44 2 { WS. (3th THE ME é era's 4 Pen ge MONCIS pt tH GUM B sare Alf Mae? 44 hs Pare i : J : { dit Pre 45.4 fF. 4 Tews Coe" {iu 6 DD tent EakOr Aes igo Mranscrptons by: Roy Vogt otogiaphy: Margaret Ford rer Design: Debbie Jonns Upton {ver Background image: © Proto Dstt Tecial Guest’ Gregg Bissonette on Drums buuced by Steve Bay and Victor Wooten sorded . Slam Shack N. Holywood, CA Moca by. Steve Baie, ) victor Wooten and i fh oe Bian Springer Me oe NM MH © 1723 dew Me Up Ma, > LEH, na ! Hc Avera, tit, FLL 33014 “Ul orIntroduction to Lesson Section. Lesson Section A Chick From Corea Bangkok Blues Stan The Man Victor Jam Thumb Start My Hatley Emerald Forest Moonridge Donna Lee Song Transcriptions A Chick From Corea Bangkok Blues Stan The Man Victor’s Jam Thumb Start Emerald Forest Moonridge Hatley Donna Lee Bass Tab Glossary Contents " 4 18, 20 22 81 96 109 née cD Program Log 9 10 "WN 12 13 15 16 7 NoAbout The Book Steve Bailey and Victor Wooten have put together this incredible bass showcase. These recordings emphasize the tremendous, often unrealized, potential of the bass as both a lead and ‘accompanying instrument. On the recording, Steve and Victor demonstrate how the bess can supply bass lines, piano and gulier type comping figures, lead solos and percussion, in styles ranging from Bebop to New Age to Heavy Metal - all without overdubs. Each piece highlights different aspects of their zing techniques; like Steve's three finger technique and his awe inspiring command of harmonics and chord voicings; or Victor's incredible funk grooves, thumb and two handed tapping techniques. Because of their incredible ability to simultaneously play bass lines and chords it often sounds as if each part is actually played by two bass players, At the end of the song section of the recording, Steve and Viclor walk you note-for-note through the licks and techniques that make up each tune, explaining and demonstrating everything at slow speeds. Victor is panned a litle to the right and Steve a litle to the left The book explains all of the techniques ond licks used in each song. Both boss ports ore fully transcribed in notation and tablature.In his Fist piece, Victor is playing the tenor bass (AD-G-C tuning) and Steve is playing a frelless 6 string [BEAD.G.C tuning). While Viclor takes the melody in the A section, Steve uses his thumb, index, ring and middle fingers to create @ chordal accompaniment (see Example 1). Even if you play a foursiring bass you can still use this technique. Try the voicings in Example 2A. After you have them under control, try moving the entire i:V-| cadence by whole-steps: Dim?-G?-C, Cin?-F7-Bb, Bb?” When you can do this smoothly, ry adding the arificial harmonics found in Example 3A. Playing the chord in ™ harmonics will make the chord voicings stand out more cleauly, ete. Victor's single line playing really shines on this tune. Try the “chicken pickin’” in Example 4 and the melody in Example 5. Start slowly and gradually increase the tempo, using a drum machine or metronome for reference. Since this is all played on a tenor boss, you might ity taking this down an octave or even restringing « spare bass in tenor tuning, You can even take @ spare Ssting and tune it EAD GC a la Steve Swallow! Example 1 In this song, Steve takes a supportive role playing chords and bass lines. The bass line to the A section is: wa? at AR ANS | b heb : : ioe K fie-Pe he 1 ew be | P _ tna ry Wf pul f | ==] an | | 8 a | sa = "el i rer ERT Example 2 Here, Steve demonstrates both styles of music - Country & Western - with a very guitaristic “boom chick” port The root and Sth are played on the two low strings and the 7h and 3rd of the chord are ployed on the 3rd and Ath strings. Example 2A shows how the same lype of pattern con be applied fo « 4-string bass. Example 2A Example 3 Hermonics can be added by touching the string one octave {12 frets} above the fretted note with the index finger cond plucking the string with the ring finger, all while playing the alternating boss line. Note: A detailed description of arfificial harmonic technique is found in Steve's Advanced Rock Bass, available from CPP/Belwin. yy AM An ead sa0865ore is a 4tring fingering for this harmonic technique. Dn? aut Goan al Cui? At et ark IBA Bets LY beret ae 43-10-46. 