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‘Jaco’ Premiere Attracts L.A.’s Bass Elite

variety.com | Nov 24, 2015

It seemed almost every great bassist in L.A. turned out for the Sunday night premiere of “Jaco,” the documentary about the late bass virtuoso Jaco Pastorius, including Robert Trujillo of Metallica, the film’s producer, Verdine White, Lee Sklar, Bootsy Collins, Hadrien Ferraud, Bunny Brunel and Darryl “The Munch” Jones, who holds up the bottom end for the Rolling Stones.

Not since Anaheim’s immense National Association of Music Merchant’s convention in January had so many professional bass players assembled under one roof.

The capacity event, which took place at downtown’s Theatre at the Ace Hotel, stood as a fitting tribute to a musical force of nature whose career took a tragic turn at the pinnacle of his creative powers. On-screen testimonials from such musicians as Flea of the Red Hot Chili Peppers — who introduced the film, along with Trujillo and the film’s co-director Paul Marchand — as well as Wayne Shorter, Peter Erskine, Joni Mitchell, Herbie Hancock, Sting and so many others reinforced the notion that Pastorius was the Jimi Hendrix of his instrument.

Trujillo recalled first seeing Pastorius play with Weather Report in 1979 at the Santa Monica Civic Auditorium as a teenager. “I witnessed something I will never forget,” he recalled form the stage. “It really changed my life. The thing that was amazing beyond him being a composer and an incredible bass player was the performance itself, the stage presence. It made me realize that you could be fearless.”

Post screening, the evening shifted into a bass clinic extravaganza, with multi-bass groups; Pastorius’ bassist sons Felix and John performed original jams and also covered their father’s music, while Trujillo thrashed with Mass Mental, joined by Flea.

The film is scheduled for a Nov. 27 release on VOD, DVD and Bluray.

Original Source: http://variety.com/2015/film/news/jaco-premiere-attracts-l-a-bass-elite-1201648110/

 

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Review: ESP Bunny Brunel Signature Models

bassplayer.com | BY  ED FRIEDLAND | October 7, 2015

Bunny Brunel is well known as an early progenitor of fretless electric bass in fusion, but he has also been involved in instrument design for many years. His previous signature model was one of Carvin’s most popular instruments, and his electric-upright design is a unique and effective contribution to the EUB genre. But even before that, Brunel helped to design prototypes with Gibson that never hit the open market. Now teamed up with ESP Guitars, Brunel brings out version 2.0 of his signature instrument, in fretless 5-string and fretted 4-string models. The new BB1005FL and 1004 basses bear a close resemblance to their predecessors, but a detailed look reveals changes to the platform that could make this the best Bunny bass yet.

All-Access Basses

Brunel’s design goal has always been an instrument that gives unfettered access to all the notes, is well balanced physically and musically, and provides a wide variety of tones. The ESP models certainly live up to those ideals, and they stand out in the crowded import field as a real alternative to higher-priced exotic models. While you don’t have to be a fusion player to appreciate the Brunels’ playability, those who use the entire range of the fingerboard will find the necks very player-friendly. The fretless 5 felt roomy, but not too spread out. The asymmetrical neck profile gave me better access to the lower strings in high positions and fit my hand’s shape naturally. The fretted 4-string model has a nicely rounded C profile that reminded me of a mid-’70s Jazz Bass. The ebony fingerboard looks great and provides plenty of snap for the slap lover, and the fretless 5 is unique for its polyester- coated fingerboard. Ever since Jaco slathered marine epoxy on his Jazz Bass fingerboard, fretless players have been fascinated by this idea. Brunel himself has always preferred this on his personal instruments, but his previous signature model did not offer this option. To be fair, applying the coating is a messy, toxic, and painstaking job that most luthiers try to avoid. It is unusual for a production line instrument to come with this feature, so kudos are in order. The main purpose behind the coating is to protect the wooden fingerboard from damage inflicted by roundwound strings, but it has a sonic influence as well. The high-frequency response from the string against the super-slick surface is definitely present in the final tone—it’s the icing on a very substantial cake. The fretless board was dressed to perfection, allowing each register to sustain naturally. As for mwah? We’ve got your mwah right here. The spreading, vocal-like articulation is easily produced in any spot on the 1005FL lined fingerboard. One feature held over from previous models is orienting the 5-string’s position dots as if it were a 4; if you’re new to 5-string, it’s comforting, as the dots are easier to see.

