BUILDIND WALKING BASS LINES. A walking bass line is the most common approach to jazz bass playing, but it is also used in rock music, blues, rockabilly, R&B, gospel, Latin, country and many other types of music. The term 'walking' is used to describe the moving feeling that quarter notes create in the bass part. The specific goal of this book is to familiarize players with the techniques used to build walking bass lines and to make them aware of how the process works. Through the use of 90-minutes' worth of recorded rhythm tracks, players will have the opportunity to put the new learning directly into action. This book literally gives bassists the tools they need to build their own walking bass lines. CD

Price: €26,99

CLARKE STANLEY, COLLECTION. Bass Recorded Versions TABLATURE -rock 'n' roll jelly -school days


CLARKE STANLEY, COLLECTION BASS. Bass folk song -christmas in rio -dayride -east river drive -i wanna play for you -life is just a game -lopsy lu -the magician -rock 'n' roll jelly -school days -silly putty -song to john (part ll) -stories to tell -time exposure -vulcan worlds -what if i forget the champagne. TABLATURE


Bass Recorded Versions
Series: Bass Recorded Versions TAB
Artist: Stanley Clarke

Features authentic, note-for-note transcriptions with tab for 16 super tunes from this eclectic bass master, 96 pages.

Stanlev Clarke
Performer, Bandleader, Arranger,
Producer and Composer
Stanley Clarke is one of the most celebrated bassists in the world today. During his career, he has received virtually every honor that can be bestowed upon a musician, including Rolling Stone's "Jazzman of the Year," Playboy magazine, "Jazz Bassist of the Year" for ten consecutive years, and Guitar Player magazine's "Gallery of Greats." A seven-time Grammy nominee, Clarke received a Grammy for his critically-acclaimed album No Mystery in 1975 and his score for Boyz N The Hood received an Oscar nomination. In 1989, he returned to his native Philadelphia where his name was placed in cement on the "Walk of Fame," and where Mayor Wilson Goode presented him with a Philadelphia Music Foundation Hall of Fame award.
His albums continue to top a variety of charts; not only Jazz, but the R&B, New Adult Contemporary and Top Pop charts. Born in 1951, Clarke was encouraged from an early age to study music by his mother, who sang opera. Though he initially studied violin and cello, he literally outgrew both instruments. With his long, lean frame, he was a natural to play the acoustic bass. Equally interested in jazz, classical, and rock music, Clarke started playing in bands in junior high. By the time he'd reached the twelfth grade he became a serious student of the bass, practicing and playing for eight hours a day. At 16, he bought an electric bass for $29.00, a Kent hollow body, so he could get after-school jobs playing bass. His jobs ranged from a blues combo, a country group and a Top-40 band that rolled into the Holiday Inn circuit. He then enrolled in the prestigious Philadelphia Musical Academy, studying string bass and composition, but continuing to be influenced by Jimi Hendrix, Jack Bruce and Charles Mingus, as well as Bach, Beethoven and Wagner. In 1970, Clarke moved to New York City where he played with such jazz greats as Horace Silver, Stan Getz, Dexter Gordon, Art Blakey, and Gil Evans. He came into international prominence as a founding member of the groundbreaking jazz rock fusion band, Return to Forever. Though initially a jazz purist devoted exclusively to the acoustic bass, Clarke went electric and electrified the music world during his eight-album collaboration with members Chick Corea, Lenny White and AI Di Meola. In 1975, Return to Forever's No Mystery album won the Grammy for Best Jazz Performance by a Group. His slap and pop playing with this group had a powerful influence on the jazz-funk styles to come.
Clarke remembers those times: "The Return to Forever years were important for me... RTF was really one of the only times in my playing career that I got to use some of the skills I'd worked on in college-through composition, writing for orchestra and things like that. Because before we did an album, we'd always take off for a month or so to compose music."
During his tenure with Return to Forever, Clarke launched his highly-successful solo career. On his 1972 solo album, Children of Forever, he played acoustic exclusively. The 1975 release of Stanley Clarke with Tony Williams and Jan Hammer put him into the fusion scene. His 1976 album School Days became a crossover hit. His crossover R&B/pop Clarke/Duke Project in collaboration with keyboardist George Duke resulted in three best-selling albums and a Top 20 single, "Sweet Baby." Their 1990 album 3 garnered the duo an NAACP Image Award nomination for Best Jazz Artists. His solo East River Drive featured an all-star ensemble including Duke, Hubert Laws, Jean-Luc Ponty, Poncho Sanchez and Gerald Albright, plus big names in bass: Abe Laboriel, Armand Sabal-Lecco, Alphonso Johnson and Jimmy Earl. Clarke's independent label, Slamm Dunk Records, has released a variety of recordings including his own Live at the Greek, and the soundtrack album for Passenger 57. Live at the Greek features Clarke with Larry Carlton, Billy Cobham and Najee. Clarke's rock projects included working with Jeff Beck, Stewart Copeland, and Deborah Holland with the group Animal Logic, the New Barbarians (which featured The Rolling Stones' Ron Wood and Keith Richards) and scoring the opening sequence of Michael Jackson's video Remember the Time, which was directed by John Singleton. He has co-written with Paul McCartney, recorded with Quincy Jones, Carlos Santana and Aretha Franklin, and produced records for Brenda Russell, Ramsey Lewis, Shalamar, and Natalie Cole. In the television arena Clarke has received three Emmy nominations for television scoring. He started out by sending tapes to everyone in the field, and got his first break doing Pee- Wee's Playhouse. That's when he bought his first Mac and MIDI keyboard, and got his first Emmy nomination. It was while scoring an episode of Tales from the Crypt that his desire to score was fueled, when he became aware of how powerful music can be in a scene. With this turn in composing, Clarke has been in constant demand to score films and television since the mid '80s. His films include John Singleton's Boyz N The Hood, Panther, Passenger 57, Book of Love, Poetic Justice, Higher Learning, Little Big League, Tap, Dangerous Ground, Cherokee Kidd, and the acclaimed score for What's Love Got To Do With It, the drama based on the life of Tina Turner. He loves the challenge of composition and orchestration, the exposure to rapidly changing music technology, and the new sense of freedom, noting that "Underscoring, in particular, takes away all the constraints of producing music that must have commercial potential." Clarke claims that film composing has influenced his solo writing-"When you do as much film composing as I've done lately, you just kind of get oiled as far as writing melodically is concerned." 

