Posts Tagged ‘bass’
Slap Bass
Where can I buy a slap bass effect?
I keep searching but there were no results found.Please tell me where to buy…THANKS!
Please be a little more specific about your question.
Are you recording music?
Are you looking for a plug-in for your host program?
A bass effect pedal?
Or an outboard processor?
Free Beginner Slap Bass Video Lesson
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Victor Wooten: Groove Workshop $27.76 In this nearly 5-hour, 2-disc DVD set, legendary bassist Victor Wooten redefines the essential elements of music and demonstrates how to apply them in fresh, musically relevant ways. Victor’s open approach to playing bass will provide effective improvement to any musician’s skills and as the students on the DVD show, many of the most important lessons can be learned very quickly. Also featured in … |
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Hollywood Bowl Orchestra: Greatest Hits $17.98 … |
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Louis Johnson-Instructional Bass DVD $12.99 LOUIS JOHNSON – DVD Movie… |
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Rockabilly Slap Bass [VHS] $39.95 Create spectacular multi-rhythmic effects to stop any show! The charismatic stand-up bass-slapper for the multi-platinum band Stray Cats teaches the intricacies of this exciting style to players of all levels. You’ll learn to combine percussive right-hand techniques with blues bass lines and arpeggios; receive valuable tips on amplification, bass set-up and how to get the best sound. Then see how … |
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Slap, Pop & Tap for the Bass $22.95 You’ll get into left-hand stretch exercises, major and minor arpeggios, playing chords, slapping and popping, funk, hammer-on slaps, triplets, right-hand Flamenco strums, two-handed polyphonic tapping, contrapuntal playing, percussive tapping, playing a melody with the right hand while the left plays a bass pattern, classical techniques and styles, the Bach Prelude in G. (One hour.)… |
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The Slap Bass Program [VHS] This highly acclaimed video has become the definitive bible of slap technique. Packed with intensive instruction and incredible syncopated funk, “The Slap Bass Program” thoroughly explores the challenging techniques behind the slap style. Alexis Sklarevski is a phenomenal teacher, and has the rare ability to put all the pieces together in a refreshingly logical, integrated fashion. Start… |
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Slap Bass: The Ultimate Guide $11.99 SLAP BASS – DVD Movie… |
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The Slap Bass Program $22.88 SLAP BASS PROGRAM – DVD Movie… |
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Paul Frank Silicone Skin Cover for iPhone 3G & 3GS, Slap Bass $29.99 Personalize and protect your iPhone 3G and 3GS from danger with this Paul Frank Silicone Skin Cover…. |
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Slap a bass, not a ho Funny Light T-Shirt by CafePress $29.50 A t-shirt for bass players, and a public service announcement, too. Slap a bass, not a ho Funny Tee, TShirt, Shirt. About our Light T-Shirt: Look cool without breaking the bank. Our durable, high-quality, pre-shrunk 100% cotton t-shirt is what to wear when you want to go comfortably casual. Preshrunk, durable and guaranteed.5.6 oz. 100% cotton. Standard fit….. |
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AFL1-3603 $13.98 For his first solo disc, Dave Davies came out swinging with the great AFL1-3603, titled after the record’s catalog number and also as a slap at the bar coding that had begun to be put on nearly everything. This album rocks; from the opening “Where Did You Come From” right on through to “Run,” there is a sense that Davies was out to prove that his brother Ray wasn’t the only force in the Kinks. Chock-full of the best bits of the Kinks’ guitar rockers, AFL1-3603 also holds lots of power pop treasures, such as the very lovely “Imaginations Real” and the nice change of pace “Visionary Dreamer.” Doing all the guitars, vocals, keyboards, and most of the bass and drums, as well as producing and writing all the tunes, Dave Davies proves he can out-Kink brother Ray and do it with a refreshing style. AFL1-3603 is a winner. ~ James Chrispell, Rovi |
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Avery Sharpe Trio Live $16.98 Since his days with the McCoy Tyner trio, Avery Sharpe has been standing audiences on their collective ear with his virtuosity and fantastic technique. A more seasoned, mature, and even slightly restrained Sharpe appears on this live-in-studio session from WGBH in Boston, with always able pianist Onaje Allan Gumbs and drummer Winard Harper. As a composer and set list determinator, Sharpe hits the mark every time with selections by himself, Tyner, and Gumbs playing pretty or ripping through heady neo-bop territory with nary a sign of sweat. The trio flashes through a frantic “Dragon Fly” as Gumbs scurries about the piano, then settles in for some bluesy refrains. Slap bass identifies Sharpe’s “I Understand,” while he and Gumbs join together for the deft and quirky, fleet melody of “Oh No,” but they hold tension and release beautifully on the classic Yusef Lateef composition “Morning.” Gumbs can play politely as on Tyner’s “Blues on the Corner,” but generally goes with the flow throughout this set of wide-ranging, dynamic piano trio music that stands a cut above within this well-worn format. It’s a very satisfying date that mainstream jazz fans will applaud and cheer for, as Avery Sharpe deserves every standing ovation he might receive. ~ Michael G. Nastos, Rovi |
