20 albums every bass player must own!!!

[bassopotmus]

Deze albums zijn niet van alleen technische wonders op de bas, maar ook inovators(?) die het bas spel een andere wending hebben gegeven, er zullen wel wat favorieten van jullie missen, reply gerust als je wat wilt toevoegen!
Here we go!
Bob marley and the wailers
Babylon by Bus [Tuff Gong]
Bassist: Aston "Familr Man" Barrett

Aston Barrett is the acknowledged father of reggae bass. His essential one-drop rhythms have infiltrated everything Erom rave to rock. (Did somebodr call the Police?) Recorded live during the Wailers' 1978 world tour, Babylon by Bus is driven br Familr Man's immense tone and amazing feel. He and his drummer brother, Carlton, laid down some of the skankinest grooves ever; here ther connect on several Marler classics, including "Exodus;' "Stir It Up;' "Is This Love? ;' and "Jamming:' Though the stadium-rockin' Wailers of '78 were a far cry Erom the bare-bones studio crew that all but invented reggae in the late '60s, the Barretts were never mightier than on Babylon by Bus.
This disc is also one of the best-recorded examples of live bass. It's deep, clear, and weIl placed in the mix-a real subwoofer delight! Throughout the record, Familr Man's '70s J- Bass surrounds the audience with a thick throb. Wicked bass, mon.

Duke Ellington
Solos, Duets, and Trios [RCA/Bluebird] Bassist: Jimmy Blanton
Modern jazz bass starts here. Duke Ellington's landmark 1940 duets with the 21-year-old Jimmy Blanton simply changed everything. The duo's continual swapping of rhythmic, melodic, and harmonic roles throughout "Body and Soul" and "Sophisticated Lady" clearly illustrates Ellington's and Blanton's boundary-breaking bass approach. But the collection's centerpiece is the amazing "Mr. J.B. Blues." Based for the most part on the simplest of 12-bar forms, the piece a1lows Blanton the freedom to showcase his masterful rhythmic acuity and pizz chops, his left hand's unprecedented expressiveness, and his advanced grasp of extended harmonies.

Patsy Cline
12 Greatest Hits [MCA]
Bassists: Harold Bradley, Bob Moore
The fine and subtie art of country bass reached an apex with these classic late-'50s/early- '60s recordings. Though producer Owen Bradley may have come up with the idea of doubling the upright with a flatpicked Danelectro six-string bass ( ostensibly to render the bass line audible through tiny transistor-radio speakers), much of the credit for the suc- cessful implementation of the new "tic-tac" sound (as it came to be called) goes to bassist Bob Moore and Owen's brother, session guitarist Harold.
Moore's stately lines and buoyant rhythms form, on their own, a near-complete study in tasteful country comping. But once Harold started doubling , em with his Dano, the whole rhythm section achieved an airy lift and a delicate sense of motion few bands have matched since. From the rolling click of "Walkin' After Midnight" to the sweet, relaxed bounce of "She's Got y ou" to Harold's elemental embellishments of Moore's line on "Crazy;' this dynamic duo wrote the book that's still required reading for all Opryland wannabes.

Peterson Trio
Night Train [Verve]
Bassist: Ray Brown
Ray Brown's name may grace more COs in your local record mart's jazz section than any other bassist, and his continuing career began over 50 years ago. Just about everyone agrees, though, that Ray was always at his swingin' best when laying it down with the Oscar
Trio.
The key attribute of 1962's Night Train is the heady, post-bop energy the trió brings to an Ellington-heavy collection of pre-bop nuggets. Brown's modern yet blues-based lines stir just the right blend of old and new into such Ouke standards as "C Jam Blues;'


Cachao ey su Ritmo Caliente
Cuban jam Sessions in Miniature-Descargas, Vol.2 [Panart] (Available from Descarga Latin Music, 800-377-2647)
Bassist: Israel "Cachao" López
During the 1930s Cachao caused a commotion by bringing Afro-Cuban rhythmic elements to the traditional Cuban dance form called danzón. Two decades later he again revolu- tionized Cuban music with this historic album, which introduced the descarga jam-session format. Lincoln Goines ( see page 84) describes the disc as "a dictionary of Cuban styles over exquisitely performed short tunes and improvisations"; Oscar Stagftaro echoes, "It's the encyclopedia of phrasing, tumbaos, and melody, all in one:' Andy González points to the interplay between Cachao, Pata Guinas on congas, and Yito Iglesias on bongos.
Por some easier-to-Iocate Cachao check out 1995's Master Sessions, Vol. I & 2 on Epici Crescent Moon.