The new ESP BB basses are powered by Aguilar electronics, with a MM-style humbucker in bridge position, and a hum-canceling J-pickup in the neck slot. The Aggie OBP-3 preamp provides plenty of gain, a 3-band EQ implemented with a concentric pot for bass and treble, and a separate control for the mids with a push/pull pot to switch the frequency from 400Hz to 800Hz. While I’m not opposed to concentric controls, they can be tricky to set up properly, and I found that on both review instruments the stacked knobs tended to stick together, making it hard to adjust just one band. A push/pull pot for the volume control accesses passive mode, and the Aguilar pickups have all the output you need for a more old-school tone. Both instruments come with Hipshot hardware, and the traditional clover- style paddle tuners look extra cool in the flatblack finish. Both instruments also come standard with the Hipshot Bass Xtender. While the previous incarnation of the Brunel signature model offered a wide range of wood choices, cosmetic options, and pickups, ESP has decided to limit the finishes for now to Burnt Orange or Black Aqua for the 5-string and a Black Burst for the 4, both over nicely figured quilted maple veneer.

Thumping Bunnies

As a Carvin endorser back in the ’90s, I owned several Bunny Brunel models, in 4, 5, and 6-string versions, fretted and fretless, and while the ESP bears a strong resemblance, it feels very different. The ESP neck profile is a bit fuller, and the area around the body/neck joint is beefier, creating rigidity where it most benefits the sound. While I don’t typically describe neck-through-body instruments as “punchy,” these Bunnies can definitely thump. The fretted 4-string invites the thumb to slap it around, and the pickup configuration covers the classic MM-fueled spank tone of Louis “Thunder Thumbs” Johnson with ease. But the pickup blend produces a thicker texture with depth and clarity. The hum-canceling neck pickup let me fully explore the hollow chunk of a ’51-style P-Bass without 60-cycle dreck spoiling the fun. The preamp made it easy to conjure up virtually any tone I desired, but the nature of the beast is clear articulation. The tone of a bass line will pop while still being supportive in nature, but if you are a soloist, the BB basses are definitely your friend. With the bridge pickup favored, the BBs provided the punch and directness that brings a bass solo to the front. Approached passively, I could get a whole palette of more traditional Fender-like tones from the Bunny, making it applicable for pretty much any type of gig.

As Brunel is highly regarded as a fretless player, his fretless model is predictably dialed in to perfection. I was impressed with the consistency of the fingerboard dressing—I’ve paid hundreds of dollars to get my fretless boards feeling this good, and on an out-of-the-box import? Very nice. The BB11005FL responds to touch like a much more expensive bass; it can burp, hit, spread, and whine if you’ve got the hands to make it happen. Playing moving runs on the BB, it seemed all I had to do was stop on a note to get a lot of sustain. The glassiness of the coated board provides a little edge that gets you heard, and adds some finger mojo to the overall tone.

The new Bunny Brunel signature models are well suited to the demands of hardcore jazz fusion, but their playability and versatility make them a great choice for any gig.

SPECIFICATIONS

ESP

BB1005FL & BB1004
Street BB1005FL, $1,400; BB1004, $1,300
Pros Well balanced, versatile tone, better-than-average build quality
Cons Concentric tone controls “stick”
Bottom Line Basses that play well and sound great for any style of playing.