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Behringer VT15FX Virtube 15-Watt Guitar Amplifier $217.99 Equally perfect for aspiring and for accomplished guitarists for practicing or warm-up with uncompromised sound options. Armed with 15-watts, a custom-designed 8″ Bugera speaker, and sixteen digital effects, including four each of the following: reverb, delay, chorus and flanger, this baby is ready to rock! The secret behind virtube’s incredible sound is our VTC tube modeling processor, which exudes the very essence of tube saturation and compression, but VTC does so much more than just generate a cheap copy of a specific amp character. It accurately emulates the interaction between classic tube stages, responding to the subtle tonal changes that occur when one stage hands the signal off the next. The resulting signal is rich in harmonic content and far more true to the nature of tube amps. virtube’s clean channel is elegant in its simplicity. The sound is open and uncolored and can be tailored to your needs by volume and the analog passive equalizer. The overdrive channel features gain, volume, bass, treble and our proprietary contour control, with its radical midrange sweep. All this versatility enables you to artfully define your “perfect” tone, from traditional to scooped modern and anything in-between. Comes with state-of-the-art effects and not some cheap and cheesy reverb chip, but a full-blown 24-bit digital effects processor with 16 great-sounding reverbs, choruses, flangers and delays. This tasty collection of effects is a must-have for any guitarist and includes room, stage, concert and cathedral reverbs, slap-back and medium echoes, two long delays, plus slow and fast modulation effects, all right at your fingertips. |
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Bitterness the Star $13.96 It’s quite uncommon to hear a band hailing from Alaska, yet after hearing 36 Crazy Fists, one can only hope more intriguing metalcore spawns from the area. Bitterness the Star is a thoroughly infectious morsel, and while it may first feel a bit abrasive to the listener’s ears, repeat plays will surely hook you with extremely groovy thrash metal. Frontman Brock Lindow’s unusual vocal quiver may fool you into believing he can’t actually sing, yet in reality Bitterness the Star is full of incredibly emotional singing, as displayed on “Two Months From a Year.” The quiver helps 36 Crazy Fists stand out in a sea of faceless nu-metal acts, and Lindow often comes off sounding similar to the likes of Glassjaw’s Daryl Palumbo or SpineShank’s Johnny Santos. Lindow’s strong emphasis on vocal hooks firmly plants roots in the listener’s brain, and with well-written lyrics one can find themselves singing passages from 36 Crazy Fists’ wealth of material quite some time after listening to the album. Carl Severson from hardcore devotees Nora appears on “One More Word,” and his outlandish scream intensifies the song quite well. Skinlab’s Steev Esquivel also lends his vocal talents to “Bury Me Where I Fall” and helps morph 36 Crazy Fists into a violent heavy metal battering ram of sound. Musically, 36 Crazy Fists are fairly original, and while they may not exactly astonish anyone with their ability, Steve Holt’s guitar playing is quite inventive. “Turns to Ashes” is a passionate song that hits the listener like a fist in the jaw, and Lindow’s emotional pleading on “Slit Wrist Theory” is moving in its release. “Dislocate” is a spectacular track which effectively burrows its way into your cranium as the slap-happy bass rattles your brain. 36 Crazy Fists deliver on all counts with Bitterness the Star, an album that you may be hesitant to play at first but inevitably will have trouble removing from your stereo. ~ Jason D. Taylor, Rovi |
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Bluegrass Bass – 2-DVD Set $49.95 DVD One: Mark Schatz teaches basic patterns and scales, fingerings, passing notes, chord progressions, arpeggios, chromatic scales and other important subjects, applying them to several classic bluegrass songs. 75-MIN DVD • BEGINNER LEVELDVD Two:Mark explores rhythmic and tonal variety and more advanced bass technique, including waltz time, walking, slap bass, syncopations, hammer-ons and pull-offs for bluegrass, rockabilly and novelty tunes. 60-MIN. DVD • EARLY INTERMEDIATE LEVEL |
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Bringing Back the Funk $11.99 In the 14 years since the Illinois-born and bred composer, producer, and keyboard whiz released his debut Long Night Out at the age of 21, he’s evolved from a shy kid writing cheerful pop songs in a bedroom studio to one of contemporary jazz’s most electrifying A-list performers. His fan base is large enough that he would have made a killing even had chosen to simply follow the easy grooving candlelit approach of his last non-holiday CD It’s on Tonight with something similarly low-key and seductive. Fortunately for everyone who had been complaining that smooth jazz artists had been getting way too predictable in the latter 2000s, he had the pull and the wherewithal to make his dreams come true and seriously bring back the groove with just about every heavy hitting funkateer from the ’70s. The cover shot of “little Culby” sitting and listening on headphones says it all — he was a tyke when his guest list was defining all that was cool and happening. The luminaries included one-time James Brown bassist Bootsy Collins and Phelps “Catfish” Collins plus members of the Rubber Band and the Horny Horns (all out of P-Funk); Larry Graham (the slap bass great of Sly & the Family Stone and his own Graham Central Station — no laid-back “One in a Million You” happening here!); Larry Dunn and Sheldon Reynolds (Earth, Wind & Fire); Greg Adams (Tower of Power), Tony Maiden and Bobby Watson (Rufus), Michael Bland, Cora Dunham, and Rhonda Smith (from Prince’s bands), solo stars Ray Parker, Jr., David T. Walker, Ronnie Laws, Gerald Albright, Tom Scott, Paul Jackson, Jr., Perri, etc. Modern neo-soul was well represented as well, with Ledisi swaying dreamily through horn accents and multiple keyboard flavors on Bill Withers’ lightly obscure gem “The World Keeps Going Around” and Musiq (Soulchild) slammin’ it with urban sax god Gerald Albright, a sea of crunching horns and Culbertson’s bright chordings on “Hollywood Swinging.” Culbertson’s choice of covers, which includes C… |
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Fender 7350ML Stainless Steel Bass Guitar Strings $34.99 Fender Stainless Bass 7350’s are an excellent choice for slap styles, heavy metal, and hard rock. Fender Stainless Bass 7350’s deliver high-output and growling mid-range punch, complemented by crystal clear highs and powerful lows. The stainless steel construction also gives these strings an increased lifespan. |
