcriptions is that I have written the standard Jazz Blues chords over the top, the Charlie Parker Omnibook, doesn’t have this track as a standard jazz blues, iRealPro, which I used in the YouTube clip, uses the standard Jazz blues progression. You can hear a few clashes. Particularly bar 26, where Curley Russell plays A, the usual sequence would be Bb. Also we don’t hear the diminished chord in the sixth bar as usual.
My most recent YouTube upload and bass transcription is Bruno Mars’ ‘Locked Out Of Heaven’. This was played by Nick Movshan who isn’t the regular bass player with Mars.
Like my previous post of ‘Sign Sealed Delivered’, this is again popular for function bands. I decided it would be an interesting one to transcribe. Not too difficult. In the breakdown section towards the end, I wasn’t entirely sure what was the electric bass, and what was covered by the synths. I’m quite sure that bars 58-61 didn’t have the octave jump on the bass part as earlier in the part, instead, it sounded just like the synth bass playing the octave. Also the breakdown section I added a bass part closest to the recording, I would play if on a gig.
I thought I would try to transcribe and notate a Motown bass line. I choose Bob Babbitt’s line on Stevie Wonder’s ‘Sign Sealed Delivered’. A popular tune for function bands, so I’m quite sure many bass players already know this. However, there are a few nice little phrases in this, check out bars 19-20 and 47-48 both over and F chord. Babbitt has a few nice little rhythmic changes during the fade out.
The run at the start (which repeats through out the song) gave me a few issues. Was it an A or Ab? In a clip of Bob Babbitt playing this, he plays an Ab, listen carefully and you can hear the note is an A sliding in from the Ab. The music show a slide, so bare in mind its a slide from a semi-tone below.
Many of the bass players I like all have a background in jazz music; James Jameson, Jerry Scheff, Carol Kaye, the list can go on. It made me consider learning jazz. 5 years ago, I started. I would say my general playing has improved. Anyway, on to this post. I was trying to record directly into my phone using an iRig attached to my interface. It works, but I still needed to increase the volume in iMovie for upload. Any suggestions to increase the recording level and do it all in the phone would be appreciated. Here’s the track I recorded.
1st time through I played the tune, 2nd a bass solo, final time, I just played a bass line. Like a jazz jam, but on my own.
When I first heard Joss Stone’s version of L-O-V-E, I was instantly drawn to the bass line. Not surprising being a bass player. This one stood out to me. I was going to transcribe it myself, then found it online, with a few mistakes. I decided to record it. Not easy!
I’m quite sure the original version features Raphael Saadiq on bass, playing a Fender Precision bass with flatwound strings. However, when I tried to record the bass with the Bass-less backing track, it just didn’t sit right in the mix. I then tried with round wound strings and the tone rolled off. Eventually I settled with the tone full up. Almost the complete opposite to the original recording I’m comparing to.
My next hurdle was a few techniques that I hadn’t used before. Trills, between frets, I’ve still not got them a well as I’d like. The final hurdle, was that I’ve always played slightly ahead of the beat. Not a problem with the music I had been doing. On this track, it needed a relaxed, approach.
Every now and then I decide to write out an interesting bass line I hear or even play. In this instance I play this track with an Elvis Tribute show. The song is called Runway, which was originally recorded by Del Shannon. Elvis performed this when he returned to live performing in 1969. It’s from the Album ‘Elvis Presley : In Person’. (See note at bottom).
Elvis and the band take this track and transform it into their own track. Jerry Scheff’s bass line on a standard song always amazes me. Jools Holland’s bassist, Dave Swift said he liked how Jerry Scheff takes a standard pop tune and transforms it with his playing. He certainly does that with this track. When I transcribe to notate it, I go in depth a lot more than usual. I’m shocked at how much I missed when I originally learnt the bass to this version. Unlike myself, Jerry plays with just one finger, a little like Jameson.
Below is a link to the transcription. I have also added a clip of myself playing along to a bass-less backing track, which doesn’t have the same oomph as the Elvis version, even though it’s based on that. The intro is also slightly shorter. The bass guitar is recorded direct to film, no mixing, just into a mixer and then to camera.