15-1916 | 1645-19-19 cerry ne efefefe fr ff gay ptf LL Lesf ty jf fbf y, eI Bt te pn ats ttt tes non fag a =| 7164 1942 ~ AS 1483 1 a wes = 928 20-22 ae ae 30-88 FEBangkok Blues is a great example of how two different players can approach the same concept. This tune is primarily o feature for Steve, and it shows how he can use arificial harmonics in conjunction with fretted notes to ‘create a three octave spread in the double slopped melody (Example 6. In addition, poy attention to the impossible” chord voicings in the B section. Steve is using the siring bass concept of the “thumb position” fo hold ‘he F pedal point with his thumb, This allows a greater reach for chords and enables the bassist o add upper extensions (ths and 13ths) to the chord voicings Vicor produces widely spread voicings by using a wohanded tapping technique (Example 7). You can get your bearings on this technique by taking something as simple as a C scale and playing it with lwo hands {Example 7A}. Just remember to anchor the right hand thumb on the top of the neck when you're tapping. This gives you more power and a better articulation Example 6 In this song the melody is played in “double octaves.” For example: D is played in octaves with the lower note on the E string and the upper nole on the C siting; then Steve uses his right hand index and ring fingers to play the harmonic 12 frets above the upper D. ‘And the same with the melody: Sit 1 ANAM. AA ~ ala, au LLP Et rp bee Ri ysy AML AML ALAM. AML AH qu AIL AH. AMLee egrOe EA NN AA TORENT ER Example 7‘ctor is back on tenor bass as he and Steve pay tribute to legendary bassist Stonley Clarke. The melody is *pported by a strong modally-based chord progression. This is a Clarke trademark, as are the open string hords Steve solos over. comple 8 shows how Steve uses artificial harmonics in conjunction with fretted notes to outline the chords (E/G#, , EIB, & CA), Check out the recording to hear him do this, while really locking in and grooving with Greg ssonelle sve demonstrates his three finger technique for high speed runs in Example 9. You could call it "3 x 3” because plays 3 notes per string with 3 righthand fingers {i m a). He explains both of these concepts in full in his book: apck Bass. [ ~seoyExample 9 Steve has on interesting technique for producing the fost tiple! passages found in the solo section of this song; this technique involves o three finger right hand technique. Usually the fingering is “am i* wih all three oles played on one string 2 SM yora 1212 Example 10 Having been very influenced by Stanley Clarke, Victor sought ways to emulote his speed ond technique, He found that by using his fingers alone he was unable to play triple! passages as fast as Stanley and so developed can interesting technique involving the right hand thumb and index finger. He uses a down-up stroke of the thumb followed by the index finger to produce the three separote attacks. Exomple 10A {one note triplet exercise}: ml mts mints mints plpts monts mats mmts mint s ATA A AT AT AT ATA? TA AT AAT AT A i Example 108 {three notes): tb, e- 9 p el tt som mts mo mts mo mts ml mts mi mts AAT AS AA AT AAA AB AT 15 14 286 TYP PPP PPP DO DOO OO OE POPE POP PDP PP MOND DO DN OOOO OD Wwets BH nts AE Sap ts 171546 2| Victor's Jam showcases Victor's