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Foundation Bit $18.99 Whatever dub once was has long since mutated into something else entirely, less a living sound than a template for other individual obsessions around the globe. Thus Jan Gleichmar, who performs under the Disrupt moniker, and his debut album, Foundation Bit, which smashes together early video games, general science fiction references, and more into his preferred interpretation of the form. Given the often joyless (and worse, downright tedious) realms of many modern dub variants, Foundation Bit has this going for it from the start — humor, of an implied sort perhaps, plus light to match against the overwhelming shade. The heavy echo and slow bass crawl kicking things off with “Tubby Rom Module,” for instance, may be simply exactly what one expects, but the shimmering treble tweaks and computer gurgles keep things from simply being yet more hauntology run amuck. If Gleichmar doesn’t screw around much with the expected basics — there are the vocal snippets chopped and swirled into infinity, the compressed horn section moments, and plenty of other signifiers that stand for dub without even trying — it’s the squirrelly bits he slips in on a variety of songs that make them the treats they are. “Jah Red Gold and Green” has a title that says it all, but the burbling computer voice sounds like it should be part of Berzerk, while “Blast You to Bits” has a core dialogue exchange lifted straight from the ur-source of all computer-animated action movies, Tron (“Bomb 20″ does the same with Dark Star). Meanwhile, funny (and punny) titles are hardly unknown in dub; still, it is a bit surprising to realize that nobody had figured out the slap-your-forehead term “THC 1138″ before now. ~ Ned Raggett, Rovi |
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Getting Paid $12.98 At the Drive-In/Mars Volta guitarist and musical auteur Omar Rodriguez-Lopez doesn’t contribute to this sophomore album by the band led by his brothers — Manfred on bass and drummer/keyboardist Marcel (other brother Rikardo joined after this recording was complete) — but he green lit it for his label. The predominantly instrumental set is a jittery and expertly produced collection of prog/space rock featuring bubbly keyboards, hyperactive tempos, and clattering, occasionally funky percussion. The songs range from five-seven minutes, but they are packed with changes, layered instruments, and enough ideas to extend them a lot longer. That the quartet checks those impulses is one of the most impressive aspects of this collection, along with the musician’s obvious talent and near boundless creativity. Influences range from ’60s and ’70s era King Crimson/Pink Floyd/Gentle Giant to Bitches Brew period Miles Davis, and the blacksploitation cinema from which the cover art was derived. The notes explain that the songs were written from percussion parts sliced and diced by Marcel, with each member gradually adding more instrumentation in a Frankenstein-styled process that, all things considered, sounds remarkably organic. Tracks change tempos and mood often, but nothing seems random or as pretentious as prog typically gets. Rather, the results comprise sprawling but controlled music that challenges the listener without taking itself too seriously; unusual considering such over the top song titles as “Everlasting Beacon of Light” and “The Heat, the Drought, the Thirst, and the Insanity.” It sounds great, too, with room for the instruments to enter and leave the mix while maintaining plenty of space, so nothing feels cluttered or forced. When the band hits a killer riff, as on “Crushin’ It,” stun guitar hovers over the proceedings as the licks quicken with Zappa-like efficiency. By the time the nervous, driving “Mega Slap” closes the 50-minute album, the average li… |
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Journey to Love $6.99 It has often been said that Stanley Clarke did for the fretted electric bass in the 1970s what fellow virtuoso Jaco Pastorius did for the fretless. For any aspiring jazz-rock bassist coming up in the time between Bitches Brew and Feels So Good, Stanley’s innovative playing, which combined a distinctive slap-pop style with fluid finger-style work informed by his acoustic playing, was a required assignment. Although School Days, with its catchy signature song, is perhaps the most listened to of his albums, it is on Journey to Love, Clarke’s second solo offering for Columbia, that his muse is most confidently and persuasively displayed. He is assisted in this worthy endeavor by a whole carload of world-class talent. Jeff Beck shows up for two songs, the title track and the appropriately-titled “Hello Jeff.” His lead guitar is as expressive and unpredictable as ever, capable of bringing a smile to the face of the most jaded listener. Return to Forever bandmates Chick Corea and Lenny White also turn up, as well as fellow traveler Mahavishnu John McLaughlin. Not to be overlooked are the tremendous talents of keyboardist George Duke, drummer Steve Gadd, and guitarist David Sancious. The caliber of the musicians aside, Journey of Love is full of great tunes, great grooves, and absolutely amazing bass playing. Clarke moves from percussive slapping to almost guitaristic chording to full-speed improvising with bewildering ease. Make no mistake about it, this is one of the finest fusion albums to come out of the 1970s, and it is the single best demonstration of the skills and the sound that make Clarke one of the most important figures to ever pick up the instrument. ~ Daniel Gioffre, Rovi |
Play Bass
How do you play bass and were can i get a good sounding one at?
Me and my friends are thinking about starting a small emotional/metal/hardcore band and right now i play keyboard and have been taking lessons for about a year but for the band i want to play bass for the band. I can play a little bit of guitar but i’m not sure how to play bass. If you have any tips please tell me. I’ll probably get one at guitar center but i need to know if they’re any stores with cheap basses that sound good and please no online stores.
For your music style i would look into B.C. Rich, Schecter, Epiphone, and Traben. All of those companies make pretty good basses with a dark tone at a relatively cheap price. If you can Play Guitar a little you shouldn’t have that much trouble with bass. Bass usually consists of individual notes as opposed to guitars which often play either notes or chords. Also try playing bass with a pick it will have familiarity with the guitar and it also has a more punchy distinct tone which you may or may not want. In terms of learning just do what you did with guitar. Go find some scales and learn them and experiment with what sounds good. Also check out some of the gear your favorite bands are using and some of their techniques. You probably wont be able to get what they have but maybe the company they use has a shell company that produces a similar product like Epiphone is a shell of Gibson. Obviously you wont be able to play like the people in the bands you look at but see if they use a pick or their fingers. Also watch bass covers of different songs to get a feel for what will be required of you.
