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Anna Sentina born September 16, is an American musician, multi-instrumentalist, best known for her work as a session bass guitaristlive performer and YouTube celebrity. She has performed around the U.

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The power trio has a long and distinguished lineage in rock music. Since there is no keyboard and no secondary rhythm guitarist in the group, each member of the power trio is expected to wear many hats and carry a heavy musical load. One of the finest latter-day power trios is the one formed by guitarist John Mayer in with drummer Steve Jordan and bassist Pino Palladino.

The Trio introduced Mayer as a guitar player of remarkable skill who had paid some serious dues in the woodshed listening to guys like Stevie Ray Vaughan and Mark Knopfler. It is a multiple-camera video with excellent sound. The performances are tight and quite energetic.

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Mayer, who is considerably younger than his bandmates, did well in hitching his wagon to the likes of Jordan and Palladino. My favorite Palladino will always be the fretless Pino that I grew up hearing on pop radio. Last week I spoke of the late Jaco Pastorius and his foundational influence upon my own bass playing.

This week I want to take a look at a bassist whose playing has been equally foundational upon mine, Welsh bassist Pino Palladino. When I stand back and listen to my own bass playing I hear more Palladino influences than any other bassist. Other than Nathan East, I know of no other bassist during the decade that played on more Billboard hits than Palladino.

Palladino abandoned the fretless in the early s and switched over to a fiesta red Fender Precision bass. Great singers know how to add light and shade to their performances and Palladino always seems to add the right thing at the right time in support of the vocalist. There are so many great examples that demonstrate this.

The importance of tone The Pastorius fretless sound was a dark, woody alternative to the other jazz bass icon of the time, Stanley Clarke. Palladino has re-written that playbook by introducing a darker fretted bass tone back into the music. But the song is so over-earnest and was burned to a crisp by pop radio back in the day. These days, it is impossible to hear the song divorced from that context. Or is it? Focus on the bass line. Everything else sounds so forced, processed, and dated.

Here Palladino outlines a Bb7 chord that lands on the third of the chord D and le perfectly into the next chord Eb. They are his calling card and probably why he was such an in-demand session bassist in the s.

Pino palladino

The shadow of Jaco Pastorius still lingers large over the electric bass world. The first five tunes on the playlist are examples of his peerless fretless playing in a pop context.

Give a look see to the following two videos. The bass player in these vids is Marta Altesa. She grew up interview musical training Marta has only been playing the bass for years. Altesa is an amazingly good bass player with a great instinct on the instrument, killer tone, and a real ear for detail. The way she plays the Pino Palladino fretless line so effortlessly in tune on the Paul Young tune is really striking.

You really can go a long, long way on an instrument by finding great recordings, figuring out what is happening on the recordings, and then playing along. He really defined the bass player as a complete artist, not just a bass player, because he was writing all this amazing stuff for big bands and soloing like a horn player and grooving like nobody else. Since he died in from injuries suffered in an after-hours beating outside of a nightclub, countless words have been written about his impact on the bass community and on music as a whole.

Many great tributes to Pastorius already exist on the web. Given the availability of those resources, I want to altesa the rest of this post speaking autobiographically about Pastorius and his impact on me and my life.

If I want to emulate somewhat the sound of a fretless on a fretted instrument I have to make some changes to the way I approach the instrument. Usually this involves playing with a lighter touch, trying to minimize fret noise when moving along the fingerboard, and rolling back the treble a bit on my amplifier. In fact, because he played a fretless bass, the whole concept of frets seemed antiquated in the brave new world being ushered in by Pastorius.

The Pastorius fretless sound began fining its way onto many hit records.

In fact, in the s, the fretless bass sound became just as important as slapping and popping had been in the s. Consider the following 80s hit songs that featured a fretless bass and the bassist in parenthesis :. I will have a blog post dedicated to his playing in the future as he is one of my bass heroes and biggest influences.

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It also found its way onto several hits in the s. Consider the following:. Since the mids the fretless sound has fallen out of favor somewhat. When producers speak of the sound now it is usually with a note of disdain.

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Well, that sound is okay if you want to sound like 80s Britpop. In an interview with Premier Guitar Magazine she said that she prefers the fretless to the fretted because given her background of playing upright bass fretted instruments are baffling to her. As a bonus with this post, here is a Spotify playlist with most of the songs mentioned in this post. Loading Comments Required Name Required Website.