Quotes about bass

A collection of quotes on the topic of bass, play, likeness, player.

Quotes about bass

“What I do when I write is that I'll do a raggedy, rough version just to hear the chorus, just to see how much I like the chorus. If it works for me that way when it's raggedy, then I'll know it will just work… Listen to that, that's at home. Janet, Randy, Me… Janet and I are going "Whoo, Whoo… Whoo, Whoo…" I do that same process with every song. It's the melody, it's the melody that's most important, If the melody can sell me, then I'll go to the next step. The idea is to transcribe from what's in your mentality onto tape. If you take a song like "Billie Jean," Where the bass line is the prominent, dominant piece, the protagonist of the song, the main driving riff that you hear, getting the character of the riff to be just the way you want it to be, that takes a lot of time. Listen, you're hearing four basses on there, doing four different personalities, and that's what gives it character, but it takes a lot of work.”

Michael Jackson (1958–2009) American singer, songwriter and dancer

On listening to an early version of Billie Jean on an iPhone
Ebony interview (2007)

Way, Home, Idea, Time

“We're [the Red Hot Chili Peppers] jamming and that works really well. We don't talk much about songs or how songs should be constructed. We just start to play and see what happens, how they develop. We improvise a lot. We find a groove. We experiment and somehow it turns into music. The Koreans have influenced us a lot, through their loving attitude, evil dictatorship, and funky bass playing.”

Flea (musician) (1962) American musician

Quoted from NYRock Red Hot Chili Peppers Interview http://www.nyrock.com/interviews/rhcp_int.htm

Love, Music, Evil

“Nothing beats 2 guitars, drum and bass.”

Lou Reed (1942–2013) American musician

In the liner notes of New York

“The sounds of junk culture are heard over a ground bass of extremism. Our entertainments swarm with specters of world crisis. Nothing moderate can have any claim to our attention.”

Saul Bellow (1915–2005) Canadian-born American writer

"A Second Half Life" (1991), p. 326
It All Adds Up (1994)
Context: Much of junk culture has a core of crisis — shoot-outs, conflagrations, bodies weltering in blood, naked embracers or rapist-stranglers. The sounds of junk culture are heard over a ground bass of extremism. Our entertainments swarm with specters of world crisis. Nothing moderate can have any claim to our attention.

World

“I would say the best moment of all was when I caught a 7.5 pound largemouth bass in my lake.”

George W. Bush (1946) 43rd President of the United States

Revealing his "best moment since he took office in 2001" to a German newspaper reporter, Bild am Sonntag. http://news.bbc.co.uk/2/hi/americas/4982338.stm (May 7, 2006) 2000s, 2006

“So Mr. Bass why do you think you should become an Usher?" asked the interviewer. Chuck smiled.

Because I'm Chuck Bass.”

Cecily von Ziegesar (1970) American writer

Source: Would I Lie to You

Smile, Thinking

“Prince or commoner, tenor or bass,
Painter or plumber or never-do-well,
Do me a favor and shut your face -
Poets alone should kiss and tell.”

Dorothy Parker (1893–1967) American poet, short story writer, critic and satirist

Source: The Collected Dorothy Parker

Kiss

“If his voice hasn't been the melody of my life, it's been the bass line, so subtle you don't notice it until it's missing.”

Jodi Picoult (1966) Author

Source: Vanishing Acts

Life

“I'm Chuck Bass.”

Cecily von Ziegesar (1970) American writer

“Each jazz musician when he takes a horn in his hand — trumpet, bass, saxophone, drums — whatever instrument he plays — each soloist, that is, when he begins to ad lib on a given composition with a title and improvise a new creative melody, this man is taking the place of a composer.”

Charles Mingus (1922–1979) American jazz double bassist, composer and bandleader

What Is A Jazz Composer? (1971)

“The freedom of improvising over a bass line disappeared from music only in the 19th century, and we're still paying for it. There's a culture among classical musicians of being passive, and it stems from following the notes, rather than one's own instincts.”

Joanna MacGregor (1959) British musician

The Times, 15/12/1998
On Classical Music

Music, Freedom

“I was playing drums, and I had broken my wrist very bad playing football, and the bass player in the band… he wanted to split. So I just went to the bass; I went from Drums over to Bass. That was it. I was playing the bass within a week.”

Jaco Pastorius (1951–1987) Musician, producer, educator

On how he switched from drums to bass
Modern Electric Bass, Jaco Pastorius (1985)

Football

“All things are connected with all things throughout the universe, from the insect to the archangel; from the sand-grain to the mountain and the globe; from the dew-drop to the ocean; from the rain-drop to the rainbow; from the pebble on the shore to 'the sun that blazes in the firmament; from the zephyr that sings among the flowers of the field to the ocean that pours its wild bass in the great anthem of nature. Not only are all things connected with all things, but there is a concatenation of events, so that the character and effects of no one event can terminate in itself. As each event owes some portion of its nature to that which preceded it, so it imparts some of its nature to that which succeeds it, and thus perpetuates the blended good or evil of itself and its predecessors. The single event may thus live on in its influence along the line of all the ages, assuming new shapes, or if clothing itself in the drapery of new events, ever marching onward and upward in the continually growing affairs of time.”