SPECS

ESP BB1005FL, BB1004
Construction Neck-through
Body Alder
Neck Three-piece maple
Fingerboard 1004, ebony; 1005FL, acrylic-coated
Fingerboard radius 1005FL, 16″; 1004, 12″
Frets 1005FL, 24 fret lines; 1004, 24 XJ
Nut Molded
Neck width at nut 1005FL, 1.75″; 1004, 1.5″
Bridge Hipshot A-style; e” string spacing
Scale length 34″
Pickups Aguilar MM & humbucking J
Tuners Hipshot w/Bass Xtender
Weight 1005FL, 9.2 lbs; 1004, 9 lbs
Made in Korea
Contact espguitars.com

Original Source: http://www.bassplayer.com/gear/1164/review-esp-bunny-brunel-signature-models/54391

 

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Heartfelt Performances and “Remembering Joe Sample” at the Berks Jazz Fest

Reviewed by Sean McKenzie | The Indie Hotspot | April 18, 2015

As I watched the amazing lineup of jazz royalty remembering the true legend, Joe Sample, I had never been so moved by such a fitting musical tribute. I remember it was only a little over a year ago that Wayne Henderson had been given his regal sendoff. And now, amongst other Sample fans, I experienced a healing concert for yet another Jazz Crusader.  Who was on the lineup? Musical director and pianist Bobby Lyle, who also assembled an incredible group of musicians, including saxophonist Wilton Felder; saxophonist Everette Harp; trumpeter Rick Braun; trombonist Jeff Bradshaw; guitarist Randy Jacobs; drummer Jay Williams; percussionist Doc Gibbs; bassist Nick Sample (Joe’s son); and vocalist Lizz Hogue.

(Interesting information: Wilton Felder, Joe Sample, and Wayne Henderson co-founded the Texas based Jazz Crusaders; Joe’s son, Nick Sample toured with his dad right up until illness forced him to retire; and trumpeter Rick Braun was also performing at the Berks Jazz Festival with his band Jazz Attack.)

Each song performed was beautifully and tastefully executed. It met my highest expectations—something I always appreciated when watching Joe Sample perform. “Viva de Funk,” “Spellbound,” “Joe’s Creole Shack (a Lyle original),” “In All My Wildest Dreams,” and “Seven Years of Good Luck” took me way back. Vocalist Lizz Hogue captured the audience with her heartfelt versions of “One Day I’ll Fly Away,” and especially “Street Life!” Aside from the impeccable musicianship showcased that evening, it was a continuous flow of flawless performances, reminding me just how much Joe Sample’s legacy has influenced this genre of music. Hogue also performed “I’m So Glad I’m Standing Here Today,” which was originally sung by the late Joe Cocker in collaboration with the Crusaders and Joe Sample.

Aside from the impeccable musicianship showcased that evening, it was a continuous flow of flawless performances, reminding me just how much Joe Sample’s legacy has influenced this genre of music. Another big highlight was the breathtaking medley of piano solos, which included “Melodies of Love,” “It Happens Everyday,“ and “Ashes to Ashes.”  Bobby Lyle held the audience captive with such an endearing remembrance of Joe Sample’s talent as a pianist. It was a very creative display of Lyle’s virtuosity on the piano. But I also felt the profound respect as he tickled each note of that ivory! While watching Lyle, I could see the friendship he had with Joe Sample.  I got a sense of the loss Lyle felt for his departed friend. Needless to say I was deeply moved by Lyle’s tribute.

One very appreciative couple who had attended all but one of the 25 Berks festivals stated afterwards that, “This was definitely one of the best shows we’ve ever seen here at Berks. We are both Joe Sample fans, and tonight’s program definitely lived up to his legacy.”—a view apparently shared by many as they stood and applauded the ten performers taking their bows onstage at the show’s end.

The Berks Jazz Festival is known for its excellence in musical performance throughout the years; and “Remembering Joe Sample” on April 18, 2015, in Reading, PA, has lived up to the festival’s high standards. May the memory of Joe Sample’s music live on.

Original Source: http://www.theindiehotspot.com/2015/05/04/heartfelt-performances-and-remembering-joe-sample-at-the-berks-jazz-fest/

 

 

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Bunny Brunel Joins The ESP Family

espguitars.com | Mar 6, 2015

ESP is happy to announce that world-renowned bassist Bunny Brunel, whose talents have been employed by a wide range of artists covering many genres of music, is now part of the ESP Guitars family. As you may already know, we also recently announced the introduction of two new Bunny Brunel Signature Series basses: the BB-1004/QM and the BB-1005FL/QM.