Miles Davis
Relaxin' with the Miles Davis Quintet [Prestige] Bassist: Paul Chambers
One look at a resumé that includes Miles Davis' Kind ofBlue and John Coltrane's Giant Steps teils y ou all y ou need to know about Paul Chambers' stature in the jazz world. (Kind of Blue boasts Paul's bass feature "So What;' while Giant Steps includes Trane's tribute to the bassist, "Mr. P.C:') Chambers was a New York mainstay from the mid '50s to the early '60s. Although alcohol and heroin abuse led to his death at age 34, he nonetheless burned as brightly as any bassist in this century. On this classic 1956 Davis date with Coltrane, drummer Philly Joe Jones, and pianist Red Garland, Paul's modern, forward-thinking approach is evident via his strong, relentless, melodic walking lines on such tracks ~s "IfI Were a Beil" and "I Could Write a Book;' as weil as his brief, bluesy, bebop-rooted solo on the Rhythm-changes romp "Oleo:' (He was quite an accomplished soloist with the bow, too.)

Stanley Clarke (supertip!)
Bassist: Stanley Clarke
Even though Clarke (see page 182) recorded this classic disc in 1974, his squeaky-clean Alembic tone, aggressive snaps, staccato runs, string bends, and nasty harmonics are as fresh today as they were then. This disc, Stanley's second as a leader, contains six songs of sheer bass terror. Ris band included monster drummer Tony Williams, keyboardist Jan Hammer, and guitarist Bill Connors; here they highlight Stan's electric prowess on such tunes as "Vulcan Princess;"'Yesterday Princess;"'Lopsy Lu;' and "Power"; "Spanish Phases for Strings & Bass;' meanwhile, demonstrates Clarke's serious upright skills. Also recommended: Stanley Clarke Live 1976-1977.

zo dit eerst ff

[bassopotmus]

Primus
Sailing the Seas of Cheese [Interscope ] Bassist: Les Claypool
Love him or hate him, you have to admit Les Claypool (see page 200) forever changed the face of bass. While he may not have perfect technical precision or fretless intonation, Claypool is one of the greats because of his ability to throw slapping, sliding, tapping, and chording into a big, sloppy, hugely quirky melting pot. Throughout this and other Primus discs Les takes a twisted bass line, wraps it with warped lyr!Fs and other general weirdness, and manages to end up with a memorable song. Many have tried, but nobody pulls it off quite like Claypool. For an even stranger effort check out Riddles Are Abound Tonight by Claypool's side project, Sausage.


The stax/volt singles 1959-‘68

Bassists: Donald "Duck" Dunn and others
Duck Dunn anchored a string of '60s soul-pop hits surpassed only by that of Motown's Jarnes Jamerson. As bassist with Booker T. & the MG's, the house band for Memphis' Stax/Volt Records, Dunn plied his trade beneath timeless tunes by Otis Redding, Sam & Dave, Albert King, and many, many others-and this nine-disc set covers it all. Other bassists appear throughout, but the majority of these grooves belong to Duck.
Punn's approach was earthier-and much simpler-than Jamerson's, but Duck's grooves were every bit as deep. With onlya few pinpoint, off-beat eighths here (Eddie Floyd's "Knock on Wood") or some stone-simple unison grooving there (Booker T:s seminal "Green Onions"), Dunn repeatedly tapped into the very essence of a song's inherent rhythms.

Red Hot Chili Peppers(haha..wie heeft em niet)
Blood Sugar Sex Magik [Warner Bros.]
Bassist: Flea
For nearly a decade Flea (see page 194) was the thrash-funk bassist. Nobody could slap with his speed and power. But he threw everyone a curve with this 1991 disc: Suddenly he was tasty yet supremely funky-but in an old -school rather than flashy way. From the straight - up intensity of "The Power of Equality" and the Meters- influenced "ff y ou Have to Ask" to the Bootsy-drenched, polysaturated phatness of"Sir Psycho Sexy;' Flea offers an amazingly complete lexicon of funk, hip-hop, and even reggae. And he does so almost without a sin- gle slap. Say what y ou want about Flea's wild stage presence or even his technique-the man has serious teel, and that's one reason why it all came together for the Chili Peppers on this highly satisfying record.
(verder raad ik "uplift mofo party plan aan, voor de slappers, echte trash funk)


The best of larry graham and graham central station, vol 1(soeweete slapp!)