Bass Folk Song - STANLEY CLARKE - 1973
Christmas In Rio - STANLEY CLARKE - 1993
Dayride - STANLEY CLARKE - 1977
East River Drive - STANLEY CLARKE - 1993
I Wanna Play For You - STANLEY CLARKE - 1979
Life Is Just A Game - STANLEY CLARKE - 1976
Lopsy Lu - STANLEY CLARKE - 1977
The Magician - STANLEY CLARKE - 1976 
Rock 'N' Roll Jelly - STANLEY CLARKE - 1978
School Days - STANLEY CLARKE - 1980
Silly Putty - STANLEY CLARKE - 1977
Song To John - STANLEY CLARKE - 1975
Stories To Tell - STANLEY CLARKE - 1988
Time Exposure - STANLEY CLARKE - 1983
Vulcan Worlds - STANLEY CLARKE - 1974
What If I Forget The Champagne - STANLEY CLARKE - 1993

Price: €19,99




Expanding Walking Bass Lines

Series: Bass Instruction
ormat: Softcover with CD
Author: Ed Friedland

A follow-up to Building Walking Bass Lines, this book approaches more advanced walking concepts, including model mapping, the two-feel, several 'must know changes,' and other important jazz bass lessons. CD includes a jazz trio for practicing standard tunes.

Inventory #HL 00695026
ISBN: 9780793545865
UPC: 073999950267
Width: 9.0"
Length: 12.0"
56 pages




In the first book of this method, Building Walking Bass Lines, we learned many of the basic skills needed to create good, solid lines from a set of chord changes. The techniques discussed were: finding the root motion, adding the fifth, approach techniques (chromatic, dominant and scale), scale wise motion, resolving to chord tones other than the root, arpeggiation, indirect resolution, and chromatic motion.
If you are not familiar with these concepts, I recommend you use Building Walking Bass Lines before attempting to work through the material in this book. It is crucial to your understanding to have a good foundation with the rudiments of walking. The information presented in this book will be most useful to those who have a firm grasp of these basic skills.

