In January I was fortunate to once again work with Kala at the Winter NAMM Show in Anaheim, CA. This time I managed to get a nice video from my little jam with Bakithi Kumalo on the classic Wayne Shorter tune ”Footprints”!
In 2017 I had my first NAMM experience and met a lot of great musicians including Bakithi Kumalo. He was really wonderful and we had a great time talking and jammin’. It’s a very special feeling meeting bass innovators like Bakithi. It’s even more special to get that chance to make music together!
I have always been amazed by the story of Paul Simon traveling to South Africa to record his super classic Graceland album with local musicians. Among these musicians were Bakithi! He has played with Paul Simon ever since, both on albums and on countless tours around the world.
Back in 2014 I became a Kala Artist and got a Bakithi Kumalo Signature Ubass. I made a little birthday video for Bakithi since the ubass arrived around that time! Check it out here!
I went to the Paul Simon concert in Stockholm 2018 together with my wife. It was the first Paul Simon show for us and we very truly amazed. The music was fantastic, ranging from Chamber Music to musical styles and genres from across the globe. Everything performed with such a wonderful feel. Even the sound was the best I have ever heard in that venue, and I have been to a lot of concerts there. Anchoring it all with super solid bass playing was of course Bakithi!
After the concert we got to hang a bit with the musicians in the bar at Grand Hotel. A fantastic ending to this incredible musical experience!
Bakithi and me at the Grand Hotel ”afterparty”
My wife Semitha, Bakithi and me at the ”afterparty”
In January Bakithi and I met again at Winter NAMM. The NAMM experience is hard to describe but the people you meet there is what makes it a great experience although it’s super ‘crazy” with lots of music. (At times the experience is a ”bit” overwhelming with all the simultaneous playing all around you…)
One of the highlights of the 2019 show was hanging and playing with Bakithi at the Kala Brand Music booth. We are both Kala Artists and being in the company of Bakithi, Abe Laboriel, Hutch Hutchinson and Nathan East, among many other fantastic bass players, is mind blowing to say the least!
Bakithi and I managed to do a little jam of the classic Wayne Shorter tune ”Footprints”. The great video team from Kala helped capture the performance. Thank you guys! I got the files and edited the video you’re about to see. Besides the violin sound, from a nearby booth, and lots of people talking in the background, the sound is pretty good. It was recorded with the built in mic on one of the DSLR cameras used.
I hope you will enjoy watching this as much as I loved jammin’ with my dear friend and living bass legend Bakithi Kumalo!
The main string types available for ubass players is featured and tested in this blog post
But first some background info…
When I started to play ubass the original Road Toad Pahoehoe (Black polyurethane) was used exclusively (2010-2012). One reason was of course because it was the only string available. (The Pyramid Round Wound String and strings by Aquila Corde debuted during this period but since I only had one ubass and used it so much I didn’t get around to try these at the time).
The next string I used was the Aquila Corde Thundergut string (2012). It had more tension and settled in quicker. One downside was that it had a more sticky feeling than the Pahoehoe strings. But I used them for quite some time and thought they were nice to play.
Next up was the Aquila Thunder Red strings (2014). These strings were really nice to play and had a lovely tone where it was pretty easy to go from a warm full jazzy sound (playing close to the end of the fingerboard) and more of a “pop” sound when playing closer to the bridge.
Since then even more option has come to us ubassists!
This Summer was the debut of the Kala Flatwound string by Gallistrings.
I have used prototype sets of these strings since December 2018.
Although they are primarily made for the acoustic/electric ubasses I have tried them on solid body ubasses too.
(I will share some videos from these tests soon!)
The focus with the following video(s) is a comparison between the Road Toad Pahoehoe, Kala Round Wound and Kala Flatwound by Gallistrings.
These sets truly represent three different tone flavors. (The difference in sound and feel between the other “rubber-like” strings and the Pahoehoe is of course noticeable but the Aquila strings are not included in this test. Please check other posts about strings under Reviews and tests).
Comparing the different string types playing a Jazz-intro
Even my old czech upright was used for comparison purposes
Some info and personal thoughts about the following test
I made three different short compositions; Slow Funk, Pop Song and Jazz Intro. I wrote bass parts and recorded three (and in one example four) tracks with three different ubasses featuring the Pahoehoe, Flat Wound and Round Wound strings.