[Warner Bros. ]
Bassist: Larry Graham
With his seminal work in Sly & the Family Stone and Graham Central Station, Larry Graham ( see page 178) became forever established as the Master of Slap. Although any record with Larry manning the bass is cool, highlights of his technique and songwriting can now be found on this choice 11-song collection.

Charlie Haden & Pat Metheny
Beyond the Missouri Sky (short stories) [Verve] Bassist: Charlie Haden
Char1ie Haden's profound IJ1usicality and deep, elemental sound has contributed to so many fine records--from the great early recordings with the Ornette Coleman Quartet ( now united in a six-CD box set cal1ed Beauty Is a Rare Thing) to his groundbreaking albums with the Liberation Music Orchestra to dozens of sessions with such artists as Keith Jarrett, James Cotton, and Rickie Lee Jones. Haden's playing is at its very best in small groups-especially duos. This disc with Metheny is perhaps Haden's best duo outing ever, because it's deeply rooted in his musical heritage and distinguished by inventive and inspired playing through- out. "With every line he plays, with every musical gesture he offers;' Metheny has said, "Charlie supports, illuminates, and reveals something about himself and the other musicians he's playing with." There's no better place to hear that than on this album.


Chaka Khan
What Cha' Gonna Do for Me? [Warner Bros.] Bassist: Anthony Jackson
Among bassists,Anthony Jackson's musical, technical, and sonic innovations have made his name every bit as definitive as «Jaco:' «Sting:' or «Flea:' The inventor of the 6-string contrabass guitar is renowned for his many contributions to seminal pop and jazz recordings. By the time he teamed with drummer Steve Ferrone to record with Chaka Khan, he had already gained notoriety for his legendary pick-and-phaser performance on the O'Jays' «For the Love ofMoney:' But What Cha' Gonna Do For Me? captures Anthony just as his various styl- istic concepts came together. Given much time and creative freedom by producer Arif Mardin, Jackson mixed spontaneous 16th-note bursts, pick-and-flange forays, and dense, booming low notes, weaving all of them tightly and unobtrusively into the groove. Other essential Anthony examples include Chaka Khan's The Woman I Am, Steve Kahn & Eyewitness' Public Access, and Michel Camilo's Rendezvous.

Hitsville USA: the motown singles collection
[Motown]
Bassist: James Jamerson and others
Ifyou playelectric bass, youowe James Jamerson (see page 164) a tip ofyour hat. He helped to make the "Fender Bass" a mainstay in pop music and recorded a few classic lines along the way, too. A ton of them can be heard on this four-CD, 104-track box set, which features 36 different Motown artists. ( Other bassists heard on various songs include Bob Babbitt, Ron Brown, Wilton Felder, and Carol Kaye. ) It's hard to believe Jamerson used only one fin- ger to pluck his funky lines on songs by the Four ~
& the Miracles, Stevie Wonder, and Marvin Gaye.


B.B. King
Comptetety WeIl [MCA] Bassist: Jerry Jemmott
One problem with analyzing Jerry Jemmott's transcendent, funk-blues grooves with B.B. King: It's tough to maintain focus while you're shaking your-bu~ Dig Jerry's two distinctly differ~nt takes on one of blues bass' most venerabIe pattems: the root-octave-~7th-5th patterl}. In "Confessin' the Blues" he plays it relatively straight, but subtly ghosted 16th-notes hint at untapped groove potential. Then, in "Cr yin' Won't Help y ou Now:' he fleshes out this tired. box pattem with pentatonic passing notes and a dêad-funky mix of eighths and 16ths that cooks undemeath Herb Lovelle's bare-bones snare. Also highly recommended: King Curtis Live at the Finmore and Aretha Franktin Live at the Finmore. Recorded back-to- back on the same night, these two discs capture more of Jemmott at his sweaty best.


Led zeppelin II [Atlantic]
Bassist: John Paul Jones
JPJ's bass work on Zep's second record is simply brilliant. His round-sounding lines com- bine R&B, jazz, and rock into a complex style few bassists have been able to cop. Although the melodic, wandering "RambIe On" line may be one of his most memorable, Jones' big and bold line on "The Lemon Song" simply defines blues rock. And "Heartbreaker" show- cases his most extensive use of effects; here he combines distorted grit with Leslie-speaker wobble for one of the best crunch-bass sounds ever. Led Zeppelin II is one of the original blueprints for creative bass in a rock setting.