John Lanahan (1815–1903)

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 611.

Age, Mountain, Flowers, Nature

“About the cover of "The world wont’ listen"
It represents the band to me. On the front you've got four guys who look like, if not the band, then Smiths fans. On the back you've got the female side of it - individually they really look like the Smiths: Morrissey on the far right, me on the second right, Andy [Rourke, bass] on the second left and Mike [Joyce, drums] on the far left. To find a picture like that is really clever. We didn't discuss it, but I understood.”

Johnny Marr (1963) musician

from "The 100 best record covers of all time", Q (June 2001).

World, Guy

“We are touring the Ozarks. Here is an abandoned field in which the ragweed is sparse and short. Does this tell us anything about why the mortgage was foreclosed? About how long ago? Would this field be a good place to look for quail? Does short ragweed have any connection with the human story behind yonder graveyard? If all the ragweed in this watershed were short, would that tell us anything about the future of floods in the steam? About the future prospects for bass or trout?”

Aldo Leopold (1887–1948) American writer and scientist

"Natural History: The Forgotten Science" [1938]; Published in Round River, Luna B. Leopold (ed.), Oxford University Press, 1966, p. 62.
1930s

Future

“When the pots containing two worms which had remained quite indifferent to the sound of the piano, were placed on this instrument, and the note C in the bass clef was struck, both instantly retreated into their burrows.”

Charles Darwin book The Formation of Vegetable Mould through the Action of Worms

Source: The Formation of Vegetable Mould through the Action of Worms (1881), Chapter 1: Habits of Worms, p. 28. http://darwin-online.org.uk/content/frameset?pageseq=43&itemID=F1357&viewtype=image

Indifference

“I’ll follow the reedy tenor of his excuses and blast them with the bellowy bass of irrefutable logic!”

Robert Sheckley book Dimension of Miracles

Source: Dimension of Miracles (1968), Chapter 4 (p. 33)

“It started out — my mom and dad took a little vacation to Mexico and they left $250 for food. But instead of food we went and bought some instruments. We got a bass, guitar and a set of drums. … I was 19. Dennis was 15. Carl was 17. Mike was 18. Al was 19. And so we wrote a song called "Surfin'" in my living room. We were all playing and singing and Mike and I wrote a song called "Surfin'" and that's how it all started.”

Brian Wilson (1942) American musician, singer, songwriter and record producer

CNN interview (2004)

Food, Moms, Singing

“Baritone Vytautas Juozapaitis was perfectly full of himself as Don Giovanni. His hilarious interactions with sidekick Leporello, played by the animated bass-baritone Stefano de Peppo were the highlights of the show.”

Vytautas Juozapaitis (1963) Lithuanian opera singer

"Mozart Company proves opera can be fun", The Star Presss (November, 2004) http://www.jennykellyproductions.com/prod_mozart_review.htm

Animals

“Roger: Well, because you’re guaranteed to see Buddy make some funny faces, you’re guaranteed that Chris will say something that is sort of out of line or inappropriate, and I’m gonna play a bunch of fuckin’ really fast bass licks, it’s gonna be great.”

Roger Manganelli (1973) American musician

“Engvall and his buddy get off a boat with a big string of bass.
On-looker: You catch all them fish?
Engvall: Nope, talked 'em into givin' up. Here's your sign.”

Bill Engvall (1957) American comedian and actor

Here's Your Sign Reloaded (2003)
Here's Your Sign

Fish

“[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting”

Paul Klee (1879–1940) German Swiss painter

Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph 1911 - 1914

Color, Drawing, Painting

“Ever since I was a little girl, I felt that I wanted to be of service here on the earth: I felt that was my job somehow. And whatever I was going to do, I was going to find a way to do that. And so, as I got a larger audience -- a broader audience worldwide, and more and more people were listening to me -- it became important for me to share that thought. And the song "Get on Your Feet" -- which I didn't write, it was written actually by my guitar player, bass player and keyboardist... They knew how I felt. [They knew] what my thoughts were... So although it was written before my accident, it was thrown back at me so many times... But that really is my motto. I look always forward. I look ahead. And that's why I chose to record that song, because I really loved the message. Then "Coming Out of the Dark," which came on the heals of that accident and my rehab, and the incredible love that I felt from everyone worldwide that helped me through that difficult moment when I broke my back in 1990, is a big thank you to my fans -- and an expression of how ultimately we are here for each other to help one another. And the strength of prayer... That's why I say I know the love that saved me, you're sharing with me. We do have the power to save one another... And I wanted to thank everyone for being there for me.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

iTunes interview (released June 2, 2007)
2007

Love, People, Way, Girl

“Scotty and I became good friends. We had an immediate musical rapport that was sensational. We did a lot of listening and talking. Besides technique, he had governing, control. I think he was the first bass player who was fleet-footed in the musical sense.
[…]
What a trauma! It struck me right down—that someone I was developing such a relationship with would suddenly not be there.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