P.S. I also wear the HU mask with pride
How To Play Bass Guitar – Lessons for Beginners – Open Strings
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It’s Hard to be Humble When you Play the BASS GUITAR Mug for Coffee / Hot Beverage (choice of sizes and colors) T-ShirtFrenzy offers over 30,000 designs on tons of products to offer millions of variations. You can search our store for something for everyone on your gift list or shop for yourself (our personal favorite). Please contact us with questions…. |
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Work Is For People Who Don’t Play The BASS GUITAR Mug for Coffee / Hot Beverage (choice of sizes and colors) T-ShirtFrenzy offers over 30,000 designs on tons of products to offer millions of variations. You can search our store for something for everyone on your gift list or shop for yourself (our personal favorite). Please contact us with questions…. |
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It’s Hard to be Humble When you play a BASS DRUMS Coffee Mug in Metallic Colors T-ShirtFrenzy offers over 30,000 designs on tons of products to offer millions of variations. You can search our store for something for everyone on your gift list or shop for yourself (our personal favorite). Please contact us with questions…. |
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Fair Warning $3.80 No Description AvailableNo Track Information AvailableMedia Type: CDArtist: VAN HALENTitle: FAIR WARNINGStreet Release Date: 09/19/2000… |
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Mozart for Mothers-to-be: Tender Lullabies for Mother and Child $3.15 Fill the womb–I mean, the room–with the gentle sounds of Mozart’s lovely Adagios and Adantes performed by strings and winds.No Track Information AvailableMedia Type: CDArtist: MOZART,W.A.Title: FOR MOTHERS TO BEStreet Release Date: 04/09/1996… |
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Baby Boy (Special Edition) $3.94 The story of a 20-year old African American man having a hard time growing up and facing life on the mean streets of L.A.Item Type: DVD MovieItem Rating: RStreet Date: 09/03/02Wide Screen: yesDirector Cut: noSpecial Edition: yesLanguage: ENGLISHForeign Film: noSubtitles: noDubbed: noFull Frame: noRe-Release: noPackaging: Sleeve… |
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Twas the Night Before Christmas [VHS] $6.98 Animators of all things Christmas, Arthur Rankin Jr. and Jules Bass (Frosty the Snowman) take on the famous poem by Clement Moore. Narrated by Joel Grey, the story opens on the night before Christmas, but the reading of the poem must be stopped when two creatures in the house begin to stir: family men Mr. Trundle and Father Mouse. Their restlessness stems from the fact that Santa is angry at the r… |
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Baby Boy [VHS] $4.88 A worthy companion piece to 1991′s Boyz N the Hood, John Singleton’s Baby Boy expresses compassionate but unforgiving criticism of young, African American black men who lead reckless, irresponsible lives while blithely blaming racism for their chronic disadvantage. That’s already enough to make this a provocative and emotionally challenging film, but Singleton injects his drama with such passionat… |
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A Funny Thing Happened on the Way to the Forum [VHS] $14.95 “Something familiar, something peculiar, something for everyone: a comedy tonight!” Those words from the opening song pretty much describe the menu in A Funny Thing Happened on the Way to the Forum, a frantic adaptation of the stage musical by Larry Gelbart and Burt Shevelove. The wild story, set in ancient Rome, follows a slave named Pseudolus (Zero Mostel, snorting and gibbering) as he tries to … |
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Makita BMR100W 18-Volt LXT Lithium-Ion Cordless FM/AM Job Site Radio $78.50 Tune into the latest music revolution with this Makita jobsite radio now compatible with iPod and other MP3 players. You get rich stereo sound from two powerful 3 1/4in. side-firing speakers. Designed with rugged reliability for any jobsite, including weather-resistant construction, this feature-filled AM/FM radio delivers the performance you expect from Makita. Battery not included…. |
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$19.04 shipped–PS3/XBOX360 HDMI to HDMI Digital Cable + 3003 Metal Bass Boost Designed Earphones (Black) $19.04 PS3/XBOX360 HDMI to HDMI Digital Cable + 3003 Metal Bass Boost Designed Earphones (Black) |
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1910 $16.98 1910 was the birth year of Django Reinhardt, the jaw-droppingly gifted guitarist and composer who is generally credited with inventing (or at least perfecting) a style of music now known as “Gypsy jazz.” Characterized by frenetic tempos and driving rhythms, Reinhardt’s music has thrilled listeners and inspired guitarists for nearly a century. The punningly named quartet Les Doigts de l’Homme are configured in the traditional Gypsy jazz manner (three guitars, one bass, no drums), and on 1910 pay explicit tribute to Reinhardt — but they are not slavish imitators, and they bring their own exuberant personalities (along with some of their own compositions) to this mixed program of standards, Reinhardt tunes, and new material. Traditionalists will find plenty to love here: the group’s takes on such potboilers as “Swing 48,” “I’ve Found a New Baby,” and the inevitable “Minor Swing” are respectful even as they gently expand the form’s normal harmonic vocabulary (check out those little tritone runs in the middle of “St. James Infirmary Blues”) and throw in bursts of joyfully virtuosic harmony lines. But as thrilling as Les Doigts de l’Homme are when playing at top speed, they really shine at slower tempos: they play “St. James Infirmary” like a New Orleans funeral band; “Indiff? rence” is a gentle and lovely waltz; their version of Reinhardt’s “Improvisation No. 2″ is heartbreakingly tender and sweet. Reinhardt has many acolytes, a good number of whom have learned all his licks and surpassed his tempos, but very few of them honor his memory the way Les Doigts de l’Homme do — by teasing out what matters most from his musical legacy and building upon it. This is not only an exciting and impressive album, but an unusually beautiful one as well. ~ Rick Anderson, Rovi |