Goal Statement
This book will expand on your knowledge of the basics by focusing on some of the finer points of walking bass lines. You will be exposed to some practical concepts to help you become more functional in a jazz rhythm section. We will branch out from the "straight ahead" and learn to stretch the boundaries of tonality.
It is also a goal of this method to provide you with an opportunity to experience some "real world" situations and develop the skills to cope with them.

Thanks to my family. Sonia, LeeEllen and Aimee Friedland, and David Taylor. Thanks also to Jim Roberts Bat Bass Player Magazine, Larry Fishman of Fishman Transducers, Bill Brinkley, Michael Merrill, Tom Hamilton, Athena, Lu Ann, Ed Siegfried, Dave Flores, and everyone at Carvin, and GHS strings.

About the Author
Ed Friedland is a graduate of the High School of Music and Art in
New York City, and a former faculty member of Berklee College of
Music and Boston College. He is a frequent contributor to Bass
Player Magazine. His performance credits include Larry Coryell,
Michal Urbaniak, Robben Ford, Mike Metheny, Johnny Adams,
Linda Hopkins, Robert Junior Lockwood, Barrence Whitfield and the
Savages, Martha and the Vandellas, The Drifters, Brook Benton, the
Boston and Tokyo productions of Little Shop of Horrors, the Opera
company of Boston, and the Boston production of A Closer Walk with
Patsy Cline. Ed is involved in producing and arranging with Bass
Station Music. He has a M.Ed. from Cambridge College, Cambridge,
Massachusetts. He uses Carvin basses, GHS strings and Fishman
transducers. Ed resides in Tucson, Arizon. Photo: Jean Hangarter

Using the Audio
The audio portion of this method is of equal importance to the text, since learning to walk without the
opportunity to hear the lines is an incomplete experience. In view of the scarcity of clubs around the world
where you can go sit in and experiment, I have provided an alternative. However, if you have the opportunity
to play at a jam session, or do a jazz gig, by all means take it. There is no replacement for the actual experience
of playing in a live rhythm section. I hope you will get to play with players as great as the ones I hired for this recording, Brad Hatfield on piano and Jim Lattini on drums.
This method's audio uses a split-stereo mix with piano and drums on the left channel, and bass and drums on the right channel. This configuration will allow you to turn off the bass track and play with the piano and drums. It will also make it easier to hear the bass track when learning the lines by ear, and transcription.
The examples in the book marked with a CD.
icon have a number that corresponds to the number on the audio. The example number is given and then counted off with a click. The click is a two measure count off, two half notes, and three quarter notes, leaving beat four of measure two blank. For example: 1. .. 2 ... 1, 2, 3, ... (play).
There are many opportunities in the book to create your own lines. These are the examples with chord symbols and slashes without a specific written bass line. It is more common for the bass player to encounter this type of reading in the real world, so these examples are very important. The bass lines for these examples are not written in the book, so they provide an excellent opportunity to practice learning by ear. Go the extra mile and transcribe these bass lines. Writing music on paper is one of the best ways to improve your ability to read music. Remember, you can use any of the chord progressions presented to practice any technique learned. If you want to practice fingered triplets with a progression from another part of the book, go ahead.
The last section of the book, the Appendix, includes ten jazz progressions. The last three progressions have no chord changes written. These "mystery tunes" are included to provide you with the challenge of learning a song completely by ear, with no prior iMormation given. As difficult as this may seem, thousands of bassists do it all the time. "Faking" tunes is an important skill that bass players must have to survive in the real world. It is not my intention to have this book become a full-scale primer of all the background information one needs to develop this skill; that comes from years of experience. There are suggestions given to help you develop an awareness of the process, things to listen for, hints about form, but nothing concrete.
This process is more like sorcery than science.
This book will not guarantee your ability to swim when you're thrown into the deep end of the pool, but it may save you from drowning! Stick with it, give it time, and keep your ears open!