On bassist Scott LaFaro and his premature demise, as quoted in Jade Visions: The Life and Music of Scott LaFaro https://books.google.com/books?id=KnTSqVu9Zr4C&pg=PA67&dq=%22Clare+relates%22+intitle:Jade&hl=en&sa=X&ved=0CBQQ6AEwAGoVChMI-9Dphf_kxgIVCGk-Ch3DaQiT#v=onepage&q=%22Clare%20relates%22%20intitle%3AJade&f=false (2009) by Helene LaFaro-Fernandez, pp. 67-68

Music, Thinking, Sense

“I wasn't motivated to do it [re-record Bach's Goldberg Variations] until rather recently, when it occurred to me, on one of my rare relistenings to that early recording, that it was very nice, but that it was perhaps a little bit like thirty very interesting but somewhat independent-minded pieces, going their own way, and all making a comment on the ground bass on which they are all formed and to which they all conform. And I suddenly felt, not having played it in, well, since I stopped playing concerts, about 20 years, having not played it in all that time, that maybe I wasn't savaged by any over-exposure to it, and that if I looked at it again, I could find a way of making some sort of almost arithmetical correspondence between the theme and the subsequent variations, so that there would be some sort of temporal relationship, I don't want to say just exactly 2, 4, 8, 16, 32, that kind of correspondence, but, you know what I mean, there would be a sense in which, substituting for the fact that Bach had absolutely no melodic design that is continuous but rather a base harmonic design that is continuous, there would be at least a rhythmic design that is continuous, and the sense of pulse that went through it. And that seemed to me sufficient justification […] to do it all over again.”

Glenn Gould (1932–1982) Canadian pianist

transcribed from The Glenn Gould Collection vol 13 (Sony laserdisc).

Way, Motivation, Sense, Time

“Roger: Let's see.. Chris and Vinnie knew each other in high school and were in bands and then moved to Gainesville, Florida for college. I moved to Gainesville, Florida for college. And then Chris had a party and I told him I played guitar. Which I played guitar at that time. And he said you should come and play guitar then I went to practice with a guitar and then they're like, "Oh, by the way, we're going to be kicking out our bass player - would you mind playing bass?" I said OK. So I went out and bought a bass and that was in '92. And that's how it started. Then we started getting into the horn player thing. Shuffled a few horn players over the years but it's been the same main four guys the whole time.”

Roger Manganelli (1973) American musician

School, Way, Guy, Time

“I've only had three idols in my life. Johnny Unitas, the quarterback for the Colts, Richard Nixon, and Chris Squire, the bass player for Yes-Squire being my number one. My love, fascination and devotion for Chris Squire is deep. The pain of my whole childhood was sedated by listening to Yes, King Crimson, and Genesis records. And now here I am, 25 years later, and my Yes obsession is the only thing I haven't outgrown.”

Vincent Gallo (1961) American film director, writer, model, actor and musician

Filmmaker Magazine Interview

Love, Life, Pain, Childhood

“You don't necessarily have to have talent, you can just get up and do something and see where it takes you. I always tell girls who say they want to start a band but don't have any talent, well, neither do I. I mean, I can carry a tune, but anyone who picks up a bass can figure it out. You don't have to have magic unicorn powers.”

Kathleen Hanna (1968) American musician and feminist activist

The original riot grrrl on Katy Perry, '90s revival http://www.cnn.com/2011/SHOWBIZ/Music/06/07/kathleen.hanna.documentary/, CNN (2011).

Girl

“I'm here touring with my latest record, Bass Generation. I produced and wrote all the songs, and I was really focused and wrote all the lyrics from the bottom of my heart. Each song is different, but if people listen they'll know it's a Basshunter song.”