I cut between the different recorded ubass tracks in the main video so it’s easy to compare the different tones and timbres. (In a seperate video (see below) the examples are included in full if you want to hear more from each string set and not just around eight bars of each ubass/string set).
More info about the ubass tracks and how I worked with them in the Tech Talk section below.
So what do I think about these different strings?
Well, I do enjoy playing all of these sets since they give me different tones and timbres. I think my playing changes depending on the strings I play at the moment. I do believe all these sets can work for a big variety of styles and that it’s mainly up to the player to choose what feels best for him/her regarding to the sound they hear in their head.
I guess I’ll choose string (and ubass) based on these basic guidelines
A warm, round sound with lots of low end > Road Toad Pahoehoe
Warm, round with a more focused sound > Kala Flat Wound by Gallistrings
A defined yet warm sound with longer sustain > Kala Round Wound
Most important for happy music creation is a using tools that makes it easy to express yourself.
I really love having different options to choose from while others might have found their ”holy-grail-string” and stick to those strings for a long time!
A little disclaimer and some extra info about the recordings in this test
The round wound strings in this test are played on a fretted Kala Journeyman while the other string types are used on two different Spruce top fretless ubasses. My original Ubass (see Tech Talk) and a newer one. The best thing would have been to use the same ubass for all string types. This was not possible but I hope that you still can get something out of the test.
I have treated all the ubass recordings in approximataly the same way regarding volume, EQ and compression. A commercial release would NOT have been done this way! In the case of a commercial release the sound would have been tweaked even further to make it sit in the track best possible way. The volume of the ubass tracks would also have been considerable lower so it would blend better and not compete to much with melody and vocals. These recordings can be seen as basic tracks with room for instrumental or vocal melodies.
Out of the blue my dear old friend from my music study days in Jönköping, Sweden called me up and asked me if I wanted to SUB for the SOUSAPHONE player in the Dixieland/trad jazz band ”Hejåhå med Peter”. He called last Thursday and the gig was that weekend!
The regular tuba/sousaphone player wasn’t able to make the show. My friend thought about me because I live quite close to the racing track and he thought it would be cool to try using a ubass instead of the tuba/sousaphone. When I was between 13-19 I played a lot of trumpet but tuba is another ball game and I have only tried it a couple of times.
They did bring a sousaphone and I got to try it. I will try to borrow a tuba or sousaphone because it’s such a fun instrument to play. Since I have my trumpet technique somewhere in the back of my head, and already know the function of the bass and how to play basslines, it would be a great addition to my bass tool palette! If I can at least borrow one and put in some practice it would be so great to once again play with the band – with me on sousaphone!
But this time it was ubass I added to the mix. The first obstacle was to find a suitable mobile amp setup that would be easy to move around and had a powerful enough sound to blend nicely with the rest of the band. The band has a classic dixieland setup with clarinet, trumpet and trombone as lead instrument, banjo and washboard (cow bells, woodblock and cymbal).
My first thought was to only use my Phil Jones Double Four. That amp can be played powered by an external battery. I don’t have a battery yet so I still needed to connect to a power outlet in order to make it work. The gig was outdoor and although the Double Four has a great sound with a fantastic low end response the volume I can get out of it is a bit to low when used outside. I decided to use a combination of the Double Four and my old ”vintage” Gallien Krueger combo amp, that I bought new back in 1987. That way I could use the preamp and main sound of the Double Four and use the GK as a slave amp to get some more power and volume. As you can see in the video below I had some trouble finding power everywhere. But most time it worked out nicely!
I put the amps on a cart and together with my friend we came up with a great way to incorporate a long extension power cord that was easy to use at the different locations where we played throughout the weekend.
Mr Michelin loves ubass!
Minis + ubass = true love
A classic Swedish Volvo had to be included
There were a lot of great cars at the show
I played through a Bose L1 at one time during the weekend
So what do you need to focus on to sound somewhat close to a brass instrument while playing the ubass? First of all you need to play quite short and staccato-like notes. Almost the opposite as when you play ”newer” jazz (1940-) where a long legato sound is preferred.
Because of the interactive weaving lines from the melody instruments (clarinet, trumpet and trombone) it’s also best to keep the bass lines super simple. That way you won’t get in the way of the interactive in the moment harmony they produce. The chordal instrument (banjo) should also play simple triads with the appropriate dominant seven chords where applicable.