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3 Fervent Travelers $12.99 Time for Three — fiddlers Zach DePue and Nick Kendall and standup bassman Ranaan Meyer — bill themselves as a genre-stretching, boundary-demolishing trio with a sound all their own. They do have impressive chops and Meyer, the main composer, has skills that draw on a wide range of music, but they’re not the only band in the land that’s blending classical, bluegrass, Gypsy jazz, and swing in its music. Groups like Leftover Salmon and the Hot Club of Cowtown explore similar territory, maybe without the classical European touches. That said, there’s still plenty of remarkable playing on 3 Fervent Travelers. “Wyoming 307″ opens the disc in a dark, droning, classical mode, then slowly evolves into a bluegrass barnburner with DePue and Kendall trading off sizzling lead lines and seguing directly into “Forget About It,” which continues the bluegrass-style mayhem with the fiddlers slipping up into their ear-tweaking higher registers, each playing a different variation on the melody while Meyer adds rhythmic accents on his bass. “Don Don” opens with a musical quote from “Jailhouse Rock,” then Kendall and DePue play an extended jazzy, Grappelli-meets-Bob Wills interlude, dropping out to give Meyer time for a brief solo before their Bill Monroe-meets-Monk finale. The violin accents on “Philly Phunk” live up to the tune’s title, while the solos range throughout the blues, jazz, country, and new music spectrum with unpredictable shifts in time, tempo, and timbre. They close the album with a classically influenced arrangement of Leonard Cohen’s “Hallelujah” that accents the tune’s solemn tone, despite the rippling violin triplets that accent the second chorus. They close with a jazzy version of “Orange Blossom Special” that features Meyer’s impressive bass work setting up the dueling fiddles of DePue and Kendall, playing at lightning speed and dropping Arab and Gypsy jazz accents into the mix. ~ j. poet, Rovi |
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3 and 1 $17.98 One of the enduring instrumental combinations for musical expression, whether jazz or classical, is the piano trio. The great jazz pianists from Teddy Wilson and Art Tatum through Bill Evans and Oscar Peterson to Brad Mehldau and Keith Jarrett have used this vehicle for their personal jazz expressions. With this offering, Seattle-based Dave Peck knocks on the door to be admitted to this exalted company. On the jazz scene as a performer, arranger, and composer for more than 25 years, Peck is no newcomer. His performing credentials include sideman assignments with such notables as Chet Baker, Sonny Stitt, Lee Konitz, and Art Farmer. He has worked with Bud Shank as arranger/composer since 1985. Peck’s approach to the piano falls somewhere between Bill Evans and Oscar Peterson, with some Thelonious Monk influence on Peck’s “If…Then….” Admittedly a wide gap, but plausible here. There’s that wonderful thoughtful lyricism that characterizes Evans’ work, but he adds a little more embellishment to his playing than the late master, nudging closer (not close) to Oscar Peterson. This respectable uniting of styles is apparent in a perceptive seven-and-a-half minute exploration of “Star Eyes,” where every aspect of this popular 1943 classic standard is probed, pushed, pulled, and prodded by Peck and his cohorts. And his cohorts are critical to the success of this session. Dean Hodges’ drums set the pace without ever becoming intrusive, staying with the traditional role of a drummer in a small group. Chuck Deardorf, on the other hand, gets ample opportunity to enliven the musical feast with his refreshing bass solos. He is especially telling on “If I Were a Bell” and on Monk’s “Eronel.” With a play list of jazz and classic standards, Brazilian rhythms, and originals by Peck, 3 and 1 is welcomed to the jazz piano trio literature with open arms. Recommended. [The unusual label moniker Let's Play Stella finds its derivation in a joke about the naming of Peck's dog, now... |
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801 Latino $16.99 Although the band name 801 is associated with the short-lived side project organized by ex-Roxy Music members Phil Manzanera and Brian Eno that played only three concerts in 1976, one of which was recorded for the album 801 Live, Manzanera has used the moniker for other efforts, including naming it as his backup unit on his 1977 tour supporting his solo album Listen Now. That outfit (which Manzanera has immortalized with live albums recorded at Hull and Manchester in the U.K.) at least played some of the repertoire of the original 801. But this album, another live collection recorded in 1999, is entirely different. Don't expect to hear "Baby's on Fire" sung in Spanish just because it's called 801 Latino. In fact, here Manzanera is joined by an entirely Spanish lineup, his guitar mixed in with Augusto Enriquez and Yamile's vocals, Aldo Lopez Gavilan's electric piano, Chucho Merch? n's bass, and Carlos Valdez's drums. The justification for using the 801 name seems to be simply that, once again, Manzanera organized a one-off band to do some concerts and no more. They play a set of entertaining Latin rock and pop (including Antonio Carlos Jobim's "Corcovado," aka "Quiet Nights of Quiet Stars") with Manzanera simply fitting into the band. It's an entirely appropriate effort for a musician who is the son of a Colombian mother and grew up largely in South and Central America before relocating to England, the land of his father. Listeners will enjoy it, as long as they know what they're getting. The music here is much closer to the Buena Vista Social Club than to Roxy Music. ~ William Ruhlmann, Rovi |
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A Heap of Broken Images $16.98 Generally, when a group releases an instrumental and a vocal record simultaneously, it’s the latter that is better appreciated by a larger number of fans. The instrumental selection may get occasional late-night play by a few aspiring DJs, but for the most part it rests untouched inside the case or the sleeve, all but forgotten. However, for production duo Blue Sky Black Death’s debut, A Heap of Broken Images, it is the second disc, the one that features lyrical appearances from Jus Allah, Guru, and Virtuoso, among others, that runs the greater risk of being ignored. Not because it’s a bad collection; it’s just so greatly outshined by the instrumentals. Actually, the term instrumentals is a little deceptive. Kingston and Young God do include spoken vocal samples as well as live singing into their 12-song set, which, added to the guitars, pianos, trumpets, strings, woodwinds, and bass they mix with their drum loops and keyboards, create a fairly stunning effect. It’s lush and harmonious, sprawling through different watery landscapes and ideas, yet there’s a constant undercurrent of pain and isolation that pervades even the less ominous tracks. “Days Are Years” begins with vaguely cacophonous layers that spread out into guitar-led fluvial meanderings, finally ending in a quasi pop song with a “Leaving Las Vegas” bass and repeating vocal line; “Not Here,” with its opening trumpet and piano riff, takes on a darker, more trip-hop feel, and though its jazzy break tries to convince its audience that perhaps there’s a bit of light underneath the murky scum of the pond, as an empty drum loop and forlorn guitar finally bring it to a finish, the realization that the surface is actually very far away suddenly becomes quite clear. It’s depressing, yet the music is so intriguing it’s impossible to stop listenining and to stop looking. Because Blue Sky Black Death prove themselves quite adept at creating descriptive, unique environments on A Heap of Broken Images’ first d… |