Basshunter (1984) Swedish singer, record producer and DJ

Colorado Daily interview with Wendy Kale (5 April 2010) http://www.coloradodaily.com/music-news/ci_15016085 Bass Generation

People, Heart

“After a considerable walk through the forest, where I became acquainted with several of the little lakes I am so fond of, I came to Hestehaven and Lake Carl. Here is one of the most beautiful regions I have ever seen. The countryside is somewhat isolated and slopes steeply down to the lake, but with the beech forests growing on either side, it is not barren. A growth of rushes forms the background and the lake itself the foreground; a fairly large part of the lake is clear, but a still larger part is overgrown with the large green leaves of the waterlily, under which the fish seemingly try to hide but now and then peek out and flounder about on the surface in order to bathe in sunshine. The land rises on the opposite side, a great beech forest, and in the morning light the lighted areas make a marvelous contrast to the shadowed areas. The church bells call to prayer, but not in a temple made by human hands. If the birds do not need to be reminded to praise God, then ought men not be moved to prayer outside of the church, in the true house of God, where heaven's arch forms the ceiling of the church, where the roar of the storm and the light breezes take the place of the organ's bass and treble, where the singing of the birds make up the congregational hymns of praise, where echo does not repeat the pastor's voice as in the arch of the stone church, but where everything resolves itself in an endless antiphony — Hillerød, July 25, 1835”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

1830s, The Journals of Søren Kierkegaard, 1830s

Men, God, Beauty, Bird

“O Beer! O Hodgson, Guinness, Allsop, Bass!
Names that should be on every infant's tongue!
Shall days and months and years and centuries pass,
And still your merits be unrecked, unsung?
Oh! I have gazed into my foaming glass,
And wished that lyre could yet again be strung
Which once rang prophet-like through Greece, and taught her
Misguided sons that "the best drink was water."”

Charles Stuart Calverley (1831–1884) British poet

Beer, from Verses and Translations (1862).

Drink, Beer, Water

“It looked queer to me to see boxes labeled 'His Excellency, Jefferson Davis, President of the Confederate States of America'. The packages so labeled contained Bass ale or Cognac brandy, which cost 'His Excellency' less than we Yankees had to pay for it. Think of the President drinking imported liquors while his soldiers were living on pop-corn and water!”

David Dixon Porter (1813–1891) United States Navy admiral

Drink, Thinking, Water, Box

“I'm gonna take a wild guess—I think that was Buddy DeFranco, and possibly the Glenn Miller Orchestra. The band strikes me as an enigma, in that, first of all, some interesting harmonic things are happening as far as the individual voicings are concerned, but yet it's played in an older, tighter fashion. For instance, the bass player, if there are chord changes happening every two beats, plays the root for two beats, then the next root for two beats—that type of sound. The harmony, especially in the opening part where the theme is established, is a lot more modern than that kind of band would normally sound. I think that they're playing that way to keep that Miller identity, with that rhythmic tightness”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Reviewing DeFranco's arrangement of Billy Strayhorn's "Chelsea Bridge", from the album Glenn Miller Orchestra Under the Direction of Buddy DeFranco; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#2nmgk677qzm4cnu by Leonard Feather, in Downbeat (October 19, 1967), p. 38

Way, Fashion, Thinking, Change

“.. Your Lordship [Dartmouth], I am sure, will be sensible of the dress thus far, but I defy any but a painter of some sagacity (and such you see I am, my Lord) to be well aware of the different effects which one part of a picture has upon another, and how the eye may be cheated as to the appearance of size, &c., by an artful management of the accompaniments. A tune may be so confused by a false bass that if it is ever so plain, simple, and full of meaning it shall become a jumble of nonsense, and just so shall a handsome face be overset by a fictitious bundle of trumpery of the foolish painter's own inventing.... Lady Dartmouth's [second/repainted] picture will look more like and not so large when dressed properly..”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Quote from Gainborough's letter to Lord Dartmouth, 18 April 1771, after critic on the first portrait he made of Lady Dartmouth; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 74 1770 - 1788

Art, Appearance, Parting, Cheating

“He loved hitherto-unthought-of, thereafter-unthinkable combinations of instruments. When some extraordinary array of players filed half-proudly, half-sheepishly on to the stage, looking like the Bremen Town Musicians—if those were, as I think they were, a rooster, a cat, a dog, and a donkey—you could guess beforehand that it was to be one of Gottfried’s compositions. His Joyous Celebration of the Memory of the Master Johann Sebastian Bach had a tone-row composed of the notes B, A, C, and H (in the German notation), of these inverted, and of these transposed; and there were four movements, the first played on instruments beginning with the letter b, the second on instruments beginning with the letter a, and so on. After the magnificent group that ushered in the piece (bugle, bass-viol, bassoon, basset-horn, bombardon, bass-drum, baritone, and a violinist with only his bow) it was sad to see an Alp horn and an accordion come in to play the second movement. Gottfriend himself said about the first group: “Vot a bunch!””

