TRANSCRIPTIONS & RESOURCES
Welcome to what I consider the main purpose of my website, my transcriptions and resources archive.
Here I hope to provide a look into my vast collection of transcriptions, charts and other resources while offering my analysis, opinion and performance of works I consider an important part of the Bass Guitar lineage or just examples of great playing.
I also hope to give back and help foster the online Bass Guitar community that has been so invaluable to me and my development as a musician.
This page will be updated regularly so please come back for more material and if you have any questions, concerns, transcription requests or would like any more information on any of the resources below please don’t hesitate to contact me.
Damon Warmack on ‘Velas Icadas’ from Brandon William’s 2014 album, ‘XII’
Neil Stubenhaus on ‘Stay Home Tonight’ from Lalah Hathaway’s 1990 self-titled album
Chuck Berghofer on ‘This Christams’ from Christina Aguilera’s 2000 album, ‘My Kind Of Christmas’
Adam Blackstone on Toni Braxton Tribute from the 2017 Soul Train Music Awards
Tom Barney on ‘Negative Girl’ from Steely Dan’s 2000 record, ‘Two Against Nature’
Robert Wilson on ‘Yearning For Your Love’ from The Gap Band’s 1996 record, ‘Live and Well’
Nathan East on 'Through The Fire' from Chaka Khan's 1984 record, 'I Feel For You'
Will Lee on 'Maryanne' from his 1993 album, 'Oh!'.
Andrew Gouche on 'Gladys Knight Live Medley' from the 'Sinbad Summer Jam Concert' in St. Maarten, 1995.
Hubert Eaves IV on 'Ye Yo' from Erykah Badu's 1997 album, 'Live'.
Pino Palladino on 'Blink Of An Eye' from Michael McDonald's 1993 album, 'Blink Of An Eye'.
Thaddaeus Tribbet on 'A Long Walk' from Jill Scott's 2001 album, 'Experience: Jill Scott 826+'.
Paul Bender on 'Molasses' from Hiatus Kiayote's 2015 album, 'Choose Your Weapon'
Adam Blackstone on 'No One Like You' from Al Green's album, 'Lay It Down' 2008
On this Al Green's return record he put together a killer lineup of some the best young(ish) R&B players led by The Roots drummer, Questlove. Adam who has now gone on to MD some of the biggest acts in R&B and pop was part of this heavy ensemble. Playing a P bass, this tune and the whole record harks back to an era of old school R&B with some modern twists and arrangements. This simple chord progression is really bought to life by Adam's creative lines and although sometimes verging on the edge of overplaying, it is truly one of the standouts of the arrangement and drew my attention instantly. If you feel the urge check out Blackstone and his own arranging/band leading for artists such as Justin Timberlake, Toni Braxton and Eminem, I guarantee you'll dig it.
Agnes Petkute on 'In My Heart' from Frank McComb's album, 'A New Beginning' 2010
Agnes Petkute is a Dutch bass player residing in St.Maarten and this is the first recording I've heard her on. The first thing that strikes you apart from Frank's killer vocals and writing is Agnes's glassy and pristine tone. As you dig deeper you discover the complexity and beauty of her harmonic depth of ideas as well as her rhythmic authority. Her lines seem to compliment perfectly the composition as well as providing counterpoint to the melodic lines. In particular her pentatonic phrase over a Db7 chord toward the end of each chorus is of particular enjoyment. Her bass line seems to climax toward the last repeated chorus just as Frank begins a very tasty keys solo. On a side note why do so many recordings fade out during the best parts!
Melvin Lee Davis on 'On Your Own' from Lalah Hathaway's album, 'Self Portrait' 2008
I was first introduced to Melvin through his work as musical director for Chaka Khan and was pleasantly surprised when I found out he was on many of the tracks on this, one of my favourite Lalah Hathaway albums. On this 6/8 ballad Melvin plays incredibly sensitively while still maintaining a strong sense of groove and forward motion. Also listen for his tasteful inflections that really complement Lalah's soaring vocal lines.
Larry Kimpel on 'Til You Come Back To Me' from Rachelle Ferrell's self titled album, 1992
This has become one of my favourite albums and Rachelle has become probably one of my favourite singers. This particular tune is example of some of the most controlled and tasteful slap bass playing I've ever heard recorded. While it has been incredibly hard to transcribe let alone play, it has been a very rewarding experience for someone whose shyed away from playing slap for various reasons it shows how musical and artistic it can be in the right context. Dig Larry's control and musicality he brings to everything he plays, it all has a place and all sits perfectly. I wish I had half the taste and chops that Larry does.
Walter Becker on 'Florida Room' from the Donald Fagen album, 'Kamakiriad' 1993
This transcription documents a reasonably rare opportunity to hear Walter play bass, although he did played bass on every track on this his long time writing partners second solo album. Played with pick, you can see his heavy Jamerson influence from the syncopation, note choice and his fondness of open strings as a vehicle both percussive and harmonic to move through his lines. Much of his playing and ideas are very unique, perhaps coming from Guitar being his main axe and this transcription in particular is fascinating to play both from a technical and analytical standpoint, plus it grooves like crazy.
Randy Hope-Taylor on 'Talkin' Loud' from the Incognito album, 'Positivity' 1993
Positivity was one of the first records I attemped fully and is what really got me hooked on transcribing. This tune in particular is a popular choice to transcribe and analyse as it is a great study in both chops and taste. Dig the fireworks at the end where Hope-Taylor plays semi quavers for an entire chorus. It blew my mind the first time I heard it.
This transcription is of Marcus Miller from, "Don't Want To Be A Fool" off Luther Vandross's 1991 album, The Power Of Love.
In addition to co-writing the song and co-producing the record with Vandross, this is a great example of Marcus's more subtle studio playing yet still retaining his unmistakable tone. He has such great control when slapping as heard in each chorus. It creates great rhythmic impoteous that propels the song forward. Mixed with some tasteful melodic elements, it's 90s R&B perfection!
Sticking with the Marcus theme this transcription is of 'Summer Breeze' from the Al Jarreau - George Benson record, 'Givin' It Up' from 2006. Playing fretless on this dense and funky re-arrangement of the 1972 Seals and Croft hit, Marcus is able to weave through and around Jarreau's looping melody whilst filling space tastefully and supporting Benson's harmony. Dig the fills in first and second verses and how he builds intensity to lift Benson's soaring solo in the outro.