[bassopotmus]

Micheal manring
Drastic Measures [Windham HilI] Bassist: Michael Manring
Although Manring was already an accomplished veteran of the adventurous New Age Windham HilIlabel by the time he completed this 1991 disc, Drastic Measures marks the culmination of years of pushing the bass-sound envelope. From the opening notes of his "Spirits in the Materia! World" cover and into "Red Right Returning:' the first of four amaz- ing solo bass pieces, it's clear Manring is a composer who approaches the electric bass as an orchestra. Drastic Measures also shows that despite the difficulty of his techniques and tunings, Michael's much less interested in flash than pure musica!ity. So on your second listen, rather than wondering how Manring managed to master so many voices of the bass, note the pure artfulness of his compositions and arrangements, and let that inspire you.



The Beatles
Sgt. Pepper's Lonely Hearts Club Band [EMI] Bassist: Paul McCartney
Paul McCartney (see page 170) was the first rock bassist to develop a style that completely transcended the instrument's root-bound function. While his style had become fairly well developed by Rubber Soul and Revolver, it wasn't until Sgt. Pepper-aided by the first direct recording ofbass and a bottom-friendly mix-that it fu1ly came to fruition. Great feel, artic- ulation, note choices, tone ...it's all here, and you'd be hard-pressed to find better bass lines to transcribe and memorize. A close second for Macca is Abbey Road, with its unforgettable parts.on "Come Together" and "Something:' And check out that second verse of"She Came In Through the Bathroom Window"-the quirky syncopation raises the song to an entirely new plane.


Marcus MilIer
The Sun Don't Lie [PRA] Bassist: Marcus Miller
From sideman work with saxman David Sanborn to vocalist Luther Vandross to jazz legend Miles Davis-as well as producing his own vocal R&B albums-Marcus MilIer had plenty of time to hone his soulfut skilIs and trademark tone. But 1993's The Sun Don't Lie marked the first time he pushed himself to find his solo voice. This broad collection of jazz-funk instrumentals certainly showcases Miller's hot thumb-thumping passages and quick fingerstyle licks. But by sharing the spotlight with other great piayers-Miles, Sanborn, guitarist Vernon Reid, and others-MilIer takes time to lay back in some badass grooves, showinithat his sideman role of nailing it down is actuallyan integral part ofhis solo voice. And that is groovy indeed.


Charles Mingus
Mingus Ah Urn [ColumbiaJ Bassist: Charles Mingus
Like Miles Davis, Mingus lacks a definitive album-simp I y because he reinvented, reshaped, and re-attacked his music throughout his career. Still, 1959's Mingus Ah Urn might be his most essential album. He was at his hard-driving, inventive best (cue up "Boogie Stop Shuffle"-no one attacked an upright like Mingus), and his compositional powers were bursting into full bioom. And "Better Git It in Your Soul" and the oft-covered "Goodbye Pork Pie Hat" have come closer to achieving "standard" status than anything else Mingus ever wrote. Mingus Ah Urn is full of vitallinks to Charles' recent past; "Better Git It in Your Soul" resurrects a rhythmic riff from the earlier "Wednesday Night Prayer Meeting:' and "Open Letter to Duke" evolved directly from 1957's "Nouroog" suite.
Just about any Mingus album will serve as a worthy introduction to the man's genius. Other excellent starting points include Mingus, Mingus, Mingus, Mingus, Mingus and The Black Saint and the Sinner Lady.


Weather Report
Heavy Weather [Columbia] Bassist: Jaco Pastorius
Recorded in 1976-77, this gold-selling record captures Jaco Pastorius (see page 186) at his peak and displays a virtua1 textbook ofhis dazzling ski11s. The melodic ba1lad "A Remark You Made" highlights the gorgeous tone Jaco coaxed from his '62 fretless Jazz Bass. On the flip- side, his high-energy bass anthem "Teentown" showcases unprecedented technica1 virtuos- ity. The a1bum's "hit:"'Birdland:' boasts Jaco's revolutionary use of fa1se and natura1 harmonics, and-a1ongside "Palladium" -demonstrates his innate ability to swing while laying down the nastiest of grooves. Don't forget "Havona": Jaco's extensive harmonic knowledge results in one of his finest compositions and arguably his best recorded solo.

[bassopotmus]

we gaan nog ff door!!