Randall Jarrell book Pictures from an Institution

When I asked him how he had thought of it he said placidly: “De devil soldt me his soul.”
Source: Pictures from an Institution (1954) [novel], Chapter 4: “Constance and the Rosenbaums”, p. 136

Love, Sadness, Dogs, Soul

“On the artist, Charley Patton, who changed him: What happened was I was going out on a Saturday night, so I went into my mam’s bedroom, she’s got a double mirror, really kitsch 50s. So I’m in there, doing that, and she’s got an old alarm clock where the radio comes on, but she never learned how to do it properly. And it came on. […] I remember it was ten past three in the afternoon and it was winter, it was getting dark, and it was when the BBC had just started doing Telstar live things from America. It was some station in Memphis - one of those classic names, ‘RK 51’ or whatever. […] On it came and there’s this record. The satellite thing was a bit cloudy and it was a 78 record and there was compression on the radio, so it was this strange kind of musical blur with this voice coming through: Charley Patton. […] On that night I told the bass player of one of the local bands that I’d heard this record and it sounded weird, it sounded like a violin. He said, ‘No, it’s not a violin, it’s a slide guitar.’ I thought, ‘What’s one of them?”

Chris Rea (1951) English singer-songwriter

2017

Music, Learning, Winter, Change

“The greatest credit for the evening's success must be given to the rich-voiced Juozapaitis as Giovanni, and bass-baritone Stefano de Peppo as… Leporello.”

Vytautas Juozapaitis (1963) Lithuanian opera singer

Boston Herald (September 25, 2003)

Success

“My cousin came over to my house one day just to fool around and we said — he said, some day we should start a rock n' roll group. We could all get together. And I said, I know I guy named Al Jardine who plays bass and could probably sing good. You know. So we went from there.”

Brian Wilson (1942) American musician, singer, songwriter and record producer

CNN interview (2004)

Fools, Guy, Singing, Housing

“He had that spooky bass voice meant to announce that he had entered the kingdom of manhood, but Rosalie knew that he was still outside the gates.”

John Cheever book The Wapshot Chronicle

The Wapshot Chronicle (1957)

“I'm about as Nordic and Germanic looking as they come. It doesn't matter whther I'm skinny or fat. I'm just that way. So, there have been dates: for instance, the date that I first met Alex Acuna, Luis Conte, Alfredo Rey, Sr., Alfredo Rey, Jr., Cachao, the Cuban bass player. I mean, all of these people. The night I met them, on a recording date, I was there with a bunch of Cubans and I walked in, and at first, before we recorded the music, they were all standing around, hanging out. And of course I wanted to join, so I went over and started joining in. Now my Spanish certainly is not street Spanish, it's book-learned Spanish. And Cubans speak a patois all their own, and I could tell, when I first was speaking there, you know, they kept saying, "Well, he's speaking our language, but he certainly doesn't sound like us; he's still an outsider. Maybe not as much an outsider as he was before." And yet, what really happens is that, by the time we start playing, then I felt like somebody gives my visa a stamp. You know, on the passport. Because at that point, suddenly I start getting smiles from people, and different things, and that's an experience which happens over and over and over.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Radio interview, circa 1985, by Ben Sidran, as quoted in Talking Jazz With Ben Sidran, Volume 1: The Rhythm Section https://books.google.com/books?id=O3hZDQAAQBAJ&pg=PT461&lpg=PT461&dq=%22there's+no+way+you+can+cut+it+any+different%22&source=bl&ots=vkOwylF67i&sig=RdKDS4QiEbLIoTYKWEL4j103DPM&hl=en&sa=X&ved=0ahUKEwizzcm_38bRAhXF4yYKHWktCS8Q6AEIFDAA#v=onepage&q&f=false (1992, 2006, 2014)

People, Books, Smile, Music

“I heard Edwin Fischer, who did not mean much to me. I heard another pianist in Berlin who had a big success and I thought he was awful — Mischa Levitzki. Just fingers, and you cannot listen only to fingers. There is a difference between artist and artisan. Levitzki was an artisan. But Ignaz Friedman, who I admired, was a great artist. He had wonderful fingers and a very personal, individual way of playing, even if some of his ideas were very strange to me. He had no hesitation touching up the music. I got annoyed with him at one concert when he changed the basses in Chopin's F minor Ballade. I didn't like that. For some reason he was happier making records than he was on the stage.”

Vladimir Horowitz (1903–1989) American classical pianist and composer

quoted in Harold C. Schonberg, Horowitz: his life and music

Music, Way, Idea, Change

“As a sleuth you are poor. You couldn’t detect a bass-drum in a telephone-booth.”

P.G. Wodehouse (1881–1975) English author

The Man with Two Left Feet (1917)

“Producers like Organized Noize mix samples and live instruments really well, but for me, it almost feels like a cop-out, because I'm a collage artist. It's like, 'Damn, if only I could find this one part. Well, maybe if I just had somebody paint it, and then I'll put it out.' That almost feels like cheating. Lots of times, I have trouble finding bass lines, because it's not very often on a record that there are good open bass lines. Sometimes I wish I could just have somebody come in and do what I want him to do on a bass line. It would be so easy. But what I do just keeps things much more challenging, I guess.”