“I’m a fusion player, but I play every style,” says Bunny Brunel. “Pop, rock and roll, and much more. My signature basses from ESP match any kind of music.”

“We are thrilled to have Bunny onboard at ESP,” says Jeff Moore, ESP senior vice president. “He represents the type of bass player who we love, with the ability to astound other musicians with his technical playing chops, and is respected by all. He came to us in search of a bass that would be up to the task of his many live performances and recording dates, and we were happy to deliver.”

Primarily known as a jazz fusion bassist, Bunny Brunel’s resume looks like a “who’s who” of the jazz world, having played with Chick Corea, Herbie Hancock, Wayne Shorter, Tony Williams, Jack DeJohnette, Natalie Cole, Stevie Wonder, Stanley Clarke, Dizzy Gillespie, Tania Maria, Patrick Moraz, Ziggy Marley, Al Di Meola, and many more. His melodic approach to bass playing covers everything from smooth fretless growls to tight funk popping. He is a member of the fusion group CAB and also lends his talents to film and TV scoring.

Bunny’s two Signature Series basses are the LTD BB-1004/QM and LTD BB-1005FL/QM. The BB-1004 is a 4-string bass in See Thru Black Sunburst finish, while the BB-1005/FL is a fretless 5-string model in Burnt Orange. Both basses incorporate neck-thru-body construction, quilted maple top, ebony fingerboard, and a special Aguilar pickup set with an OBP-3 active preamp. Bunny was very active in regard to the basses’ designs, with a goal to create an instrument with excellent playing feel and balance, as well as tonal variety that made it appropriate for multiple music genres. He has also just released his latest solo album, Invent Your Future, which features jazz fusion notables Patrick Moraz, Virgil Donati, Patrice Rushen, and many more, and includes songs composed by Brunel as well as Chick Corea, Jaco Pastorius, and others. Continue reading “Bunny Brunel Joins The ESP Family”

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DS9’s Chase Masterson To Guest Star On ‘The Flash’

treknews.net | Feb 4, 2015

Chase Masterson, best known to Star Trek fans for her role as the Bajoran Dabo Girl Leeta on Deep Space Nine, will guest star on The CW’s hit genre show The Flash.

Masterson, who turns 52 later this month, will play “Sherry” — a character written for her by Executive Producer Andrew Kreisberg — in the thirteenth episode of the show’s first season. The episode, entitled “The Nuclear Man,” airs next Tuesday, February 10. You can watch a trailer for the episode embedded below.

Upon hearing the news, William Shatner promised to live-tweet during the episode.

(Original Source below)

Continue reading “DS9’s Chase Masterson To Guest Star On ‘The Flash’”

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Chase Masterson On Learning Her Craft On The Set Of Deep Space Nine, The Ministry of Acting And Her Doctor Who Spinoff

Forbes |Michael Venables | Aug 12, 2013

I had the rare chance at the Star Trek Las Vegas convention to interview Chase Masterson, the actor who is well-known for portraying the character Leeta, the Bajoran Dabo girl who works at Quark’s Bar, Grill, Gaming House and Holosuite Arcade, better known as Quark’s to its regular patrons. She shared some very introspective thoughts about learning the ropes on the set of Star Trek: Deep Space Nine, what her craft means to her and the awesome creative projects this last year that have been keeping her very busy.

Michael Venables: Tell me the story of your start on Star Trek: Deep Space Nine.

Chase Masterson: I originally met the casting director of Deep Space Nine through a pay-to-meet showcase. They have these things where you can pay thirty dollars and do a mock audition for a casting director. And if they like you, hopefully, they’ll remember you and call you in for an audition. And, that’s exactly what happened. I auditioned first for the role of Marta, who was a guest star in the second season. I got down to the final two of that role, and then they went the other way. And then, they wrote the role of Leeta for me. I didn’t realize that. I didn’t know that until the fifth season. But Ira Behr, the co-executive producer, told me that when I wasn’t right for the first role, they decided they wanted to use me somewhere. So that’s been a huge honor on a show like this to have something created for you. That’s pretty wow!