The Meters
Funkify Your Life [Rhino 1 (again, een masterlijk album..)Bassist: George Porter Jr.
George Porter Jr. is a criminally underrated groover. This two-CD set rescues the Meters' troubled discography from the murky depths of the cut-out bin and shines a bright light on one of groovedom's richest legacies. The way Porter's spare finger funk and rubbery tone blend with super-drummer Zig Modeliste's slinky rhythms defines all Meters music. So is George's insistence on .digging into simple, often pentatonic-based countermelodies and then relaxing and grooving tirelessly. What really kills, though, is how he injects an anarchic elasticity into his space- filled lines, allowing them not just to breathe but to pant, moan, and groan. Righteous example: The E7 intro figure to 1969's "Funky Miracle" can be played with nothing more than open strings and 2nd-fret pull-offs-but you chopmeisters would be hard-pressed to find a more fail-safe funk groove.


Tower Of Power
Tower Of Power [Warner Bros. 1
Bassist: Francis "Rocco" Prestia III
True funk should make y ou feel an irresistible desire to move your head. If you've assumed the position, high on your listening list should be this 1973 classic featuring Rocco Prestia's 16th-note funk barrage. Together with David Garibaldi's busy-but-light drum work, Rocco reached new pocket-playing depths.
Since y ou might not want to dive right into Prestia's super-fast, carpal-tunnel-inducing approach without a doctor's note, let your ears do the grooving. Later, start mentally decon- structing the groove. Imagine the track without horns or vocals; strip it down to the drums, those powerfut bass notes, and the well-placed rhythm guitar. Focus on the instruments' rhythmic interplay, concentrating on which notes Rocco accents. Then focus solely on the space between the notes. If such directed listening doesn't affect your playing-and your outlook on life-relax, assume the position, and start over.


Steely Dan
Aja [MCA]
Bassists: Chuck Rainey, Walter Becker
The ultimate in L.A. cool. If some of these other records leave you chops-dizzy, settle into this 1977 disc's smoky grooves. Subtlety is the focus here: Chuck Rainey uses superbly sli~ feels, tasty, well-placed fills, and generous space in all the right places. The fabulous ascend- ing slides and double-stops on "Peg" and those ostinatos and fills on "Josie" are relentlessly creative, from the first note to the last. But perhaps even more important than Rainey's notes are his rests. If you CQWd somehow hear everything he doesn't play, you' d realize how silence can actually strengthen a bass line, like the mortar in a brick wall.
A runner-up for best Rainey/Dan collaboration is The Royal Scam, mostly for Chuck's blazing Jamerson tribute on "Kid Charlemagne"-a line that could keep you in the wood-shed for weeks.

Yes
Fragile [AtlanticJ
Bassist: Cbris Squire
Chris Squire revolutionized both the sound and function of the bass in rock music with bis trebly, Clavinet-like Rickenbacker tone and busy but carefully orchestrated lines. He comes out charging with "Roundabout;' propeIling it with an energy that makes the song sound like it's about to blowapart. On the slower "Long Distance Runaround" Squire still drives the song with aggressive, fragmented riffs that trade off .with. the vocal. Then there's his com - position "The Fish;' in which overdubbed bass lilles providé melody, harmony, and rhythm parts-weIl before Taco, Manring, and Wooten did the same. Every bass line on this 1972 disc is essential to the song's arrangement, a valuable lesson for us all. Wouldn't y ou rather play parts that are crucial rather than merely omamental

Last but sertainly NOT least:

Victor Wooten
A Show of Hands [ Compass ] Bassist: Victor Wooten
Sure, Victor can slap, tap, double-thumb, open hammer pluck, and wield a few other techniques that probably have even weirder names. But what makes his debut solo effort so worthy is not so much his "show of hands" but his musica!ity-that all of his technica! tools are just that: tools for making music. While A Show of Hands might not be ideal for learning how to be supportive in your average rock, blues, or jazz setting, it's great for exploring composition, artistic sensibility, and new approaches to established ideas. Vic nails home the groove in his native funk land-but by managing rhythm and melody parts at the same time, he smoothly sails through everything from jazz standards to Bach-style counterpoint. In fact, so much music comes out of Wooten's 4-string Fodera it's easy to forget this is a solo bass effort.

[bassopotmus]

Naja..alsjeblieft, op verzoek van Easy..
(krijg ik nu een lekkere bass van je??)