DJ Shadow (1972) American trip-hop musician

http://en.wikipedia.org/wiki/Sampling_%28music%29
On Sampling

Feeling, Time, Parting, Painting

“Much of the music is a Merzbild, put together from whatever came to hand. I mean, for example…the Alberti-bass horn solo accompanying the Messenger. I also mean the fusion of such widely divergent types of music as the Folies Bergeres tune at No. 40 ('The girls enter, kicking') and the Wagnerian 7th-chords at Nos. 58 and 74.”

Igor Stravinsky (1882–1971) Russian composer, pianist and conductor

Source: Themes and Conclusions (1982), p. 27: Dialogues.

Music, Girl

“In the piano writing of the Romantic generation of the 1830s, in fact, a fully pedalled sonority becomes the norm: the piano is expected to vibrate fairly constantly, and an unpedalled sonority is an exception, almost a special effect. Furthermore, the phrase is now shaped at least partially by changes in this full vibration. The change of pedal is crucial to the conception of rhythmic movement and to the sustaining of the melodic line over the bass.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

Change

“One of the most common failings [when writing a drum track] is repetition. Nobody wants to hear that same stupid 16-line bass-snare pattern throughout the WHOLE song. Didn't your mother ever teach you that variety is the spice of life?”

Andrew Sega (1975) musician from America

"Melodic Structure", Necros, TraxWeekly #15, 1995

Life, Stupidity

“It's who I am. Put somebody else's comfort ahead of my own? Go hop in a toilet to spare somebody else's feelings? That's the kinda thing you do, fella. You got everything bass ackwards. And look where it's landed you.'
'Other people ought to have more consideration.'
'You oughtta have less. Me personally, I am opposed to all strictures. If you feel it, let it rip. If you want it, go for it. Dude's gotta put his own interests first.”

Jonathan Franzen book The Corrections

The Corrections (2001)

People, Feeling, Personality

“Playing bass for Metallica is like having free speech in Cuba.”

Robert Trujillo (1964) American bassist known for his role as the current bassist of Metallica

Unsourced

“Actually I don't. I've never played with a bass player before, so I wouldn't even know. It wouldn't feel like it's missing, I just think it's normal … I prefer it that way so I only have to concentrate on Jack.”

Meg White (1974) American musician

When asked does she miss having a bass player in the band Loder, Kurt (date unknown). "The White Stripes - At the Zoo with Kurt Loder" http://www.mtv.com/bands/w/white_stripes/news_feature_060603/ MTV.com (accessed June 6, 2006)

Way, Feeling, Thinking

“Roger: It’s exciting to play new songs live, we’ve been playing “Summon Monsters” and that’s on the new record it’s fast and got some fun fast quick bass licks that are fun to play so that’s a fun one to play live. Been getting off on that lately, and I think “Conviction Notice” is super solid live and the horn line is great. It’s fun to play new songs.”

Roger Manganelli (1973) American musician

Thinking

“With whisper of her mellowing grain,
With treble of brook and bud and tree,
Earth joys for ever to sustain
The bass eternal of the sea.”

Roden Noel (1834–1894) English poet

"Beatrice", in Beatrice, and other Poems (1868).

Tree, Joy, Sea

“I had an upright — it took me years and years to get enough bread to get it… I'm from Florida, so one morning I woke up, go in the corner and the bass is in a hundred pieces, cause the humidity is so bad, I mean, the upright just blew up. I said forget it, man, I can't afford this any more. So I went out, got a knife and took all the frets out of my Fender. That was it.”

Jaco Pastorius (1951–1987) Musician, producer, educator

Quoted in Michele Norris, "Jaco Pastorius: 20 Years Later," http://www.npr.org/templates/story/story.php?storyId=14578299&sc=nl&cc=mn-20071007 NPR: All Things Considered (2007-09-21)

Forgetting

“The folksong collectors Bartok (Hungary) and Plicka (Czechoslovakia) notated the perceived interval deviations with a plus or minus sign (+,-). Older folksong collectors had notated all the intervals in the system of semitones, not observing the finer modifications of intervals. This first gained currency from the phongraph and tape recordings of folk music from various lands…. From folksong I learned to perceive melodic intervals a little smaller or greater than those of the semitone-system…. In my youth it often happened that the folk singers, who during the intermissions of dance festivals sang songs of "their kind," deviating from the semitone system, demanded that the first violinist of the Wisowitzer Kapelle play "their" melody just as they sang it. Once a tempermental singer threatened to strike the double-bass player with a beer mug if he didn't "play along" with the song, exactly as he sang it.”

