Time for a new Summer Ubass Video! Making a outdoor Summer video is now almost like a little tradition! 🙂
For the second time it is filmed in Jämtland, Sweden. I really love this region and have spent quite a lot of time there. Last year I did a version of the super classic song Summertime. Check out the blogpost and video here.
This year I decided to really pay homage by doing a version of Jämtlandssången, the official song of the region. It is also the first song I played on my new/old mahogany ubass. I found it in a music shop in Östersund the biggest town of Jämtland. This ubass is an early model without the built in preamp. I have looked for an early fretted mahogany model to compliment my first ubass, the spruce fretless I got in 2010.
I did a quick arrangement playing mostly melody together with a quite simple bass part. I added some more chord tones in some places to make the harmony come through a bit more. When I got back home to my studio I decided to add a string arrangement to spice it up a little. The strings are recorded with the Strings-instrument-plugin inside of Logic Pro X. Besides the video of me playing the mahogany ubass I added some video footage from 2013 (!) Yes, that’s right I got the original idea of doing a tribute video to Jämtland back in 2013 but I never finished it… That’s why the other footage in the video features my first spruce ubass.
I hope you will enjoy this little video. If your interested in knowing how I arranged this please make a comment below. If there is interest I can make the arrangement available with a little lesson on how it all works! If you want to do this to another songs and melodies please include the titles in the comments too. That way I can include more melodies in future solo ubass arrangement lessons!
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.
Back in 2011 i attended a workshop with master jazz guitarist Frank Vignola.
A couple of days after the workshop he was going to play a show not to far from where I live. At the workshop he invited the participants to come to the concert and offered the possibility to jam with him, Vinny Raniolo and Eric Bogart.
In the intermission I approached Frank and told him that I’d like to take him up on the offer to jam. We decided on Fly me to the moon and a blues…
Set two starten and I was called up on stage after the second song…
I brought my ubass plugged into the PA and of we went. We had not played a single note prior to this and there was somewhere around 150-200 in the audience probably wondering who that guy was taking the stage.
Fly me to the moon flew bye and Frank started to play the head for C-jam blues and after a somewhat shaky start (on my part) we found a nice groove.
I still love the part where I manage to steer us into half-time mode and the audience starts to clap along. Frank plays a smoking solo, I play a solo and we go into trade mode and finally manage to sync the ending pretty nicely!
This was a great experience and has also been great for my “ubass exposure” on YouTube with around 135.000 views to this day.
Last Saturday Frank played at a nearby jazz club and I went there with a friend. It was a fantastic concert. Frank played with top notch Swedish jazz musicians, Eric Söderlind, guitar, Hans Backenroth, upright bass and Joakim Ekberg, drums.
No jam for me this time but I managed to talk to Mr Vignola for a bit, telling him how fun it was when we jammed and that the video of that firat jam back in 2011 has been great for me. It’s nice to be able to give thanks for these things in person.
The sax and trumpet players from the support band was invited to jam. It’s so nice that Frank still pays-it-forward at his concerts!
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!
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!
This song is a traditional folk tune from Gotland, Sweden. Eva and I started playing it as a duo on our trip to Brazil back in 2015. We wanted to bring some examples of traditional Swedish folk music on our trip. To make it work in a ubass and vocals setting I played the bass part through a delay pedal. I thought the extra rhythmic motion we got using this technique really helped us capture and deliver the haunting melody in a great way. I use a combination of arpeggios, chords and regular bass lines in my bass part.
In the trio version Daniel Björnmo adds an extra layer of color with his world class guitar playing. The added grit with close cluster like harmony through distortion pedals makes the song even more ethereal and haunting, I think. The ubass have some added modulation and octave up effects blended together with the delay.
This is a live in studio recording but we also added some percussion parts. I played some suspended cymbal swells.
You can also hear what we call ”the submersed gong”. This is a gong gong that we recorded as it is put under water after it is played. This bends the sound in a very nice way. I first heard this on records and live with one of my musician heroes, Indian percussionist, Trilok Gurtu.
We really hope you will enjoy our version of this Swedish’s folk song!
For the best listening experience please listen to this song with good headphones or speakers that can reproduce a wide frequency spectrum!