jaw-dropping slop technique. If you've been fortunate enough fo see him live or on video, you've probably noticed how little movement he requires fo create a flurry of notes. This is due to his use of both hands togather. You con get your feet wet with the “open hammer pluck” technique shown in Example 12. Then, add more notes by using index and middle finger pops. This is done in one rolling motion with the right hand ond creates o “flom, like @ drummer plays (Example 13). Alter you get this down ry Example 14 ond then the entire solo. Just remember to start slowly, use a metronome to slay steady, and be very patient. Example 12: The Open Hammer Pluck Example 13 Most bass players will use a down stroke of the thumb, followed by an upward pluck with the index finger. If you combine the thumb with an upward pluck of both the index and middle finger'you can get a very fost ipl, which, when muted, gives on effect similar fo a drummers flam, You can also apply notes to this technique and produce fast scale and arpeggio techniques. i's easier than it sounds, so experiment with the technique and have some fun; just make sure you groove with the drummer! NOHO NAANnANNANANAA Oneample 14 re is an example of the main bass riff upon which this tune is buil, Note the use of the open string “hammer luck” technique| 1 This tune continues to showcase Victor's funk prowess. Example 15 shows a more advanced “open hamme pluck” pattern that relies on rapid string crossing for ils impact. It really sounds @ lot harder than it is, so give it shot. When you can play the sextuplets smoothly try the basic groove pattern found in Example 15A Steve gels fo really cut loose on the opening cadenza! He's using @ combination of delay, distortion, compressio ond reverb to create his sound. The frelless really becomes one huge whammy bar. In this case, the sound reall helps to give the notes more impact. So break oul your effects and go to town, Example 15 Here is yet onother example of Victor's spectacular triplet technique. As you can see, once you have @ comman of these basic techniques, they can be applied in many different ways fo many styles ond playing situations. This example utilizes the “open hammer pluck” techiique (see Exomple 12). Here, Victor begins by playing open A, followed by a “hammer” at the octave on that string (A, 12th frel). Then “pluck” the open G with th right hand index finger; this produces the first triplet. The second half of this lick uses the same techniques. Pla the open D, then “hammer” the E af the 14th fret on the same string. Now “pluck” a high B on the G sting (161 frel). Now slide the lick down a whole step (use the same open strings), Example 154 PAHVBHNOHNN HHA 2 2 : Py 2 : 2 E 2 . Bi : 2 awa awa7 is song, Stove essentially plays a “lead guitar” part, using a Korg AI for distortion. Using the stereo outs on Te unit, he then blended his dry {no effect) and wer sounds (with effecs) in the mix. Along with disiortion, Steve is so using on aural exciter (lo add presence), compression and delay. Freely Sve ald 15a harmonic divides the string in half fhe sound of a Harley rewing up is produced by sliding up the fingerboard on the fretless bass. Sty Jwanananaad avawarane Emerald Forest showcoses Viclor’s two-handed accompaniment and Steve's fluid fretless work. By playing two noles with each hand, Victor creates a rolling bed of 61h chords for Steve to solo over (Example 19]. Using the i V cadence from Exomple 2, you con create the same kind of rolling effect (Example 19A). Like the previous potiern, try moving it around in whole steps. Steve uses a different approach to this same effect in Example 20. He creates rolling arpeggio with orificiol harmonics and moves to the upper node 17 frels above the frelted note. This produces