I’ve received some stunningly thoughtful and delightful Christmas gifts this year. With that said, as the end of December rolls around I like to do something for that special man in my life — namely, moi.
I’ve always figured Foderas were the bass equivalent of Collings guitars — all the sound of the cheaper alternatives, at just twice (or three times, or five times) the price. This past April, however, while I was at Arthur’s in New York for two Wednesday nights in a row, I noticed that Alyson Williams’ bass player had changed to a Fodera Monarch from his Fender Jazz. I also noticed that his sound improved noticeably. Make no mistake, this guy could out-play me with a “First Act” from Toys R Us but he really did groove harder with the Fodera and when I questioned him extensively after the second set he admitted that it had really made a difference for him.
So which Fodera to get? Obviously the Victor Wooten one. A few days ago I noticed that Jody Miller, formerly of Bass Club Chicago, was selling his Yin Yang, so we made a deal and I picked it up this evening. I’m pleased to inform you that I am totally nailing James Jamerson’s part in “I Want You Back”. This bass really is better than the alternatives. It’s like the best worn-in, totally-relic’ed Fender you ever played, but it also looks and feels brand new.
Instead of making you watch a video of me mis-playing my new Fodera, here’s one video of Jody playing a Yin Yang, and one of Mr. Wooten himself, okay? Happy holidays to all of you. We’ll return on Sunday or Monday with a few long-form things I’ve been working on.
Victor with his best-known solo piece, in Nashville:
And here’s Victor with… Lou Rawls?
Feliz navid mi amigo. Feliz ano Nuevo.
Jesus H. Jaco . . .
May this year be better than the last.
Next year Jeruselum.
I envy your Musical abilities Jack ~
God knows I love me some Blues but I couldn’t carry a tune in a bucket .
Now back to overhauling some 45 year old engines ….
-Nate
people with skills like Victor Wooten amaze me.
There’s a reason why Alan Iverson doesn’t have an NBA championship ring, practice, practice, practice.
A friend who teaches guitar insists that when it comes to playing a musical instrument talent doesn’t matter, it’s all about technique and practice. Now inventing new technique, that may require true talent, just as composing and improvisation do, which might explain guys like Victor Wooten.
While I am happy to admit that practice does well for the majority of us, there are some folks born with talent. Like this kid;
https://www.youtube.com/watch?v=fec6S-E9D0s
At his age he probably can’t run without falling down regularly, yet he is playing a passable blues guitar. When folks talk about someone being a “natural”, this is what I think of. And you find it in other areas of life, be it an artist(painter), race car driver, architect, engineer or any other field.
I’ve already bought my grandson, who will be 3 in the spring, both a conventional harmonica and a Suzuki Airwave, a standard Richter tuned 10 hole diatonic in C that’s made for kids. It has larger holes that are spaced wider apart, making it easier for a kid to blow single notes. Aryeh already knows that he can make noise both blowing and drawing. When he can make single notes and count to ten and understand what it means I’ll teach him the major scale and the blues scale. It’s not that unusual to find kids as young as 5 or 6 who are better than passable harp players.
As for kid guitar players, check out Brendon Linsley, who is now 14 but sits in with some of Detroit’s best blues players. I’m not sure that I agree with my friend about talent, but I do think that passion and practice (i.e. putting in the time) are more important than natural talent. One of the things those pro players have told me about the kid is that it’s not so much that he has the chops, it’s that he gets better every time they see him, but again we get back to passion, technique and practice.
https://www.youtube.com/results?search_query=brendon+linsley
I agree that ” we get back to passion, technique and practice.” are all important, but without the natural talent, your just another schlub (like me) making noise on a guitar. Long long time ago, I accepted the fact that no matter how hard I tried, I was never going to be the next Santana or Hendrix. Same with my racing career. There were always guys in “slower” cars that would beat me like a rented mule. These were guys that I was around on a regular basis, drove the same amount of hours as I did(give or take 10-15 hours), yet had a “feel” for what the car would do.
I’m not trying to argue with you, I just think that we have differing opinions on how much natural talent plays a part in someones ability’s in a given field.
Great timing! I just Christmas presented myself with a Martin Custom Shop 00-28VS, slightly modified with 1-3/4 nut width, Adirondack top, and Maddy back and sides. Same neck shape, same forward shift vintage bracing. I should’ve ordered with a tiny pickguard like the Mayer Stagecoach, but didn’t realize that was even a thing until after the fact. Probably a big step to get back into the acoustic scene… But it’s just so damn pretty.
Enjoy your new toy! Play the hell out of it.
That’s a proper guitar. Particularly the Adirondack top, which is something I’ve been looking for in a Martin for a while. Congratulations!
Jack, I’m sure you’d like this:
That is a great doc, Thx for the link!
The African drumming epiphany makes sense with his sound, really cool to hear ginger reminisce about the basement encounter with Phil seaman his idol
So who was the bigger jerk, frank Lloyd wright or ginger Baker? 🙂
wow that guy is a ferocious beast on the bass
he’s starting his own record label too, interesting
congrats on the new bass!!
That is an awesome Christmas present to one’s self.
The Lou Rawls clip of Victor with JD Blair brought back memories. I caught them doing that show probably 12 years ago at a college recital hall — just a drummer and a bassist. I got tickets in the middle of the first row. Studied Victor’s technique up close. It is absolutely revolutionary for the instrument. That’s the cool thing about electric bass. In the history of instruments, it’s relatively new, so there’s really no universally agreed-upon pedagogy established for it. Victor’s double thump with his thumb is genius and freakishly efficient, developed while he was still a child. Strike through the string and do not bounce off, then strike the string again with the back of the thumbnail on the upstroke — two notes for the price of one. His tapping, hammer-ons and pull-offs, simply amazing.
I’ve tried and tried, but this old dog cannot master his right thumb technique. Maybe I should go unlearn my old ways by getting lessons from Vic in person…
http://www.vixcamps.com/
Here’s an earlier clip of Victor, pre-Ying-Yang, but still Fodera (with a whammy bar!) — he’s just a baby. From a public TV special 20+ years ago also featuring Edgar Meyer and the late, great Ray Brown:
https://www.youtube.com/watch?v=98aQa5Vu2u4
My step father called me the night that show was on, telling me to turn on my TV. Blew my mind, but I had the presence of mind to hit record on the VHS. This was aired right around the the same time as the formation of the Flecktones - late 80s. Victor had yet to become a household name, at least among bassists.
Again, congrats on the axe. It’s a tribute to one of the best to ever pick up the instrument.
That’s his original Fodera, an ’83 Monarch with the tremolo. You can hear it in Flying Saucer Blues.