For me this means playing a staccato root fifth motions with the occasional chord or approach notes here and there to build up for a new section or chorus.
Besides using my ”cart rig” I used a Bose L1 PA that was available at one location. In video below you can hear and see what it all sounded and looked like.
It was pure joy playing with these guys. It’s always very rewarding when you get to play music with musicians that have taken time to get inside a certain genre. Besides playing in ”Hejåhå med Peter” the three lead melody instruments plays together in Gentlemen and gangsters a trad jazz group that regularly performed in Sweden, Europe and Asia.
We played a variation of classic jazz tunes with original or new lyrics and some ”Dixieland-ised” Swedish children songs too. Great fun!
Welcome to a fantastic race weekend for the whole family with lovely race cars and nostalgic feeling of the old days! Historic racing for pre historic, formula, standard, GT and sports cars. Club & car exhibitions, TT motor cycle show, retro and vintage feeling on the track.
So you’re thinking of buying a ubass, thats great! What ubass should you choose? I have put together a couple of questions (with some answers from me) you can ask yourself as a little ”pre-buy-check-up”!
1. What is your primary goal with the purchase? Travel instrument? First stringed bass instrument? A compliment to your electric bass? A compliment to your upright bass? A second instrument if you already play for example guitar? 2. What sound(s) are you after? 3. What styles do you want to play? 4. Have you played fretless bass or other fretless instruments like upright bass, cello of violin? 5. Have you got small or big hands?
I think that these five questions is a great starting point. Ask yourself these before your purchase. Below are some of my answers to the questions…
There aren’t that many music stores left in the world, there are at least fewer here in Sweden now compared to 10-15 years ago, so it’s not so easy to get the chance to tryout different ubasses before you buy. I know the feeling. My first ubass was bought by my parents visiting Hawaii back in 2010 and I had not seen or played one before.
There are a lot to choose from and different company’s have hoped on the ubass train. I play Kala ubasses, and have been doing that from the start, but there are of course other options out there now. I still recommend the original Kala Ubass in most cases, however if you find the 21 inch scale (most Kala ubasses have) to be to small for your hands you might find that it’s easier to play a slightly larger scale ukulele bass.
Here’s a couple of answers to the questions above that I hope will guide your search for the best ukulele bass for you!
1. What is your primary goal with the purchase? Travel instrument? First stringed bass instrument? A compliment to your electric bass? A compliment to your upright bass?
Travel instrument I want to be able to bring a bass on my travels. Could be everything from your everyday comute to a vacation or holiday trip abroad or as a tour instrument that you bring on the bus or to your hotel room before and after your gig. The ubass can be the solution to al the above! Since all the acoustic/electric ubasses are acoustic that do give you a nice unamplified sound. It’s not super loud but will work practicing on your own. If you need more unamplified volume you can go for the Kala round wound strings. These will give a little bit more volume. Heads up: Most of the current models will work with either the Pahoehoe (original black polyurethane string) or the Kala round wound. It’s not recommended for the Wanderer model.
It you do want to amplify your ubass while traveling and don’t mind bringing an amp my recommendation is the Phil Jones Bass Double Four (or the new Micro 7). The (quite new) Roland micro Bass Cubes will work too. The core sound of the ubass is below 200 Hz so the better bass response an amp can give you the better your ubass will sound!
There are also headphone amps you can use. The Phil Jones Big Head (HA-1 or HA-2) seems like a good one although I haven’t been able to test one yet. I have used my Zoom H6 recorder with great results too. The H6 has 4 tele-inputs and although the are line level inputs they have worked nice with my UBasses that has a built in preamp.
First stringed bass instrument If you new to playing bass and want to take it up the Ubass is really a great place to start. Because of the shorter scale length you will have easy access to the first frets. You will not have to reach so far to play those low notes on the E string. The sound of the pahoehoe string through an amp is also very pleasing and full. Those strings are soft on the fingers too so you can start playing for quite a while without getting tired in your fretting hand. I have been bringing UBasses to the high school where I teach many times (now we finally have two at the school) and all the students that have played them, even those with no or almost no prior experience, has been able to play and get instant gratification within a few minutes. Recently one of my students used a Ubass when one ensemble was to play Money (Pink Floyd) this made it possible to play the tune since the student was able to focus on the bass part and not spending a lot of time getting a good sound of a regular 34 inch scale electric bass that is so much harder to get. Great sound out of when you don’t have that mush experience and also quite small hands. A great first stringed bass instrument for sure!