note one oclave and o fifth above the fundamental and adds upper extensions fo, the chord voicings (see Advanced Rock Bass) Example 19 On this song, Victor lays down a two-handed tapping ostinato bass part providing a pad, over which Steve can play the melody and improvise. The first half of the ostinato pattern is derived from an E major pentatonic scole beginning on low E on the E string. The pattern then repeats, up « fourth from A on the A string. In the following 2 2 = examples the notes played by the let hand ave stems down and the noles played by the right hand are slems up. = 2 Example 19A: (no! on recording} A itVl cadence using two-handed tapping technique. SSHere, Steve sounds like two people playing at once rpeggio-style accompaniment part in harmonics. He plays @ bass line while simultaneously playing an ‘Top voice: A.H., 15ma (throughout) Bottom voice: 80a (throughout) Gmaj? “walt aad sea} otal aed aad —— Amc Daaj? 4 fT) Hest hoe “ilaThis is Steve's solo piece. In it, he relies on an open D drone string fo serve as a pedal for the moving voices | the chords (Example 21). Note Steve's signature use of artificial harmonics. In Example 22, you can see hes these are used fo produce an Em'/9 chord by moving lo the 17th fret node, Example 23 shows the harmonic available on the open E string. Steve explores the whole concept of harmonics in Advanced Rock Bass. ixample 21 This solo piece by Steve is a great right hand study. The melody is played on the G and C strings while the oper D pedol tone is played “In the cracks.” 81a (top voice only) = = a a= a « e a = 2 = 2 = a = [ 5 = = A) OW Oe VAN GN NAN EN ON ON ON Od Oe“is piece also serves as an excellent example of harmonic technique. You will notice thal Steve ascends through = orpeggio using harmonics at the octave (12 frels higher than the fretied noles), he then descends through the ‘peggio, up a fifth, by sliding his right hand further along the neck and playing the harmonies a fifth higher {19 above the fretied notes. ‘Top voice 8va op voice &v jxample 23 = this example, Steve demonstrates the “E” harmonic series of atlficial harmonies on the G sting. Beginning with "on the 9th fret, he then plays the octave E at the 21st frei, then the Sth (B) at the 28th fret, followed by the next E TI the 33rd fret ond G# al the 37 fret. Obviously, you don't really have 37 frets on your instrument. Instead you Trust imagine these fret positions and locate the notes by ear. Once you find the "spot", memorize i's location. ou will be surprised by how, with a litle practice, you can find these “olf he neck” harmonics very quickly; Sleve ills this “muscle memory.” Experiment, thore are many other harmonics available. jote: Harmonics follow the overtone series, which means that the same harmonics are available for ail notes. Ai, [Sma ve san a acca CRS a sien Hac ue au Sshshhu DOPE EBARD AMINA! ii in fAbmaj™ FT Agim? Bi re = With Harmonics Added: Bua 15a Bua Wma. Bva TS a 1 Amtby Steve Baily and Victor Woote Moderate J= 120 Intro Steve: Ne. BE ne ay 8ra Copyright © 1993 Steve Bailey and Vix Lix Music {odministered by Bug Music) o @ o 2 = @ a a EV GV aN GV aD Ed Gd Gd Gg od Gd Gd gd ad ad sd sr sR ad SP APA Ad ADA Ad sD f zoy elt elt LES Ly vee 15-19-17.