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Acoustic Rock TrackPak – Apple Loops for GarageBand and Logic $29.99 Put yourself in the producer’s chair for 12 acoustic rock hits spanning four decades, from the ’60s folk rock of the Byrds to the alternative stylings of the Red Hot Chili Peppers! Each song contains Apple Loops for every instrument, ready for you to mix, edit, and play along with using the power and flexibility of GarageBand. Guitars, bass, drums, keyboards – they’re all here, professionally recorded and set up for you to groove with! Songs include: All Along the Watchtower (The Jimi Hendrix Experience) • Babe, I’m Gonna Leave You (Led Zeppelin) • Best of My Love (The Eagles) • Every Rose Has Its Thorn (Poison) • Pink Houses (John Mellencamp) • Wanted Dead or Alive (Bon Jovi) • and more.GarageBand has been named the Product of the Year by Music Trades magazine! Click here for more info” |
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Acrobat: Music for, and by, Dmitri Shostakovich $16.98 Avant-garde bassist Michael Bates identifies the connection between the Stravinsky-influenced modern classical music of Shostakovich and his own free jazz tendencies on Acrobat: Music for, and by, Dmitri Shostakovich. Actually, only one track, the leadoff one, “Dance of Death,” is a Shostakovich composition, and that piece, as played by a group in which Bates is joined by Russ Johnson (trumpet), Chris Speed (clarinet, saxophone), Russ Lossing (acoustic and Fender Rhodes electric pianos), and Tom Rainey (drums), comes off in the style of Kurt Weill’s German period, as if it were a bit of incidental music from the score of The Threepenny Opera. On Bates’ compositions written for Shostakovich, the group can be playful, as is Speed’s clarinet on “Talking Bird,” and it can turn in a straight bebop performance, as it does on “Strong Arm,” which pairs Johnson’s trumpet with Bates’ bass in ascending and descending patterns, then follows with Lossing’s electric piano against Rainey’s busy drumming. “Some Wounds” is a slow blues with a mournful saxophone solo, while the equally melancholy “Fugitive Pieces” is more melodic and, as its title implies, more of a suite with sections strung together, including an unaccompanied clarinet solo. Later tracks, starting with “Silent Witness,” are more typical free works, with every man for himself, the only apparent agreement about how to play concerning tempo. Yet these are experienced musicians capable of giving such music the risky, exciting feeling of free jazz, in which things always seem about to fall apart entirely, but never do. What it all has to do with Shostakovich may be more inspirational than literal, but the composer’s reputation is only enhanced by an association with such inspired playing. ~ William Ruhlmann, Rovi |
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Addicted to Bass: Classics $20.98 Like the other volumes in Ministry of Sound’s bass series, Addicted to Bass: Classics is mixed by the Wideboys, who do the honors across three discs, all of which just happen to contain 21 selections. As usual, the Wideboys allow the meat of each track to play out for around three minutes prior to moving forward. This is the most diverse volume yet, as it uses the term ? bass? loosely enough to incorporate a wide swath of dance music, from underground drum? n? bass to mainstream dubstep, released from the ? 90s through the early 2010s. Notable tracks include UK Apachi & Shy FX’s ? Original Nuttah,? the Prodigy’s ? Omen,? Sneaker Pimps’ ? Spin Spin Sugar [Armand? s Dark Garage Mix],? Mr. Oizo’s ? Flat Beat,? Dizzee Rascal’s ? Bonkers,? Magnetic Man’s ? I Need Air,? and Wretch 32′s ? Traktor.? ~ Andy Kellman, Rovi |
Bass Clarinet
I need some tips on playing bass clarinet?
well, im new to playing bass clarinet, and i sort of need some tips because i cant afford to fail music!
pleasee help!
Breathe through your diaphram and have ALOT of practise, proper reed, and posture
Creep
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Orchestra Activity Placemat $7.99 Learn about the different musical instruments in an orchestra and explore musical notes and rhythm. Tot Talk’s double sided, educational placemats are thick and high quality. Use washable markers, and wipe clean with wet paper towels, or wash with warm water and dish soap for bacteria free learning. For extra fun, give your child a spray bottle, and they can spray it, and wash off their work a… |
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Pamela Wise & the Afro Cuban Project #2 [VHS] $21.95 … |
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Pamela Wise & The Afro Cuban Project [VHS] $21.95 … |
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The Artistry of Wendell Harrison Interview [VHS] $21.95 … |
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38.5 x24.5 Wall Vinyl Sticker Live For Rock Guitar Skull Roses and Flames $32.97 Product Number: 030-587489974 Wall peels are printed on a reusable vinyl with a special adhesive that sticks to walls without harming them. No tape. No tacks. No marks. * Measures 38.5″ x 24.5″ * Won’t hurt walls * Can be moved and reused… |
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22 x 14 Wall Vinyl Sticker Live For Rock Guitar Skull Roses and Flames $26.97 Product Number: 030-587489976 Wall peels are printed on a reusable vinyl with a special adhesive that sticks to walls without harming them. No tape. No tacks. No marks. * Measures 22″ x 14″ * Won’t hurt walls * Can be moved and reused… |
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21 x 7 Wall Vinyl Sticker Live For Rock Guitar Skull Roses and Flames $23.97 Product Number: 030-587489978 Wall peels are printed on a reusable vinyl with a special adhesive that sticks to walls without harming them. No tape. No tacks. No marks. * Measures 21″ x 7″ * Won’t hurt walls * Can be moved and reused… |
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Legends – Live at Montreux $7.79 LEGENDS:LIVE AT MONTREUX – DVD Movie… |
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MOJO Horn Section $395.00 Now at the tips of your fingers is the most versatile horn section in the world, MOJO: Horn Section, which offers the most flexible and innovative approach to pop, funk, jazz, and big band horns ever created in a virtual instrument. Inspired by legendary groups like Tower of Power and the big bands of decades past, MOJO is capable of emulating everything from a sultry sax solo to a screaming full … |
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Artsmith, Inc. Kid’s Flip Flops (Sandals) Treble Clef Music Notes – Medium $34.97 Product Number: 030-575625596 When you’re looking for a pair of comfortable Flip Flops that will knock your socks off, look no further than these. These thong flip flops are water proof and reflect your style. Wear around the house, at the beach or to the mall. These decorated flip flop slippers will make for an endless summer of fun. Small is Kid’s Size 9-11. Medium is Kid’s Size 11.5-13. … |