Anyway, heb ze niet allemaal gepost..paar zijn echt niet intresant, te jazzy enzo

[Dandelion]

hmz. aardig lijssie...
maar goed, ik heb dus alleen maar BSSM van de peppers en Sergeant Peppers... :smile:blijkbaar geen bassplayer :smile:

<font size=-1>[ Dit Bericht is bewerkt door: Dandelion op 2003-03-27 12:04 ]</font>

[Richie]

leuke lijst, maar is jazzy niet interessant?

Juist daar zijn de interessante en vooral vernieuwende intsrumentalisten te vinden. En anders zijn ze er sterk door beinvloed.
Vergeet niet dat Flea ook als jazztrompetist begonnen is en daar nu nog steeds mee bezig is en er ook veel van zijn inspiratie op bas vandaan haalt.
Staan victor Bailey en Richard Bona er trouwens ook bij?

[bassopotmus]

nop..jazzy = ook contrabas..

[Rhinus]

Ik luister geen muziek om de bas. De muziek die ik luister (PunkRock, PowerMetal &amp; Rock) heeft vaak geen goede bas. De kans dat ik dus van die bovenstaande albums ga downloaden is klein. Ik bedoel, ik ga echt geen Primus luisteren. K*T muziek en vreselijke zang. Ja, wel een leuke bas, maar niet alleen de bas maakt muziek.

Mijn tip:
Kiss - Alive III

Goeie bas en leuke muziek.

[Laus]

baslijntjes uitzoeken van de betere black-metalbassisten kan ook best een leuke bezigheid zijn.

maar idd te vaak te slecht ingemixd.

of probeer eens fear factory als je van strak houdt...

[bassopotmus]

jah als je veel luisterd naar "goede" bassisten leer je verschrikkelijk veel, zowel technisch als improvisatie..Maar das mijn visie

[Easy Rider]

Zo das nogal een lijst!
En als ik een enorme rijke stinkerd was geweest kreeg jij van mij een bas.

Ff kijken, Babylon by Bus heb ik, Heavy Weather heb ik (Pastorius kicks ass... Bij hem heb ik dus echt wel tabs nodig!)
Ik heb wel een dikke verzamelaar van de Zeppelin, en m'n bro heeft Blood Sugar Sex Magic in zijn bezit die ik constant leen :grin:
Het drukt me wel weer keihard op de feiten:
Ik wist al een tijdje dat ik een heleboel niet heb wat ik wel moet hebben: Ik heb geen Charles Mingus, geen Stanley Clarke (dat ik die twee niet heb is echt *te* slecht), geen Marcus Miller, geen Victor Wooten, geen Les Claypool... etc. Ik slecht... Maar ja CD's zijn duur en downloaden doe ik eigenlijk alleen van artiesten die mijn bijdrage naar mijn mening niet verdienen. De volgende CD's die ik scoor zijn zeker weten Mingus en Clarke.

Ik heb mezelf alles geleerd van CD's. Gitaar, bas en drums.
Ik vind dat ook veel leuker!

En jazzy is toch echt wel vette shit... Met m'n defretter en op de hals plukken kan ik een contrabas sound redelijk benaderen... contrabas is zoooo vet! Ik MOET zo'n ding hebben maar het is vooralsnog te duur. Van de zomer ff flink werken, en dan misschien???
Het mot kunnen...

Cool trouwens dat Yes er ook tussen staat. Die gast is toch wel de koning van het plectrum. Dat gekoppeld aan die heerlijk ranzige sound van z'n Rick... meesterlijk.

EZ

<font size=-1>[ Dit Bericht is bewerkt door: Easy Rider op 2003-03-27 15:20 ]</font>

[bassopotmus]

Nou de resterende dan nog:
Cream - wheels of fire
Charlie Haden &amp; Pat Metheny - beyond the missouri sky (short stories)

Paul Simon - Grace land

Bill Evans trio- Sunday at village Vanguard

Adgar Meyer,Yo-Yo Ma &amp; Mark O'Connor - Appalachia Wlatz

[Emeth]

Mischien nog Bootsy Collins?

[niels_r]

Kijk voor een hele hoop bascd's eens op http://www.basscdshop.com Echt een hele hoop cd's die de moeite waard zijn.

[vanafvandaag]

Ik mis onze eigen Doe Maar nog in deze lijst. Ik vind dat Hennie best aardige dingen deed, zeker omdat hij er ook nog bij zong. En bassen en zingen.. Ik vind het hondsmoeilijk.. maar goed, daarom heb ik waarschijnlijk nog een day time job :smile: