accommodate the use of electric and acoustic
basses (including phantom power for the
acoustic bass clip-on microphone), I use the
Grace Design “Felix”. It has 2 channels with
separate ins, outs, EQ, effects loop, etc.
It is great and also allows me to listen to 2
channels at once for the gigs with just acoustic
bass, when I may want to blend my David
Gage, “Lifeline” pickup, with my DPA 4021 clip
on microphone.
As far as effects go, I like the Strymon BlueSky
reverb, the TC Electronic “Flashback” delay,
and the POG by Electro-Harmonix.
I’ve been endorsing Yamaha electric basses for
way and record the ideas. Later on, I transcribed Funk counterpoint piece! I am blessed to have many decades now! I am extremely fond of the
the ideas and used them as a basis for Nate Smith on drums, and he made it feel just giant custom semi-hollow 6 string bass that I
improvising on the them and expanding them right! I layered around 5 or 6 electric basses on use a lot. I used it on my record, Brooklyn, (it is
into pieces. The idea behind “Mystery of the this track and it was a lot of fun. on the front cover), and also on Soul of the Bass
Soul”, was that I wanted to create something
(it’s on the back cover). This bass is amazing
mystical, spiritually reflective and prayerful in On “Seeds of Change”, I had fallen into that and it is a handmade prototype made by Pat
a meditative way. I was experimenting with 7/4 groove without even knowing it, while I was Campolattano, a brilliant Luthier at Yamaha in
the lyrical sound of the bow on the acoustic improvising one day. I only figured out it was Calabasas, California. I have some very nice
bass. I was using harmonics and splitting 7/4 when I went to write it down! Later, I felt it Yamaha 5 string basses that I also use.
them, trying to emulate the sound of wooden would be cool to have a reprise of that groove flutes and also to emulate John Coltrane ’s with drums and some 6- string electric added.
use of multi-phonics on the tenor saxophone.
My primary acoustic bass (I got this one after I
recorded Soul of the Bass) is a Gagliano, circa
[WM] I realize that different venues and 1859. This bass belonged to the late Art Davis,
[WM] I must comment on both “The Call” situations require different gear setups. You the jazz bassist who played with John Coltrane,
and the “Seeds of Change Reprise”. The tour with Chick Corea, your guitar quartet, a Freddie Hubbard, McCoy Tyner and others. In
grooves on those two tracks are absolutely trio, as a supporting musician, and solo gigs as fact, the other bass that I recorded Soul of the
off-the-graph, locked in! What can you tell us well. The variety of venues that you perform in is Bass on, is a copy of this old Gagliano, made by
about them? also impressive, from Birdland to the Kennedy the young and very gifted, Trevor Davis. I have
Center, and from benefit concerts to universities a couple of other acoustic basses including the
[John] I also wanted to include electric bass and Jazz festivals. Can you tell us about your old Pöllmann bass that I got when I was 18 and
on the record, as another color and also current choices in gear for live performance, played on many records with, and a nice bass
because both basses are equally significant to including amplification? made by my sometimes-bass teacher, Thomas
me. On "The Call”, I wanted to make a sort of
Martin, from England.
[John] I endorse Aguilar amps and speakers.
I use the Tone Hammer, 500 amp head a lot. I
also use one of their lightweight 1X12 cabinets
for acoustic bass gigs. For electric I usually use
one of their 4X10 cabinets. And sometimes, if
the gig is a bit louder, I have used an Aguilar DB
751, amp head.
“Soul of the Bass”
136
For a 2-channel preamp on the ground to
May 2019
John Patitucci Electric Guitar Quartet //
“Four in One” - Live @ Blue Note Milano
Subscribe for Free...