Alois Hába (1893–1973) Czech music educator and composer

Mein Weg zur Viertel- und Sechsteltonmusik (1971) Düsseldorf: Verlag der Gesellschaft zur Förderung der systematische Musikwissenschaft, 12, 14; translated by and printed in Modernism and Music: An Anthology of Sources(2004) by Daniel Albright ISBN 0226012670 .

Youth, Music, Beer, Learning

“Since suffering a concussion eight years ago, I find my inside emotions are right to the front and as such, when I heard that Antonio Carlos Jobim had died in December of 1994 I was much affected, I experienced happenings like no other time in my life. While sleeping one night, I dreamed that I was conducting a recording session with strings in Brazil and we were performing Jobim's "Corcovado," except that besides thje melody and harmony, there was polyharmonic bass line. As I awakened from this dream, I went to my piano and wrote down what I had dreamed.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Explaining the genesis of the track "Corcovado Fúnebre" in the liner notes from Clare Fischer's Jazz Corps

Life, Dreams, Sleep, Suffering

“The "music of decline" had sounded, as in that wonderful Chinese fable; like a thrumming bass on the organ its reverberations faded slowly out over decades; its throbbing could be heard in the corruption of the schools, periodicals, and universities, in melancholia and insanity among those artists and critics who could still be taken seriously; it raged as untrammeled and amateurish overproduction in all the arts.”

Hermann Hesse book The Glass Bead Game

The Glass Bead Game (1943)

School, Art, Music, Universe

“I’ve gotten kicked in the face, got my nose broken, I’m constantly chipping teeth and there’s been a lot of very close calls with Hunter [the band’s bassist]. In a recent show, if our movement had’ve been inches different, I might be dead. I almost caught his bass to my head at full velocity. You laugh but it’s really scary.”

Davey Havok (1975) American singer

Southern Courier, February 2010 http://southern-courier.whereilive.com.au/lifestyle/story/body-on-the-line/

Dead

“I've got one thing to say about being the bass player … I didn't want the role of being Entwhistle or Bill Wyman, stuck in the background. That's too depressing and if that was what I'd been offered with The Clash I would've turned it down. Maybe that's the nature of the job, or has been in the past; the bass player as the one that held the fort, so to speak, along with the drummer, letting every body else go lunatic.
But, y'know — why can't we all be lunatics?”

Paul Simonon (1955) English musician (Bass guitarist, vocalist, songwriter) and visual artist

As quoted in Bassist magazine (October 1999) http://web.archive.org/20040430171029/www.geocities.com/thewhiteriot/Excerpts.html

Nature, Past

“He had developed his own limited, or very simple style. He was never very keen on improving himself as a bass player and half the time I would play bass on the records because I would tend to do it quicker. Right back to those early records; I mean, at least half the bass on all recorded output is me anyway. … Rog used to come in and say, "Thank you very much" to me once in a while for winning him bass-playing polls.”

David Gilmour (1946) guitarist, singer, best known as a member of Pink Floyd

On Roger Waters, as quoted in Rock Compact Disc (September 1992)

Time

“"Grigory Petrovitch, let us weep, let us weep with joy!" he said in a thin voice, and then at once burst out laughing in a loud bass guffaw. "Ho-ho-ho! This is a fine daughter-in-law for you too! Everything is in its place in her; all runs smoothly, no creaking, the mechanism works well, lots of screws in it."”

Anton Chekhov book In the Ravine

Source: In the Ravine (1900), Ch. 3, pp. 193-4

Law, Joy, Daughters

“Chopin's exquisite ear saved him from the ugly repetition of thick chords in the bass that frequently disfigure the work of Mendelssohn, Weber, and Hummel—and even of Field.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

“I took the frets out of my bass after I was getting into jazz a lot and I wanted to have that upright sound.”

Jaco Pastorius (1951–1987) Musician, producer, educator

On why he played a fretless bass
Modern Electric Bass, Jaco Pastorius (1985)

“I'll have ten grams of rice, Mrs. Bass interrupted, one tenth of a hectogram of shrimp vindaloo, a dekagram of chana aloo masala, one thousand centigrams of tandori salmon, four samosas with surface area of nineteen cubic centimeters, five deciliters of mango lassi, and a sada rava dosai that's exactly nineteen centimeters long.”

Daniel Handler book The Penultimate Peril

page 134.
The Penultimate Peril (2005)

“And so I'd dream a bass will join me,
and fill the bottom in. And maybe now some lead guitar
so it would not sound so thin.
I need some drums to set the beat
and help me keep in time.
And way back in the distance,
some strings would sound so fine.”

Harry Chapin (1942–1981) American musician

Six String Orchestra
Song lyrics, Verities & Balderdash (1974)

Dreams, Way, Time, Help

“I'm really interested in the harp as a fully actualized, self-contained way of presenting songs. That there is a bass in the harp - there is a way to create a rhythmic sense without drums - there's a way to have all sorts of textural variations and expressive variations.”