Note: I thought I’d transcribed the version from the Elvis in Person Album. Although this track was recorded during the August 69 engagement, it was released on the February, 1970 On Stage release. However, on listening to the album recently, I realised I’d transcribed from the box release Elvis Presley – Live in Las Vegas. Apologies for my error.
Playing bass in theatres with Lee Memphis King, the Elvis Tribute Artist, there are few clips because video isn’t allowed. People that do manage to sneak a clip, don’t tend to put it on YouTube. Instead, they probably just show their friends to show them what they have been doing and seeing.
I just found this one clip of suspicious minds recorded at Northampton Derngate Theatre. You can see the audience are having a great time, and why not, it’s a great show.
I have transcribed the bass part for this from Elvis’s ’72 show at Madison Sq Garden. Jerry Scheff, Elvis’ bass player, played it different every time. I’ll post a link to the transcription in due course. Meanwhile, enjoy the one and a half minute clip with myself on bass.
Jet Harris was the original bass player with The Shadows (formerly The Drifters) who left due to a drink problem. He sadly past away 18 March 2011. He did leave some bass gems behind. Many are well documented already. However I initially decided to transcribe this particular track recorded at a live concert with Cliff Richard in 1962, because the bass during the solo was interesting to me. However, as I started and continued past the solo I realised there were many interesting things going on that can be used over many standard Rock n Rock tracks to make the bass more interesting. I thought I’d share it here. Jet has a driving bass sound in this recording, quite staggering when you consider he was using a Vox AC30 amp. Probably it was a slightly oversize version with a 15″ speaker, very rare. Most certainly this would have been played on a fiesta red Fender Precision bass guitar with flatwound strings and a plectrum. It’s also worth mentioning that Jet was probably drunk when he played this!
transcribed by Nathan J Hulse
Main highlights / analysis
When the song starts Jet plays a standard Rock n Roll line over the F. On the C he adds a 4th with the follow bar starting on a D (9th). This gives an interesting feel and movement. Moving forward to bar 26 Jet again adds a 4th over the C with a run back down to the C later a similar pattern over the F chord.
For the solo, you can hear the descending run with the C pedal note throughout each bar. Towards the end he plays a II – V – I pattern over a V – IV – I sequence. Jet was a Jazz player originally and perhaps this was intentional or a happy mistake.
Moving on to bar 74 is a lovely descending pattern over a static C chord. This I personally use quite a lot over a guitar solo. There are quite a few jumps which suggests Jet would be using open strings quite a lot to move position.
Notice how Jet is also just as happy to play driving quarter notes over the root.
There’s a lot of useful info in this track to add to your rock n roll bass line creation and vocabulary with this. I hope you find helpful.
I play bass for who I consider to be the best Elvis sound-a-like tribute in the UK (and probably the UK and Israel). I have already transcribed some of my favourite lines. I will put them on this blog in due time. It can be quite am interesting and sometimes shocking thing to do. Because I listen more carefully to the original recording I noticed things that I don’t usually play. Always On My Mind is quite a simple track to play, but delve a little deeper and the bass player (Emory Gordy) has some quite varied and and interesting rhythmic variations going on. This is a bass line I see many doing, yet they miss some of the more interesting parts. Click the link below for the pdf.
On the introduction, there is a D being played, which I think is the bass. I’ve included the note in brackets as the main bass part you hear clearly starts on the fourth beat of the first bar. Emory uses quite a few slides which helps keep the line more interesting. In bar 10/11 he slide up to the B on the 9th fret, then back down on the G to the C. From playing this myself I would guess this helps the give the note more body. Bars 59-60 I have used the timing from the recording. However, in a live situation the singer would be more likely to go on feel. So listen to the piano pickup in bar 61. The final repeating bars, I’ve only transcribed the first time round, on the original recording it goes round about 6 times to the fade. Again, live, the singer would probably give a cue when to end.
The YouTube clip features myself on bass with Lee Memphis King. Luckily, you can’t see me after the into. I would point out, I have done this transcription since the video, so it is interesting to see how much I didn’t pick out from the original recording.