A compliment to your electric bass(es) I bought my first Ubass back in 2010. I started playing bass around 1983. The new feel of those rubber strings felt strange at first but that feeling quickly went away when I heard it plugged in. The smaller scale length made it ease to play and the portability was of course also an exceptionally good attribute too. Since 2010 I have used at least one Ubass at almost every gig. Sometimes as the primary instrument and sometimes for a particular song in a set. I got hooked really quickly and can’t really see myself not using a Ubass since I feel that it is such a great musical expression tool for me!
A compliment to your upright bass If you play upright and want to be able to get a sound similar to your upright without always bringing one a Ubass is the solution. Although I don’t see me primarily as an upright player I have played enough upright to be able to say that I know the basics of it. I actually try to think like an upright player when I play, for example, jazz on the Ubass. I use the same fingering, although it’s not necessary. I play with a lot of open strings because I would have done that if I played the same tune on the upright. This makes it easier for me to emulate the upright sound too. This is one reason I feel bass players that primary play upright player quickly can feel at home on the Ubass!
A second instrument if you already play, for example guitar? The Ubass is the perfect bass instrument for a musician that have guitar as their main instrument. The scale length is pretty close to a guitars and if you want to get a warm upright and earthy tone on your demos (or other recordings) the Ubass will fit the bill! Link to the Ubassists of the world – Gunnar Hjorth post
2. What sound(s) are you after? There are roughy two main types of ubass sounds you can get from a Ubass – the synthetic rubber sound and the round wound sound. (More options are on the way, though…)
Synthetic rubber (Polyuruthene or similar materials) The original black rubber string (Pahoehoe by Road Toad Music) is the original string and sound of the ubass. Nothing really compares to this sound. It has a lot of warmth and low end. The only real downside is that they stretch a lot and it can take a while before they have settled in and won’t stretch of go flat. But the sound is soooo nice and will fit and compliment many styles of music hand in glove! For more on the synthetic stings available please check out for a upcoming blog post about ukulele bass strings. You can find previous string tests here!
Round wound The first round wound string for the Ubass that came out on the market was made by the German string company Pyramid. These were a really nice compliment to the Pahoehoe synthetic rubber string. It gave the player a more recognizable feel and a sound that was a bit more distinct and closer in feel to a regular electric bass string. There is also another similar string on the market made by Kala. I have used these strings on most of my Solid body’s for quite some time now. They are also great on a acoustic/electric Ubass especially if you can’t get used to the feel of the rubber strings. The sound can be very warm on the round wounds too since they have a nylon or silk core. More on strings in a upcoming blog post about Ubass strings and sounds. Kala has a nice selection of the now available ubass strings on the market.
3. What styles do you want to play? Although I feel that every ubass model can be used to just about all styles of music there might be some things to consider when you make your choice.
Besides the different string choices available (see above) it might be good to think about the design of the different ubasses. Will you play mainly bass parts of will you also play chords solos in the upper register?
The acoustic/electric models have 16 frets and although you can play chords on these they can be a bit limiting if you want to explore this a lot. Maybe you already play chords on a regular electric bass and want to have a travel instrument or just another sound. In that case a solid body ubass would be an option to check out.
Since the round wound strings came out these have been my go to strings for my solid body ubasses, at least my 5-stings. If you have followed my blog you might have noticed that I have been using a prototype set of the round wounds. This set have a high C instead of a low B. This makes it possible for me to play nice chord voicings not possible on a regular B-G set. This set will be available soon! I will write a dedicated blog post once I know the release date!) Below is an example of how the E-C set can sound. The video features my composition ”Tranquility”. This is composed especially for the
The Journeyman model (it came out in 2018) has a nice design that makes it possible to get easy access the upper frets. So please consider this model if you don’t want an solid body ubass but still want upper register access. See below!
4. Have you played fretless bass (or other fretless instruments like upright bass, cello of violin?
If you have prior experience playing a fretless instrument please consider a fretless model. I really like the added expressiveness the fretless fingerboard gives me, especially when I play styles where a upright bass would fit in nicely. See previous blog post about this below!