Venables: Coming in as a fresh cast member, how was the experience of integrating with the rest of the actors already immersed in the show?

Masterson: Armin Shimerman was quite wonderful. He was like an older brother, frankly to Max Grodénchik, who played Rom, and to myself. I had worked quite a lot in the theater and a certain amount in film and TV beforeDeep Space Nine. Armin was much more experienced and would take Max and I aside and explain “Oh, here’s what they’re doing” and “they’re lining up this shot for this reason” and “here’s a tip or two.” It was so comforting and so generous of him. You know, a lot of times actors on shows really don’t want the guest stars to be that good. It’s their show and they don’t want anyone else coming in week to week. And that didn’t happen on Deep Space Nine. The cast was very welcoming and generous. I think that speaks very highly of the producing team who put the show together. And, it certainly fits with the heart of the show. So it was really a blessing.

Venables: Do you think you learned from watching Armin and Avery and the other cast members? How did that influence your craft and enhance your own process?

Masterson: I do. I really loved the daily process at work. Even after a ten or eleven-hour day, I would stay and watch the scenes after mine, because just being there was an education. And, seeing these actors who had done this work for so long, there’s just a certain amount of it that just rubs off on you, so being the new kid on the block was a great thing among this very experienced cast.

Venables: What was your most favorable memory about being onDeep Space Nine?

Masterson: There are so many amazing memories, but I think the most powerful and profound is on the final day of shooting. We were all having lunch together on a sound stage. Usually everyone went to their trailer or the commissary. But that day we all gathered in one place. And even those cast members who were not in the final episode were there, just to be together for one last time. And the co-executive producer, Ira Behr, got up, and he actually climbed half-way up the wall of the scaffold so that everyone could see him. And he told us, with tears in his eyes and his voice, how much it meant to him to be a part of this show. And I tell you, there wasn’t a dry eye in the house. We loved working with him and with each other. And for a man like Ira, who was truly the heart and soul of Deep Space Nine, along with Michael Piller, who unfortunately passed away — for a man like that to say such generous and humble things about his experience, it was extremely profound. And we were all so grateful beyond words. We knew what we had when we had it. Deep Space Nine was a bit of a Camelot, because a show like that, in that way, taking those risks, can never happen again. It was a groundbreaking show to be a part of, because it was serialized drama on television which had never really happened to that extent. And because Ira and his team took that risk, we knew we were creating something – unique. Continue reading “Chase Masterson On Learning Her Craft On The Set Of Deep Space Nine, The Ministry of Acting And Her Doctor Who Spinoff”

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The Mouse House: Lofty ‘Home Studio’ With A Big Sound

By:  / Sonic Scoop Jun2 12, 2016

ALTADENA, CA: Monday morning at 11am is a great time to maneuver around L.A. The freeways leading in and out of the city are abnormally empty, rocketing me from downtown to Pasadena in under 20 minutes. From there it’s about another ten minutes straight up into the hills of Altadena.

The lights turn to stop signs and the hum of freeways and a bustling work week fade into a quiet street where no one would expect to find a world class recording studio. Cell phones struggle to get one bar, neighbors garden with straw sun hats and from the outside, The Mouse House looks like any other residential home. Once inside, your footsteps gently reverberate as your eyes adjust to a two-story-high live room filled with vintage music and audio gear. As you move around the house, it’s clear that this studio is a strategically planned culmination of years of hard work, patience, audio science and creativity.

On one of the few days of LA rainfall, back in 2000, engineer/producer Rich Mouser(Corrosion of Conformity, Spock’s Beard, Chris Cornell) headed up into the hills to take a look at a house for sale. He had recently moved his entire studio into his house, an awkward and highly temporary setup. His former studio was a rental and after ten happy years there, he received notice that he had one month to find a new place. After endless searches for commercial studio space, Rich was finding only overpriced and underwhelming spots.