Table of Contents
Preface .
Goal Statement .
Acknowledgements .
About the Author .
Using the Audio .
Fine Tuning Your Time Feel .

Part One
Overview .
A Disclaimer .
Introducing Rhythms .
Eighth Note Triplets .
Rests .
Combining Rhythms and Rests .
Adding Rhythmic Embellishment .
More Practice with Skips ,
Skips with Dead Notes .
Lift-off Dead Notes ,
Putting It Together .
Using Triplets .
Even More Triplets .
Triplets with Dead Notes .
Expanding the "Two" Feel .

Part Two
Overview .
Targeting Non-chord Tones .
U sing Scale Tones as Targets .
U sing Chromatic Passing Tones as Targets .
Interpreting Chord Symbols with Tensions .
Playing Over Modal Tunes .
Create Your Own Modal Map .
Pedal Points .
A Listening Assignment .
Walking Open: The Art of Implied Harmony .
A Closing Word .

U sing the Appendix .
Tune 1: ABAC form .
Tune 2: "Rhythm Changes" A section .
Tune 3: Several Key Centers in A section .
Tune 4: "Expanded Two Feel" .
Tune 5: Modal .
Tune 6: Bridge Modulations .
Tune 7: Repetitive A section .
Three Mystery Tunes .
Things to Consider .
Things You Should Know .
Things You Can Do .
Notation Legend .

Price: €22,99

LATIN BASS, The Essential Guide to Afro-Cuban and Brazilian Styles CD TABLATURE merengue-mambo-samba-partido alto

LATIN BASS, The Essential Guide to Afro-Cuban and Brazilian Styles. G. Lopez. CD TABLATURE

Latin Bass
The Essential Guide to Afro-Cuban and Brazilian Styles
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD
Composer: David Keif
Composer: George Lopez

This must-have manual for all bassists teaches how to play Afro-Cuban and Brazilian styles such as mambo, cha cha cha, bolero, nanigo, songo, merengue, samba, bossa nova, 3/4 bossa nova, baiao, and partido alto. For each style, there is a brief introduction, an example or two of the basic groove, and a play-along song on the accompanying CD – both with and without bass parts. Also includes a list of artists for recommended listening.
Inventory #HL 00695543
ISBN: 9780634017483
UPC: 073999235067
Width: 9.0"
Length: 12.0"
32 pages

As the diverse cultures of the world have continued to blend together, the results have become very apparent in music. Though each ethnic style has distinct characteristics, contemporary musicians combine styles from many cultures as they develop a sound. Much of today's popular music is greatly influenced by Latin music. The general term "Latin music" is used to describe ethnic music which originated from Africa and developed stylistically in Cuba, the Caribbean, and the countries of South America. Each has a very specific bass feel. As a bass player, it is important to become familiar with these feels. Latin Bass gives you this opportunity. Learn the differences between a bossa nova, a mambo and a cha cha chaoFind out how to playa nanigo, and much more. Each style is examined and demonstrated. Get hands-on experience as you play along with the compact disc included in the book.

About This Book
In order to demonstrate a wide spectrum of Latin bass playing, this book covers ten styles. Each style includes a brief introduction, an example or two of the basic groove, and a play-along song. All songs feature a full band on the compact disc. The bass lines are notated just as they are played on the CD. There are two mixes (versions) of each song; the first includes the bass, and the second does not. After you learn the written bass part, you may choose to create your own lines. This is highly encouraged, as it will help in the learning process.
In addition, for each style there is a short list of artists we recommend for listening. This is only a fraction of the available material, but if you want to learn more about Latin, check out these musicians!
The styles are divided into two groups. The first group is Afro-Cuban, traditions coming from the Caribbean and Cuba. These styles are mambo, cha cha, bolero, nanigo, songo, and merengue. The second group is Brazilian, and consists of samba, bossa nova (4/4 and 3/4), baiao, and partido alto. After studying the material from this book, you will have a fundamental understanding of the Latin bass style. Keep in mind that this is only the beginning. These styles evolved from numerous cultures and can only be fully understood by continued study. It is in your best interest to listen to as many recordings as possible to hear the complex variations that the musicians from these cultures use in their music. Keep practicing, listen to the records, and have fun!