Joanna Newsom (1982) American musician

Sunday Service, 13 December 2004
Context: I'm not terribly interested in playing harp on other people's music right now. Partly because I feel like many people view the harp as this kind of gimmick. You know, like they have songs that are fully realized, complete songs, and then they think "How do we make this special? - Ooh, let's bring the harp in!" and they kind of want a harpist to play a glissando and play some heavenly noise in the background. I'm really interested in the harp as a fully actualized, self-contained way of presenting songs. That there is a bass in the harp - there is a way to create a rhythmic sense without drums - there's a way to have all sorts of textural variations and expressive variations.
I also don't want to feel bound to the harp, I'd be interested in bringing other instruments in at some time. But I think the harp has been viewed in one particular way for so long, and has been limited for so long, that I feel like I am really interested in stretching the boundaries of what it's capable of doing and how it's perceived.

Way, Sense

“The packages so labeled contained Bass ale or Cognac brandy, which cost 'His Excellency' less than we Yankees had to pay for it.”

Jefferson Davis (1808–1889) President of the Confederate States of America

David D. Porter, Incidents and Anecdotes of the Civil War https://ia802604.us.archive.org/9/items/incidentsanecdot00port/incidentsanecdot00port.pdf (1885), p. 274. Context: It looked queer to me to see boxes labeled 'His Excellency, Jefferson Davis, President of the Confederate States of America'. The packages so labeled contained Bass ale or Cognac brandy, which cost 'His Excellency' less than we Yankees had to pay for it. Think of the President drinking imported liquors while his soldiers were living on pop-corn and water!

“You stomp the competition with the bass line. You rattle windows. You drop the melody line, and shout the lyrics. You put in foul language and come down hard on each cussword.”

Chuck Palahniuk book Lullaby

Source: Lullaby (2002), Chapter 3
Context: You turn up your music to hide the noise. Other people turn up their music to hide yours. You turn up yours again. Everyone buys a bigger stereo system. This is the arms race of sound You don't win with a lot of treble. This isn't about quality. It's about volume. This isn't about music. This is about winning. You stomp the competition with the bass line. You rattle windows. You drop the melody line, and shout the lyrics. You put in foul language and come down hard on each cussword. You dominate. This is really about power.

“I was working at this club in downtown L.A. from four to eight at night, just Eddie Rubin, the drummer, and I. We didn’t even have a bass player down there. Then we’d pack up, get on the freeway, drive up to L.A., go to the Whisky, set up, grab some food, and play from 10 p.m. to 2 a.m. It was pretty rough work, but it was fun and we were into it. We knew we had something going and there was a big buzz. It was pretty exciting.”

Johnny Rivers (1942) American musician

Hazen, C. (2001, May 15). Johnny Rivers. Retrieved from https://www.vintageguitar.com/2800/johnny-rivers/.

Night, Food

“A lot more can happen in the world of singer-songwriters that I appreciate. This storytelling where you have the ability to sit and listen to it because you don’t have other distractions -- you’re not listening to what the bass part is doing, there isn’t an elaborate instrumental arrangement that’s taking you into Middle Earth and back.. For me just as a singer I think you’re able to hear aspects of my voice and my singing and what it conveys in ways you’re not going to on a Soundgarden or an Audioslave record.”

Chris Cornell (1964–2017) American singer-songwriter, musician

Chris Cornell Talks Missing Andrew Wood, Writing Songs In the Bathroom: Unpublished 2015 Interview Excerpts, Billboard, 19 May 2017 https://www.billboard.com/articles/columns/rock/7801053/chris-cornell-2015-interview-higher-truth, On songwriting

Singing, Thinking, Way, World

“While he and his idol, Hank Williams, have both affected generations with a plaintive veracity of voice that has set them apart, Jones has an additional gift—a voice of exceptional range, natural elegance, and lucent tone. Gliding toward high tenor, plunging toward deep bass, the magisterial portamento of his onward-coursing baritone emits white-hot sparks and torrents of blue, investing his poison love songs with a tragic gravity and inflaming his celebrations of the honky-tonk ethos with the hellfire of abandon.”

George Jones (1931–2013) American musician, singer and songwriter

Nick Tosches The Devil in George Jones http://www.texasmonthly.com/story/devil-george-jones/page/0/1, 1994.

Love, Making love, Nature

“It took me back more than 40 years when I first heard her at a Sangeet Mahotsav organised by the state government in Bombay, as it was called then. The khayal in Shuddha Kalyan captured me and I remained a lifelong fan. The beauty of Shuddha Kalyan lies in the swaras of mandra saptak and in the meends relating to nishad andmadhyam, which she could exploit well with her bass voice.”

Gangubai Hangal (1913–2009) Indian singer

A Seshan, in "Gangubai's search for perfection".

Beauty, Relation ships