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
Long overdue here’s finally a short travel log about my trip to the 2017 Winter NAMM Show in Anaheim, CA
I have been to a couple of music trade shows in Europe as a visitor but this was my first trip to the Winter NAMM show in Los Angeles. It was also the first time working closely with Kala. My main focus was to release and letting people know about my first Ebook/ePub in my Learn to play the Ubass series.
I started working on the ebook back in 2013 and it has slowly taken its form. The basic idea and the text was ready after about a year but working on how to present it, all the movies and the graphics and navigation took quite a while to finalize. You can read more about the Ebook/ePub and where to find it here.
After a +10 hour flight from Stockholm ARN I landed at LAX and took a bus to Anaheim where I met staff from Kala. I settled in and started to plan the next coming days.
I arrived on Monday, January 17 with the show starting on Thursday that week. I helped out a bit loading in some stuff and setting up the booth. The booth was fantastic with a really well throughout design that got a lot of compliments from many visitors and booth neighbors.
Load in and set up of the Kala Booth
Once the show started I met a lot of great people, both visitors, other companies and press. Besides talking to some online magazines myself I was also fortunate to get help to set up some meetings and interviews both from Kala and other friends in the music business. It was, for example, crazy to see Nathan East being interviewed in the exact same spot a day before I got an interview from the same online community! 🙂
You can find the news coverage and interviews here.
The Ubass got a lot of attention at this Winter NAMM show. 8 years after the first Kala Ubass was released its still a ”show stopper”! Many musicians, including lots of bass players of course, came by and was floored by the small footprint bass with the huge sound. It’s so great to see the happy smiles on the faces of the first time players
The California solid body Ubasses was revamped with slightly bigger and rounder bodies as one of the main differences. Check them out here.
I also got to try out the prototype Paddle Bass by Kala. A great one string bass for a quick and refreshing way into the wourld of bass playing! Link to Bass Musician Magazine article.
All in all my first NAMM show was a very nice experience. And although it’s quite exhausting being on the show floor with the intense sound and constant stream of people I hope to return and continue my ”IRL” networking across the pond as soon as possible!
A big thank you to all the staff at Kala and the wonderful Kala and Ubass artist I got to hang and work with!!!
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I read a Kala Ubass review in Bass player magazine back in 2010. At the same time my parents happened to be on vacation and they helped me to buy my first ubass at a music store in Honolulu while visiting the islands of Hawaii. l had not been able to try one beforehand but it only took me a few minutes getting acquainted with the short scale length and rubbery strings. After that I have gotten 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!
The ebook is packed with amazing features that make learning about the Ubass a new and exciting experience! I will go through these features in detail in a future blog post but for now, let’s have a quick look:
Picture gallery’s that enhances the reading experience
Multi-angle videos that show you how to get the best out of your Ubass playing
Highlighted words are clickable and explained in pop-ups or in the extensive word list. (I bet you can spend hours just navigating the word list alone!)
End of lesson quizzes – check and see if you have understood the lesson you just worked with
Marking text and make notes – find something especially interesting? Mark the text/or make a note – these are collected and can be browsed and/or searched
One day in July I got the news that one of my bass heroes would come to Sweden for one gig. We are both Kala Ubass Endorsees (which is pretty amazing to start with) so I managed to hook up with him through the company.
The meeting/concert was in the southern parts of Sweden and I traveled there with two of my Kala solid body ubasses.
Who is Abraham Laboriel?
Some of you may know about him and some don’t so I’ll give you a brief background here.
Let’s start with some of the artists he has worked with as a session musician in Los Angeles:
Abraham Laboriel Sr. (born July 17, 1947) is a Mexican bassist who has played on over 4,000 recordings and soundtracks.Guitar Player Magazine described him as ”the most widely used session bassist of our time”. Laboriel is the father of drummerAbe Laboriel Jr. and of producer, songwriter, and film composer Mateo Laboriel.
Meeting Abraham was such a joy. He’s a wonderful, warm human being with such a big heart. Hearing/seeing him play live has knocked me every time. He is an ”all in” performer that really speaks to you from heart to heart. He has been in my musical life for quite some time. I told him about hearing/seeing him at concert in the mid 80’s and even in the town where I work now on a gig probably more then 10 years ago.
We started talking and I showed him what I have done on my blog, video lessons and recordings. What was supposed to be an interview became a nice chat about music and life, almost as we had known each other since the mid 80’s…
I really hope we can meet again soon and continue of talk and I might even get around to ask him my prepared questions! 🙂
As I wrote earlier my two solid body’s were on the trip with me and I wanted to show Abraham these. You might have picked up that I have experimented with ”new” strings on these two 5-strings. (I will do a proper blog post about these tests soon!) Anyway, Abraham started playing on the fretted one, unamplified, and after a while I grabbed the fretless one and join in on the quiet jam. It sure was nice to get to play with one of my bass heroes!