As a bass player Studio Musician, my job was always to *create* a bass line that fit the song, singer, style and what was going on around me.....thats what Jazz musicians do all the time, and why producers went out to seek out the experienced, highly skilled (with fine recordable techniques) creative Jazz musicians to do the rock/soul/pop record dates in the late 1950s....its easy for us to innately just do that instinctively....no words were spoken, you operate ONLY in sounds. And thats what I did here. I can look back now...and analyze what I did today yes, but at the time, you always went with your gut feeling to create the right line for the cuts on the record date. In this case, so much was going on with Jerry Reed, Glen Campbell, and the great steel player Buddy Emmons, I stuck to the boogaloo using the simple blues runs, maybe only one major chord run - most of it all was simple blues for support. Notey yes, it needed that power but also notes to stay out of the way of everyone else while supporting all that was going on.....changing my pattern radically for the steel soloing, adding some double-stops jazz-comping-wise (no not jazz style)...to back him up, while still on the bottom supporting the band...anyway for what its worth, here it is (also in Elec. Bass Lines No. 4 and Hit Bass Lines CD in Catalog..good study material in statement-answer lines and reading). >>>>>youtube/watch?v=6ilJ3EwQuK4 Popular on the Jazz station here in LA for awhile.This is one of my fav dates, was always fun to work for Ray. Bass has a little more treble than I usually had for Ray.Youll find this transcription w/fingerings too in my Elec. Bass Lines #4 book & also re-cut on Hit Bass Lines CD. Volcanic Action of My Soul lp Ray Charles -- I miss Ray, he was great to be around, wed laugh a lot.
Posted on: Wed, 17 Sep 2014 04:38:07 +0000