So, he decided to look into buying a house and converting it into the ideal studio.

The main requirement was a really high ceiling.

DIY recording was already on the rise but Rich knew that people would always want a space to track drums, or for that matter anything that required a great open live room.

After asking his realtor for anything with high ceilings – quite literally, regardless of condition – the realtor remembered hearing of a really “weird, totally funky place” in bad condition.

As Rich walked in for the first time, a sea of buckets greeted him, doing their best to capture the falling rain in a near-condemned house. The walls were unfinished drywall, the floor cement. Weeds clung to scratch stucco on the outside. The previous owner passed away before he could finish, leaving the house abandoned and in an ever-increasing state of disrepair.

Standing under the cathedral style, 35-foot ceilings, Rich clapped his hands.

“I thought, oh my god, it’s like ‘When The Levee Breaks.’ If you want ‘When the Levee Breaks’ drums, this is the room for it. This is incredible. So I did the calculations on the spot…and thought, I really think I can make this place happen.”

With three days left in the auction, Rich put in his bid, and won.

DIY BUILD-OUT & UP

With a new mortgage and the task of not just converting but totally renovating, Rich didn’t have much left over for high price studio construction. A few companies bid on just building and treating the control room. With estimates between $80-$100K, he put his faith in his own abilities and set to work learning all he could about studio construction.

“I read a lot about sound proofing. And really luckily, I was at Rumbo Recorders doing a tape transfer and they happened to have a core sample of their wall. So I grabbed that and studied it – I pretty much totally copied the design of their wall.

“I did a lot of it myself, and with a crew from Home Depot. I found a couple of guys I could rely on. I would get up at 6 in the morning, go to Home Depot, get all these supplies, bring it up to the guys, get them going on the day’s task. Then I would go back to my house and record and then take a lunch break, drive back up here to check on them and then drive back to my house and keep working. That was the process for about 8 months to a year.”

And after two years, the studio was finished. The final product is a phenomenal sounding space complete with unique touches, like a cat walk encompassing the perimeter of the live room, at first only crossable via a 2×12 plank of wood. It’s now home to various pieces of gear, from amps to plate reverbs, Moogs and of course room mics. Even such small details as the paint used in the live room show tremendous attention to detail, a creative flare and a determined work ethic that is visible as well as audible.

“The walls are drywall but I used this textured paint that has sand in it. It gives it a rough texture so it’s not just totally flat. The floor is still concrete. The ceiling is tongue and groove wood at an angle – starts at 35 feet and drops down to about 25 feet.

“And there are so many weird angles in this room. Trying to sound proof it was a nightmare. There were all these windows that I had to cover up – with drywall and air spacing. I’d put drywall over the windows – three layers: drywall, soundboard, drywall. Then I’d put a 2×4 so there’d be air space of a couple of inches and then put another three layers of stuff on top of that. And some of those windows were up at the very top – 35ft high. So I’m in this scissor lift that only goes up to 25ft, on a ladder. I’m holding this piece of drywall up there, trying to screw it in thinking ‘Please don’t let there be an earthquake right now.’ Caulk, mud, stagger – and if you’re off by just a little, you have to go all the way down, move it over an inch then all the way back up.”

The only thing that Rich didn’t treat was the ceiling. When confronted with the idea of trying to soundproof the crown jewel of his studio, Rich decided to wait and see if the sonically open ceiling was a problem. After ten years, it isn’t.

ROOM, GEAR, VIBE, ROOM

Far from being a problem, in fact, the lofty ceilings of The Mouse House have lent their tone to many instruments, and artists, not just drums: Chris Cornell, Joe Holmes of Ozzy Osbourne, Josh Freese, Chris Vrenna, Robert Trujillo, Tears for Fears, Oleander, Spock’s Beard, Weezer and more.

Original Source:

http://www.sonicscoop.com/2013/06/12/the-mouse-house-lofty-home-studio-with-a-big-sound/

 

 

 

 

 

 

 

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