5. Have you got small or big hands? The Kala ubasses has a scale length from ~20 to 23,5 inches. I have quite small hands so I have never had any issues with the super short scale length. If you have bigger hands you might need to look at other brands that make slightly longer scale ukulele basses.
Examples GoldTone has 23 and 25 inch acoustic/electric ukulele basses Aquila ShortBassOne 12 and ShortBassOne 60 are both 23,6 inch scale ukulele basses
CurRent Kala Ubass models (2019)
All Solid Mahogany (The model that started it all!)
My focus for this visit was to make some videos with the Kala video crew and also talk about Winter NAMM that was just around the corner. I brought my two custom solid body ubasses with the prototype E-A-D-G-C string sets. I did some videos with them alongside the new Kala Journeyman ubass and a 5-string California koa solid body ubass with regular B-E-A-D-G tuning.
Me and my wife really had a wonderful time in lovely Petaluma situated about an hour drive north of San Francisco. The town has a lovely downtown area and a beautiful countryside. We spent some time in the Helen Putnam Regional Park and caught a lovely sunset over the rolling green hills.
I also had the privilege visiting the home of Kala Brand Music president, Mike Upton, and we had a nice little jam in his living room!
Winter NAMM 2018
We flew down to Anaheim January 24 one day before the four day music trade show would start at the Anaheim Convention Center. From the NAMM.org homepage:
”The 2018 NAMM Show gathered the music, sound and event technology industries for the largest show in NAMM history, welcoming 115,000 registrants, more than 7,000 brands, exciting events and triple the industry education.” https://www.namm.org/
Pre-NAMM-day (January 24)
I went to pick up my name badge and got to see the wonderful Kala booth. It was a lot bigger then last year. Really spacious and beautiful with a genius and practical design!
Day 1 (January 25)
From the get go there was a steady stream of things happening. Musical highlights was standing a few feet away to one of my musical heroes, the fabulous organ player Joey DeFrancesco, when he played some super lovely organ jazz at the Visconti Organ booth. I told him about that lovely concert I heard him perform in Stockholm many years ago. YES!
He came to Stockholm in October. I saw the show with some friends. Did he have a bass player with him…no…was it still great… YES!!!
The evening was spent at the Bass Bash a special bass event, a great hang! The year before I brought a Kala Ubass there for the ”raffle”. This night I heard performances by Abe Laboriel (Open Hands) and the John Patitucci Guitar Quartet with the amazing Nate Smith on drums (Side note: In this video I play to loops from thelooploft.com played by Nate Smith!)
Laboriel and Patitucci both received Lifetime Achievement Awards from Yamaha this night!
Day 2 (January 26)
It was great to once again, if super brief, say hi to one of my mentors, Victor Wooten. I attended one of his camps outside Nashville back in 2011. Anthony Wellington was one of the many great instructors at the camp. Joe Craven was a guest at the camp. A super talented multi instrumentalist. So great to meet him again! Also got to meet Christian Fabian, a great bass player born in Sweden but now lives in NYC.
I also met some great musician friends! Please check out Ariane Cap she’s a great bass player and educator (I met her at that Wooten Camp back in 2011) I also met Sam Montooth a great singer, bass player, teacher based, as well as Ariane, in the LA area.
One of my Ubass ”papas” Bakithi Kumolo is always such a great hang. We had some nice talks and jams at the Kala booth. He performed at the Bass Bach on the second day of NAMM and almost played my solid body ubass! 🙂
I also met some new friends and they were also Bakithi admires!
Day 3 (January 27)
Some highlights this day was seeing good friends Ariane and Wolf. We had a nice little lunch away from the crazy show floor.
I got to meet Kala Ubass Artist Nik West. She had her signature ubass on display at the booth.
The duo Go West demoed at the booth. So did Corey, Andreas and myself.
I don’t have any pictures but have to mention the wonderful Jule amps the Jule Potter makes!
I would finally be able to meet Richard Mari Cocco Jr, (president) and Eric Cocco (vice president) for the great string maker LaBella
I got to meet great friend and ubass player Greg Gohde too! While walking outside after a long day we heard som crazy energic funky music performed by Kyotaro and Rikuo, a Japanese rhythm section duo. We closed out the day with some great food at the Disney Resort.
So it’s time for the final show day!
Bakithi came by the booth again so did bass player/actor Sekou Bunch. He did some great jams. I will probably share some of that later! Divinity Roxx, former musical director with Beyoncé, came by too.
The new Jorneyman ubass is one of three new ubasses in a new entry level line. These models are offered in fretted versions and will hopefully be available in fretless versions too later on. I played all three of these and they are a great addition to the existent line of ubasses. https://kalabrand.com/blogs/u-bass-news/namm-2018-new-u-bass-preview
This concludes my travelogue around this wonderful Ubass Adventure!
My friend Marlowe is a Kala Ukulele Artist that I met in California earlier this year. We decided to do a collab and I recorded overdubs to one of the songs of her brand new album ”Moments”. The song is called Battle Royale and it sure was fun adding ubasses to the track. I decided to play my Kala California custom fretless solid body tuned EADGC.
A short background to my version
The classic song is, as you probably know, from the opera Porgy and Bess, by George Gershwin. It was first performed in Boston in 1935 before it moved to Broadway, New York.
Twenty-six years later… I guess it’s about time to do another song from the classic opera ”Summertime”, by far, the most classic and recognizable song from Porgy and Bess. It has been performed by countless of musicians across the globe since 1935 and onwards.
My version is quite short. I present the melody twice, first instrumental with the melody played on my Kala California acoustic-electric fretless Ubass. Then sung and harmonized the second time around. All vocals by yours truly. 🙂
Recently I started to use a acoustic pickup by Ehrlund microphones to enhance these percussive sounds. Before playing with this technique only really worked in the studio, where I could use a separate mic to pick up the percussive sounds, or in a small intimate live setting where the audience is near the performance.
The pickup is blended with the built in piezo and this makes it possible to play bigger venues and the percussive parts can be heard alongside the tapped bass part. More about this in a later blog post!
Besides the core parts of bass line/percussion played and recorded live on a small dock by the lake Storsjön in Jämtland, Sweden I added vocals and, for the first time in any of my videos, ukulele parts!
I hope you will enjoy my version of the Gershwin classic!
There are now quite a few options for Ubassists when it comes to choose the right string for your preferred sound and playing style. Owen Holt invented the Road Toad Pahoehoe strings (made from polyurethane) to make the super short scale length of the ubass work. These are of course still the original ukulele bass string reference that many use and love.
The Thunderblack string has, in my opinion, more similarities to the original Thundergut than the Thunder Reds. I think they feel a bit less sticky then the original Thunderguts but the sound is pretty similar.
If you prefer the look of black strings but want a sound and feel similar to the Thundergut there’s now an alternative available.
In the video below I decided to record some of the same musical exemples used in the Thunder Reds review. This makes it easier to compare the different strings.
This is a little tribute to one of my musical heroes: Mr Steve Swallow. I have listened to his Music for quite some time and have always admired his unique approach to playing bass. In my version I play fingerstyle although Mr Swallow uses a pick. One of his most famous compositions are Falling Grace. You can find out more about him here!
There are videos on youtube with bass players playing solos performed by Swallow but not many (if any) playing one of his chord-bass parts. This one is transcribed from a John Scofield Trio version of the evergreen ”Someone to watch over me” (George and Ira Gershwin) from the musical ”Oh, Kay!”.
I heard this performance last year and decided to transcribe the part when he comps behind John Scofield during the the melody. I wanted to explore the voicings he used with his 5-sting bass tuned EADGC.
In the video I’m using my Kala California Custom Flame Maple solid body ubass. One of the first made using the ”exotic tops” back in 2012-2013. Please check out the new updated ones!
I decided to add the melody singing the Frank Sinatra version of the lyrics. I got some nice help with a great brushes and cymbals part too.
Magnus Sjöquist, kala solid body ubass (EADGC-tuning) and vocals
Mats Nyström, brushes and cymbals
I’m working on more ebooks in my Learn to play the ubass series and one of these will focus on playing chords on a ubass/bass.
The ubass was recorded through my RMI Basswitch IQ/DI and then re-amped using a Radial X-amp. Se pic below. I used a combination of mics to capture the sound of the Phil Jones Double Four combo amp. Read more about the amp in my review.
D minor 7 chord
Please check out my review of the PJB Double Four!
Mats Nyström, brushes and cymbals
Carla Bley, Daniel Björnmo, Steve Swallow and me Sweden, 2009
Still from video
Re-amping my Phil Jones Bass Double Four
Steve Swallow and Billy Drummond live in Sweden 2009