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…For the Ghosts Within $13.98 For the Ghosts Within, Robert Wyatt’s collaboration with Gilad Atzmon and Ros Stephen, is a set of seven standards from jazz, theater, pop, and film, balanced by four provocative originals. Stephen recorded strings, double bass, and a scratch vocal first; Wyatt added proper ones later; and this was handed off to Atzmon, who added reeds, winds, electronics, and accordion, and produced the finished product. The process sounds cold and disembodied; the recording, anything but. It opens with Johnny Mercer’s haunting “Laura,” with Wyatt providing one of the most vulnerable vocals of his career over Stephen’s Sigamos String Quartet, Richard Pryce’s upright bass, and Atzmon’s alto saxophone. It’s riveting for its nocturnal nakedness despite the warmth of the strings. “Lullaby for Irena,” by Stephen and Alfreda Benge, begins with murky electronics and Atzmon playing an Eastern modal theme on clarinet. The strings introduce Western classical harmony before Pryce and Wyatt enter, haltingly, allowing the musical spaces between his words their full measure. It is a love song so full of gratitude it is nearly heartbreaking. The title track, by Atzmon and Benge, features Tali Atzmon on lead vocals with various reeds winds, accordion, and even a Palestinian shepherd’s flute by Gilad Atzmon. The exotic, sampled percussive effects create a sense of haunted drama as Stephen and Wyatt underscore them with a backing chorus that transports the listener to an aural terrain between jazz and Middle Eastern folk styles. These three tracks provide a blueprint for most of what follows: Wyatt’s vocal interpretations of Thelonious Monk’s “‘Round Midnight,” Billy Strayhorn’s “Lush Life,” and Duke Ellington’s “In a Sentimental Mood” stand outside the jazz repertoire, but, because of Wyatt’s extraordinary, uncategorizable voice, offer a fresh, expansive, and elegant reading of standards that don’t lose their connecting threads. That said, the version of “What a Wonderful World” bea… |
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2X45 $15.99 Collecting two separate sessions, one with Chris Watson and one without (the former also with guest drummer Alan Fish of fellow Sheffield experimentalists Hula), 2X45 shows the Cabs now well on their way to the perversely upbeat yet ominous funk of their early-’80s days. A song like “Breathe Deep” may have things like Richard H. Kirk’s sax and clarinet lines over the stripped-down polyrhythms of Alan Fish and Stephen Mallinder, yet the way Mallinder husks the vocals and the claustrophobic feel of the recording don’t entirely lend themselves to just going ahead and tearing the roof off the sucker. It’s a careful balance the Cabs maintain, but it does work more often than not, while the influence on later industrial-affiliated acts is immediately apparent. Watson’s work in the band at this point isn’t as noticeable as before, but the drop-in samples on “Yashar” of intense voices asking where all the people on earth are hiding give a sense of where he still turns up. The second session, with Nort and Eric Random on drums, guitar, and percussion, is a touch murkier at points but only just. “War of Nerves (T.E.S.)” may start with a tape of a guy talking about tortures involving rats and may have Mallinder’s distorted, demonic vocals in full effect, but the crisp rhythm punch is still predominant. “Wait and Shuffle” is even, dare it be said, perkier, with a brisk, reggae-touched drum and bass combination and some sprightly keyboards playing around with the sax wails and further found-sound oddities. The lengthy “Get out of My Face” concludes the session and release on perhaps the quirkiest note yet. Mallinder’s cryptic sloganeering peppers things throughout, but it’s Kirk’s intriguing guitar and the relentless but still somehow fun rhythm push which define the song best of all. ~ Ned Raggett, Rovi |
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50 Years of Dave Brubeck: Live at the Monterey Jazz Festival 1958-2007 $14.98 Dave Brubeck appeared at the Monterey Jazz Festival on so many occasions since its launching in 1958 that it seems like compiling highlights to make up just one CD should have been an impossible task. But Brubeck’s longtime manager Russell Gloyd was involved with co-producing this compilation and the result should please the pianist’s fans. Brubeck hardly fits the stylistic molds of some of his critics in this collection, that he is too bombastic or dismissing him merely as a cool player. The pianist not only evolves as a player and composer, but shows an incredible knowledge of music from earlier eras. His classic quartet with alto saxophonist Paul Desmond is well-represented with a lengthy excursion into Brubeck’s “Two Part Contention” (with its intriguing use of counterpoint), the always swinging treatment of “Someday My Prince Will Come,” and the crowd-pleasing favorite “Take Five” (though it suffers from over-modulation). Two tracks are from his years with baritone saxophonist Gerry Mulligan, bassist Jack Six, and drummer Alan Dawson, including Brubeck’s lonely, exotic “The Sermon on the Mount” and Mulligan’s spry Latin-flavored “Jumping Bean.” Brubeck’s challenging “Tritonis” features Bobby Militello on flute in an extended solo recalling Rahsaan Roland Kirk’s simultaneously singing and playing, in addition to regular quartet members Bill Smith (clarinet), electric bassist Chris Brubeck, and drummer Randy Jones. Bassist Stan Poplin is the pianist’s sole accompanist for Brubeck’s poignant memorial tribute written following Mulligan’s death, appropriately titled “Goodbye Old Friend.” A delightful romp through “I Got Rhythm” showcasing Miltello on alto sax and guest Christian McBride. Brubeck dug deep to recall old chestnuts like the blazing “Sleep” and the loping, easygoing “Margie” (the latter featuring Michael Moore’s amusing arco bass). While Brubeck fans may regret the omission of two suites that the pianist premiered at the Monterey J… |
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6000 Sunset Blvd. $18.98 In the spring of 1953, Tennessee Ernie Ford — then near the peak of his popularity — recorded an amazing amount of transcriptions for RadiOzark at Western Recorders on 6000 Sunset Boulevard in Los Angeles. Twenty-three songs from those sessions are on this important archival collection, which isn’t only of interest to Ford fans or early country scholars. For one thing, the sound, considering the age and source of the original recordings, is amazing — it’s clear and full, on par with studio sessions for commercial releases. Also, Ford is backed by a fine band including pedal steel virtuoso Speedy West, a notable recording artist in his own right who gets an instrumental showcase for his astonishing steel guitar work on Rodgers & Hart’s “Lover.” Also in the lineup are a young Billy Strange on rhythm guitar, Billy Liebert on accordion and piano, George Bruns on bass and trombone, and Harold Hensley on violin and clarinet, with most of the guys also contributing backup vocals. Though Ford was nominally a country singer, the songs selected for this compilation show him to be at home with interpreting many strains of American popular music through his easygoing style, from covers of hits by Eddy Arnold, Bunny Berigan, and Fats Waller to standards like “Try a Little Tenderness,” “There’ll Be Some Changes Made,” and Hoagy Carmichael’s “Up a Lazy River” and “Georgia on My Mind.” These might have been recorded in a professional studio for radio transcriptions, but the result comes off almost like an informal living room/front porch musical get-together, Ford joking around amiably with his band between songs. It should be acknowledged that for all its quality, this is nonetheless not the place to hear Ford at his best or most representative, it being light on the country boogies for which he was most known for playing on his hit records of the period, and heavier on his covers of non-country pop tunes than might be expected. But as good-sounding and well-played… |