[4454419 14101219 (va) tt eC atPEPPPPPPPPPPPPPPPP PPP PPO EPP PPPPPP PPP PPPPPPRPLRIILDeee eee eee —y| 19) 18 80) 1710) 16H — 8p PEPPPPPPRPEREDEPEPPPPPPELELPLPPRPPLLLEPEPEPPPLLLLSAAAA TEE aS mo We 1 q z il Nay ij AAT a ~ i ti nts AWE; ee ee ape ’ \f i te ie ie PO POLLD pe LOPePPPECELITALELLDELLDCTDRLErDrripearerenntAULUL a JUAN, NaN yh V NaN alalads Vols ee 818 15 4245-44 6 ee He] Aca WalEOnnnnnen Oe OOOnOnNNteHoLPErrPpabohntd 9 te rete 15 ag ag Es a5eee ae LISTIITTETO ECP T IIeSISTIVIVI VILE EESTI IIIT IIIT ITI III II III III IIT | (lis * | zm a —— cmt or an (cont. 8va)XUAN ET , NNAFB bb Bh bbb bbb bb ddd Bd dad ddd dad dd ddd ddd dD Dd dad ar aren ar cr Bw Be (a) (ty) ww)PPLer,‘A Chick From Corea 41 (asm) (Am?) Bm) 8. a ee EE a — 20-4 (Fn?) (Ch?) (Dm?) (Dim?)19199 ste See | fp ttt tet tt [ ets e198 piahaanate [ee ANA AED 1919-40 18-10 818 et = 044 sof 2944 4094 94 coppepprepunennrepepeperperpppppprprrrpperrrrrby Steve Boiley and Vicior Wooto Ballad shume )- Steve: NC. top norel5ma Copyright © 1993 Steve Bailey and Vix Lix Music {administered by Bug Music} - = = = = = = - - =“FUT TAHITI TEE PTI PITT PIII | | | 87ECOIrene or An? a ‘Am? loco top note 8va or Amt a Ani AML | -4afes)—-(14) 12604) —Ant = =) — v9 — 106 — fen — 189 — 900 aE DO Aga 49 00> 00> > OO A> OO A> OD Od 0 > 00 0 O09 0D 0d 00 00 Od ad an an a ea ay ae ae a a oewe Tie) (ous) v ay ad way PPP PPLE PPP PEPE PPE PREPPED EDO OOO OOOOSlow ballad J = 68 top voice 8va my fd Dette ome, Rubato Inro: EIG? Copyright © 1993 Steve Bailey and Vix tix Music fod stared by Bug Music}waa aa aa aa 644444 44> A> 0? 0 2 ODD DAD UPi all a {Hal K LW a perry serreen reeABeD Nc oo oo VV AY EG AY AY Ad Ad A Od OY AD Ay ad a ae ae an a COM AV AdsDsdsdsdsdcd cd edad ar ad arvaWAAAAAAALGLL LL. A VULCANPOPP PPP PPP PPP PP PPL JOP OP PPMP PPP PPP PEwg a6a a6 ae 16 ie Tl Th STH Tat Soom sini) a eee ee ee OP EE PEP EPP PPP PPP PPP PPP EP PPP OOP POO OOOOUNA cr mene AA = vnibibee! eel iitectittecr. 16-18-10 16 46 181818 po 16— 1841816 Se e8 ge ng. = a 23-20-18 20-48 = 10-16 16-40 a 2 i818 S| iam 7OO) Od ad ad ad edad ad av ar arPOP OPP PEP OPP PPOLELEL LE KELL LE LER KEELES peepee ol yy(po its fotaer er 4SCHGAPAPADEDADDDADITEEIITIIIII ITS SBI| AAA ’ AAAAAA sane! AAA 6 = Sehr y | —— pesSB By gd gd ad ad ad ad av ad ar ay> + > : > 7by Victor Woote Medium funk = 92 NC(Em) vn ghee Pill 3660 Ho swintthl § DUTSTD BH hh WS TW ss DRM smm Copyright © 1993 Vix lix Music (administered by Bug Music) eas TOP PPP PPP PPP PP PP PPP PPP PP PPP PD OOOO OOOO a OO are: + = oS — = E ‘To TILA Tot THIET ToT THLE TT TMLAIT TOT - PEPEPPeR PRT EL eee ese pRe Eee yEeeeuyeeavayer seedREPO OMAMMNAUU LULLED NANA Rubato NC. 15m (va) peeer LUE Sfeeer Cette Miles 23.29 24-21 29-24 23 Copyright © 1993 Steve Bailey and Vix lix Music fadministered by Bua Music}(ra) Be soso e Seceeeseas --- ant ae Er TY Dg gd sds 225290 0d 0909 WY o> A> AY Ad AY HP AY AD AD A> AD Er AP AD AP AY AD ADHD AD ADHD AY AD OPO ODO) OD Oy Or O19 OD HD(Steve tacet) N.c.(B729)) peer T= come | (et r (me r ; summon mh oS TH Tm Te Pets wl, ue Paes Th oS THT! TH TH TH 5 sth Th om ho Shh hh — - = :xnteses a es y GBy OPP PPP PPP DR DD DD OR DP DP DPD PPE PP PPP OP Oe OO eo Oe ae vl(E79) (Sma) PPOP OOP POPPE PEPE OP PLP RPP PPP PPP PP pPPPP POPOL aI pgaVietor's Solo: Tutte Som 4 cf ¥ fp 4 ser Wey et Fa 8 po Ee PLATE Sst mS sm Beart, fab SE e¥JPOP PPO OPPO PPR PPP PRLPEPPPOPRPERRER rrererereee rere pelDBT a “ iho = - cc “oeeee eee eee ee eed see— = = gee Boe @ @ T — SST LIT (eony, simile) 10. 40 Victor: ° % ™ SS HF (cont, simile) 2 i ke i 2 sank feredfe = Chfttr Litre 5 a Ee errr erp es ee rere Pee eee eee a ara » ppperers:CL (57049) Ho 1 i He Saas °3 . by Steve Bailey and Victor Wooten Ruhato Amaj? Copyright © 1993 Steve Bailey and Vix Lix Music [administered by Bug Music} Voge ahah hah ah ad ah ah Ad gy gh av gv gd gy gh gr gy gd gd gd gd gh gh gr ghar ar ar ar ar ar arAmaj?w/Bass Fig. | (6 times) Eo (8 COPPPRPPR ER EREPE EEE EERE REP ER EERE EERE EE EEL(end Bass Fig,Gmaj? top voice 8va ~ Bass Fig. 4 too 9 xe a = sabe cE 4 at eee ee ee ee OP DP PP PPP PEEP Eee Perew/Bass Fig. 1 (2 times) Steve's Solo: EM (Victor continues simile w/Bass Figs. 1, 2 and 3) Sra = ~~ - waneeeeee was awawawatop voice Bra — wiBass Fig.4 an. ------ (Wictor) ~ Gmajt fF ] loco Taal : o> 3 Od Od Od ar ad as a ad anes Dr gh ghaharh ahah ar ar ad gv gy gr gr ar argCore BT Amaj?