Posts filed under ‘6-string bass’

Polaris

This is my cover of “Polaris”, which was a 1963 instrumental rock song released by the Boys, a British group. It was released only in the UK and Australia.

It is similar in many ways to the 1962 mega-hit, “Telstar”, and its title referred to what was at the time an advanced nuclear submarine.

In the original, the lead is performed on a 6-string bass. I am using a baritone guitar, and have transposed the song up a whole step.

May 9, 2019 at 3:22 pm 1 comment

Mainstream

“Mainstream” is an original “smooth jazz” tune. I recently came across the original lead sheet I made for this, and got a bit of a shock. I wrote this FORTY F***ING YEARS AGO!!!. The genre classification “smooth jazz” hadn’t even emerged yet in 1979, even though George Benson pretty much set the table for it with his “Breezin” LP. It was derisively called “Fuzak” back then.

April 13, 2019 at 4:51 pm Leave a comment

The Lady in my Life

This is my cover of “The Lady in my Life”, written by Rod Temperton, which was first released as a track on Michael Jackson’s album “Thriller” in 1982. It was one of only two tracks on the album to NOT be released as a single. However, countless other artists have covered it.

April 12, 2019 at 3:05 pm Leave a comment

Hot Wings Blues

“Hot Wings Blues” is an original jazz/funk/fusion track. The bass line was inspired by Jaco’s work in “The Chicken”.

April 28, 2018 at 3:16 pm Leave a comment

You Must Be

“You Must Be” is an experiment. Having just finished it, I’m not sure how I think it turned out. Perhaps you can let me know what you think.

The track is something of a mashup of several of my major influences: Smooth Jazz, Jazz Fusion, 80’s Pop Ballads, and Hank Marvin with the Shadows.

April 22, 2018 at 5:22 pm Leave a comment

One World One Word

“One World One Word” is an original, instrumental smooth-jazz ballad. For many years, smooth jazz and fusion were the main styles in which I worked.  If you visit my artist page at CD Baby, you can see some of the albums I released over the years. You might also try my artist page on Spotify.

 

October 8, 2017 at 11:03 am Leave a comment

Ten Weeks

“Ten Weeks” is an original jazz-rock-funk fusion track.

September 30, 2017 at 12:10 pm 1 comment

Chuloe

“Chuloe” is a rumination and tribute to jazz guitarist/composer/producer Chuck Loeb, who passed away from cancer earlier this week.

Although I don’t consider him a major influence on my own work, I was an enormous admirer of his. One of the hallmarks of his music — no matter his role — was a perfect balance of taste, clarity, and virtuosity.

I will miss him.

August 3, 2017 at 2:29 pm Leave a comment

Smooth Shadow

“Smooth Shadow” is an original instrumental that combines two of the styles in which I work. The harmonic and rhythmic setting is like a smooth jazz or 80’s ballad, while the melody is a bit more simple…in a sixties guitar style similar to Hank Marvin of the Shadows.

 

July 19, 2017 at 7:21 pm Leave a comment

Waiting for Bess

“Waiting for Bess” is an original jazz/rock/fusion instrumental.

 

July 10, 2017 at 6:23 pm Leave a comment

Yinzer Funk

“Yinzer Funk” is an original jazz/funk/rock fusion instrumental.

June 27, 2017 at 6:11 pm Leave a comment

Flag Day

“Flag Day” is an original, smooth jazz composition.

June 15, 2017 at 2:39 pm Leave a comment

Testing the Water

“Testing the Water” is an original jazz-funk/smooth jazz tune.

 

June 5, 2017 at 6:51 pm 2 comments

Big Hairy Year

“Big Hairy Year” is an original jazz/rock/funk/fusion composition.

I decided on the this title because 2017 is a major milestone year for me in a number of ways:

1. My wife and I both turn 65
2. It is the 100th anniversary of my father’s birth
3. I am retiring this year
4. I got my first black belt in Karate 10 years ago ( I am now a 4th degree master)
5. My father passed away 15 years ago
6. My mother passed away 10 years ago

June 4, 2017 at 5:08 pm Leave a comment

Funk Fugue

“Funk Fugue” is an original jazz/rock fusion composition.

It really is a traditional fugue with its form and construction based on J.S. Bach. It opens with a solo presentation of the fugue subject in the tonic key of G. This is followed by the subject in the dominant key of D, accompanied by a counter-subject. The exposition concludes with a return to the tonic, again with the counter subject.

A brief development section follows: a sequence built from the first half of the fugue subject & counter subject.

The next appearance of the fugue subject (again with counter subject) is in the relative minor (Em), followed by another sequence built from the first half of the fugue subject & counter subject, this time starting in the subdominant minor.

The next section begins in the dominant key of D, and the fugue subject appears (without counter subject). Halfway through, the fugue subject appears in another voice, forming a “stretto” — or overlapping of the fugue subject with itself. This continues for two more statements of the fugue subject.

Another development section follows: again a sequence built from the first half of the fugue subject & counter subject.

The fugue concludes with a statement of the subject — with counter subject — in the tonic.

May 25, 2017 at 6:37 pm 1 comment

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