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
Let’s take a look at the Phil Jones Double Four combo amp
Background In 1987 I bought a new amp, a Gallien Krueger 200MB. I used this amp for a lot of different gigs sometimes with a extension cab but for most part as a standalone amp. The MB250 was a small combo amp that was a real breakthrough product back in 1987. Small but powerful and well built. I still have this amp! I have changed the speaker once since the surround of the original speaker dried and fell apart. However once you open the enclosure once it’s really hard to get it air-tight again. The construction is built upon a closed box to get the sound. I have used this amp mainly as a backup only for the last 8+ years. When I planned a trip to Brazil in 2015 the need for a new really small and travel friendly amp grew. I started to look around, getting different recommendations from friends and online searches, found the Phil Jones Double Four and decided to try it out.
Description The Double Four is a 70 watt (all digital, pre- and power amp) with two four inch speakers (hence the name). It features a specially developed innovation called RALFR®, a special reflex port that greatly enhances the bass response. Besides basic amp controls there is an AUX-input (for your smartphone or more…) with a level control, headphone and Line out. You can use it in either a vertical or horizontal mode. Read more about the amp here.
Although the amp is all digital it sounds very warm and organic and brings out the core tone of everything I put through it, and it weighs in at only 4 kg! It is loud enough for rehearsals and smaller venues. More info below!
Gig-stories This little amp has been working hard for me. As I mentioned in the background the initial goal of the amp was to bring it with me to Brazil in 2015 when I visited the capital city Brasília to check out different music schools. I met a lot of wonderful and lovely people on the trip.
The amp was really a great companion to me and my Kala acoustic/electric ubass. I used the ubass with the amp on outdoor restaurant gigs, at a small pub and at the different schools me and my colleague visited, played concerts and held workshops at.
Back in Sweden I have used the small and powerful combo for a lot of rehearsals and small gigs. It has been a great way to always have a great sound wherever I go. The people I have played with have always been overwhelmed and surprised about the small amp with a big sound. It has worked well with ubasses, electric basses and upright bass. Although it’s small and “only” 70 watts i has even worked as the only amplification in acoustically big sounding rooms like stone churches together with guitar and vocals.
Live in studio recording with vocals, guitar and accordion.
Miking the rear port and blending it with the DI signal from the ubass.
Let’s listen to some examples of how the Double Four sounds with ubass in different genres and situations.
Tango (See info above on how this was recorded!)
Acoustic Hiphop (Recorded with a single mic Zoom recorder)
Bossa Nova in Brazil
Recorded through the PJB Double Four
Recorded a a rehearsal with a Zoom H6
This Summer I also made a ”iso-amp-box” for ”silent recording” with the Double Four.
I made this box for recording dates where I need to get a miked amp sound in the same room with other musicians. Very little sound is heard outside the box and not much sound will get into the box. It can be used for the actual recording or to get a great and organic headphone sound when tracking.
I will do a dedicated blog post about how that works (and sounds) later!
If you’re looking for a small and ultra portable amp with a warm and natural sound you should definitely add the Phil Jones Double Four to you check-out-list. Playing my Kala Ubass with the PJB DoubleFour is a match made in heaven – a wonderful and small footprint with a big warm sound – a great combination for sure!
In a series of four short blog posts I will write about the different lessons in my first Lesson Pack: ”Learn to play the Ubass – basic techniques” (One lesson at the time every Sunday for four weeks!)
Lesson 1 – How to hold the Ubass
The first lesson gives you suggestions about different ways to hold the Ubass.
Since the body and over all length is so much shorter than a regular electric or acoustic bass guitar you really need to find a way to accommodate this.
In the lesson I go through different ways I hold the ubass. I have found out a couple of alternatives that can be nice to switch between or at least use as a starting point when you develop your own ”holding style”. I will let you know what has worked best for me and why.
Even though you have been playing regular bass for a long time I think this lesson will help you to get a good ”grip” on your ubass playing regarding how you can hold it to get the most out of your ubass music making!
Stay tuned: Next Sunday [September 3rd] it’s time for ”Lesson 2 – basic plucking/picking hand technique”
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My parents bought my first ubass at a music store in Honolulu, Hawaii while visiting the islands back in 2010. I had not been able to try one beforehand. It only took me a few moments to get acquainted with the short scale length and rubbery strings. After that I got more and more in love with the feel and sound of the ubass. Hope you have or will get the same feeling for these amazing instruments! Read more about my first encounter here!