— —T -_ - a - - eT - - - - fees = = = = = = a = = = = = = = = ) = = = = x 2eee eee eee PPP PPP PPPPPPPPPPHEL Ee eesModerate J = 120 299990 eee 19(23) Copyright © 1993 Steve Boiley110 Moonridge pT (Bra) “> => [ees eet PPPEEPPP PLP LKL LOLOL PLP OOP POOLE PLO OO OOOO OO HA Aatop voice 8a (Fem) at a eebona | 1 oe 0898-0 | 0-8-0900 0-0 (Sva) ~~ (va) 7 PUP PU PP ep PERPRPPP PREP PEPPLEPP OOOOH ODORL‘ » ‘ 0 hy ry my ry ry ry ” ry my ry v ry , ’ , . ° r Ny vag f , a’ ry ry LQ LQ ry p ry ry ’ r » ae ” a» a“ “ yu 4 » va 1p toyby Chorlie Parke Moderate swing J = 150 Fm? cr Fm? Atdim Ab Fr Bim BT Copyright © 1945 ATLANTIC MUSIC CORP. Renewed and assigned 1975 to ATLANTIC MUSIC CORP. PAD AD AD AD AD AD AD AD BW BO AY AY OO AO MO AD AD AD ADE A OO MOAN A aN AN aN aN aR ae ae eeFast swing J = 300 NC. Drums__ 2. rh owt ol ont$$$ $$ a (Sra) BY a Teh ont Te nt : ae RAO HHH HDHOHH OPH PP OO POO OO OOOO 4 ‘BIT To Coda nop s mom mom mo mt ml mt mont — ET , BI-aeEE Ee mL nt cre) sot nt ml wt eos. tml wet 98 mol ont Tel 7 nt om ont — PPP PPP PPP POOP POO OHO HO HOHKHHKH EEE PEREFm Abdim Baers eee Pints Dis Rint int mw s Tel TT s ‘Tol wt scris) —_ p= Sa | PEEP PCE LEP OPP PPP LPP PPPPPPPPLLELPLELELEL ELE LE PE LER LERSteve's Solo: . Ab 7 ya - ”CECE PEP ELRELEE PEPPER EPELEREREREREPERPEE EERE REE EE+ Abdim (8va) Bim? (Bra) Blu? BT Tal wel tet a Bn an bs te bp et petetf sie r. aS | ss MoM somos mom nu 0 mint ss 9-86I 5 Abin PPPPPPPP EL EP PPP EP EPP PPP PPEPPPEL EP PEP ere Pa PP aaCOT ee = = = = = = = = = = = 2 = = = Lj ve > 2 Bq apyAdvanced Rock Bass (F3107BGXAT) wih Cassette $16.95 (F91078GXCD) with CD $19.95, Advanced Rock Bass is written for players ready for a serious challenge, Includes: string crossing exercises, double stops, odd meters, harmonics, actificial harmonies, ‘arpeggios and chords in harmonics, thumb position, and solo bass playing. Written in standard notation and tablature, ry Steve Bailey * Bass Guitar Series Five String Bass (F91098GX) $10.95, Five Siring Bass explores the fretboard in relation to the added fith siting, enabiing you to fully integrate the expanded range and added possibilities of this instrument into your playing style. Beginning with position Studies, the book progresses to intervals, extended scales, chord voicings, and arpeg Gio studies, Fretless Bass (F3108BGXAT) with Cassette $16.95, {F31088GXCD) with CD $18.95 Fretless Bass is meant for the player who wishes to add this instrument to his arsenal The book focuses on developing accurate intonation, then progresses to special effects, such as harmonics, double stops, nuances idiomatic to the freviess bass, and numerous ‘solo bass etudes. Rock Bass (F3106BGXAT) with Cassette $16.92 (F3106BGXCD) with CD $19.95 ‘An aid to gaining complete technical cont and understanding of the bass. Starting wi right hand alteration studies, the book pr ‘gresses to 3-finger technique, intervall studies, double stops, chords, and time stu ies. With hazard studies and linger-buster In standard notation and tab. Six String Bass (F311086X) $9.95 Six String Bass is written 10 help you mat the transition from either the four or li string bass tothe six string. The book begi with an exploration ofthe low B and high strings followed by scale studies, rando note studies, technique, and chord voici {wiads, seventh chords and inversions. teve Bailey has toured and per- formed with Paquito D'Rivera, Dizzy Gillespie, Ira Sullivan, Larry Carlton, The Rippingtons, David Benoit, T Lavitz, Kitaro and many others. Steve isa very versatile bassist, equally at hore in jazz or heavy metal ‘situations. He is a mas- ter of all basses — four, five, and six string, fret- ted and fretless, electric and upright me 7 |" ry J PPE PPP EEL EPP E LEE LE PEELE LEP PPPPEPE REPEL