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A Glorious Christmas $0 Proclaim and celebrate the joy of Christmas with this timeless collection of Christmas classics and carols. It’s perfect for a hanging of the greens service, Advent celebrations, a Christmas worship service or a singing Christmas tree. This flexible collection can be performed in sections throughout the Christmas season or as a complete 30-minute work. From the jubilant opening to the powerful conclusion, A Glorious Christmas offers the music of Christmas in an exciting and worshipful presentation. I-Pak contains score and parts for Flute 1, 2; Oboe; Clarinet 1, 2; Horn 1, 2; Trumpet 1, 2, 3; Trombone 1, 2, 3; Timpani, Percussion 1 & 2, Rhythm, Violin 1, 2; Viola; Cello; String Bass. |
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Aaron Copland: Quiet City $18.98 Quiet City is anything but quiet, dull, or boring. Saxophonist Christopher Brellochs and his fellow musicians create an extremely enjoyable album of music by Copland and other American composers to whom they wish to give exposure. The title work is poignant, with the trumpet and clarinets contributing to the melancholy, somber mood: the musicians capture a sense of seriousness and quiet gravity that are at the same time accessible to the listener. When the music turns lively, Brellochs and the others are able to easily shift into that emotion, adding the bass clarinet for more color. Brellochs has done a good job both in his performing of the work and in its adaptation. The smoky, seductive Ballade by Ornstein is nocturnal in its feel and fits in nicely with the Copland. Especially exciting is Aldridge’s Sound Moves Blues, which is a nice contrast to the previous two pieces. It most certainly moves and swings like jazz. The addition of the violin makes for quite a stark contrast when the Lyric Suite by Hartley begins. Its dissonant introduction leads into beautiful tone colors in the saxophone and piano. The Scherzino whirls like a busy bee, and the piano never hits a false note in the flurry. One can certainly generalize that none of the musicians ever hit a false note, not even in the rapid dotted rhythms of the Gigue. The two-movement Sonata for soprano saxophone and piano is lyrical, with a graceful melody in the saxophone (which Paul Cohen plays as smoothly as a clarinet or flute). The musicians’ agility is especially evident in the second movement, which sounds like a jig; the piano is a solid, assured, confident partner to the sprightly saxophone. Composer Lunde clearly understood the way to get the best out of the tone color of each instrument. The album concludes with the Suite for trumpet, alto saxophone, and piano by Barab, a densely textured work of five movements with close-knit lines in the various instruments. The musicians work beautifully togethe… |
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Above All $55 Michael W. Smith’s powerful praise anthem is now available in a stirring choral arrangement by Mark Brymer. The optional narrative makes this anthem usable for Easter or any other Sunday of the church year. Instrumental ePak includes score and parts for Flute 1, 2, Oboe, Bb Clarinet 1, 2, Bass Clarinet, F Horn 1, 2, 3, Bb Trumpet 1, 2, 3, Trombone 1, 2, Bass Trombone, Timpani, Percussion, Violin 1, 2, Viola, Cello, String Bass, Guitar, Bass and Drums. ChoirTrax CD also available. Performance Time: Approx. 5:05 |
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Above All $80 Above All features 12 powerful songs that are sure to find a place in any Palm Sunday, Easter or Communion service. This collection is ideal for choirs, ensembles and student choirs, and the songs can be performed individually or in four mini-musicals leading up to Easter. As a finale, the DVD Accompaniment Trax features powerful visuals for the last three songs. Titles include: O Wondrous Love, The Glories of Calvary, Lord of Life and Love, Above All, Behold the Lamb. For All You’ve Done, O Mighty Cross, I Will Glory in the Cross, All the Earth Will Sing Your Praises, God So Loved, Saved the Day, My Redeemer Lives. Orchestration includes score and parts for Flute, Oboe, Clarinet, Trumpet 1, 2, 3, Horn, Trombone 1, 2, 3, Percussion 1, 2, Violin, Viola, Cello, String Bass, Rhythm (Piano/Guitar/Bass). Instrumentation varies. SATB, Listening CD, CD Accompaniment Trax (Split), DVD Accompaniment Trax, Orchestration, CD 10-Pack, CD Preview Pack also available. |
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Above All $59.95 Above All features 12 powerful songs that are sure to find a place in any Palm Sunday, Easter or Communion service. This collection is ideal for choirs, ensembles and student choirs, and the songs can be performed individually or in four mini-musicals leading up to Easter. As a finale, the DVD Accompaniment Trax features powerful visuals for the last three songs. Titles include: O Wondrous Love, The Glories of Calvary, Lord of Life and Love, Above All, Behold the Lamb. For All You’ve Done, O Mighty Cross, I Will Glory in the Cross, All the Earth Will Sing Your Praises, God So Loved, Saved the Day, My Redeemer Lives. Orchestration includes score and parts for Flute, Oboe, Clarinet, Trumpet 1, 2, 3, Horn, Trombone 1, 2, 3, Percussion 1, 2, Violin, Viola, Cello, String Bass, Rhythm (Piano/Guitar/Bass). Instrumentation varies. SATB, Listening CD, CD Accompaniment Trax (Split), DVD Accompaniment Trax, Orchestration, CD 10-Pack, CD Preview Pack also available. |
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Above All $94.95 Above All features 12 powerful songs that are sure to find a place in any Palm Sunday, Easter or Communion service. This collection is ideal for choirs, ensembles and student choirs, and the songs can be performed individually or in four mini-musicals leading up to Easter. As a finale, the DVD Accompaniment Trax features powerful visuals for the last three songs. Titles include: O Wondrous Love, The Glories of Calvary, Lord of Life and Love, Above All, Behold the Lamb. For All You’ve Done, O Mighty Cross, I Will Glory in the Cross, All the Earth Will Sing Your Praises, God So Loved, Saved the Day, My Redeemer Lives. Orchestration includes score and parts for Flute, Oboe, Clarinet, Trumpet 1, 2, 3, Horn, Trombone 1, 2, 3, Percussion 1, 2, Violin, Viola, Cello, String Bass, Rhythm (Piano/Guitar/Bass). Instrumentation varies. SATB, Listening CD, CD Accompaniment Trax (Split), DVD Accompaniment Trax, Orchestration, CD 10-Pack, CD Preview Pack also available. |
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