About the Authors
George Lopez is one of the most in-demand bass players in the Latin music scene in Los Angeles. He has worked with Tito Puente, Celia Cruz, Poncho Sanchez, EI Chicano, and many others.

David Keif is a successful freelance bass player working in Los Angeles. He is the author of Arpeggios for Bass and Grooves for Electric Bass, both available from Hal Leonard Corporation.

Credits & Acknowledglnents
Music written and arranged by George Lopez, David Keif, and Carlos Campos.
Keyboards and rhythm programming by Carlos Campos.
All bass parts played by George Lopez.
The authors would like to thank Carlos Campos, Maria Martinez, Bruce Buckingham, and
afael Cirne Lima for their knowledge and contributions during the writing of this book.

Table Contents
Introduction .
About This Book .
Part One: Afro-Cuban
Mambo .
Cha Cha Cha .

Part 2: Brazilian
Bossa Nova
3/4 Bossa Nova
Partido Alto
Bass Notation Legend

The Essential Guide to Afro-Cuban and Brazilian Styles
• Mambo
• Cha Cha Cha
• Bolero
• Nanigo
• Songo
• Merengue
• Samba
• Bossa Nova
• 3/4 Bossa Nova
• Baiao
• Partido Alto

CD Includes Tracks for Demonstration and Play-Along

ISBN 0-634-01748-9

Price: €17,99




Series: Fretted
Softcover with CD - TAB

Author: Bunny Brunel
Author: Josquin des Pres

This book/audio pack includes over 140 essential patterns and exercises covering every aspect of slap bass, written by two of today's hottest bass players Josquin des Pres and Bunny Brunell. 40 pages





SECTION A, Thumb Slap


Part 1 Exercises to develop the thumb slap technique

Part 2 Patterns using the thumb slap technique

SECTION B, Index Finger Pop 

Part 1 Exercises to develop the index finger pop technique

Part 2 Patterns using the indexfinger pop technique


Part 1 Exercises to develop the muted slap and muted pop technique

Part 2 Patterns using the the muted slap and muted pop technique

SECTION D, Left Hand Slap

Part 1 Exercises to develop the left hand slap technique

Part 2 Patterns using the left hand slap technique

Part 3 Exercises to develop the left hand slap technique

Part Patterns using the left hand slap technique

SECTION E, Palm Mute

Part 1 Exercises to develop the palm mute technique

Part 2 Patterns using the palm mute technique

SECTION F, Thumb Pop

Part 1 Exercises to develop the thumb pop technique

Part 2 Patterns using the thumb pop technique

SECTION G, Index and Middle Finger Slap

Part 1 Exercises to develop the index and middle finger slap technique

Part 2 Patterns using the index and middle finger slap techniques


Price: €19,99

POWER GROOVES, A no-nonsense approach to hard rock, thrash and heavy metal, Dave Lombardo. CD

POWER GROOVES (DRUM), A no-nonsense approach to hard rock, thrash and heavy metal.

Metodo del batterista degli Slayer Dave Lombardo con esercizi di: power warm-ups, 8th-note grooves, 16th-note grooves, double bass grooves, riding the toms, e altro. Il CD contiene diversi demo e play-along di registrazioni con la sua band Grip Inc., come: Myth or Man -Empress (Of Rancor) -Colors of Death -Rusty Nail -Silent Stranger, and more. CD

Power Grooves

Series: Percussion
Format: Softcover with CD
Composer: Dave Lombardo

Writted in collaboration with ,
Transcribed by: ,
Edited by Rick Mattingly

A no-nonsense approach to hard rock, thrash and heavy metal drumming by Slayer drummer Dave Lombardo. The book and accompanying CD contain a wealth of material covering: power warm-ups, 8th-note grooves, 16th-note grooves, double bass grooves, riding the toms, and more. In addition, the book includes detailed charts and the CD contains both demo and play-along versions of several tunes originally recorded by Dave with his band Grip Inc., such as: Myth or Man -Empress (Of Rancor) -Colors of Death -Rusty Nail -Silent Stranger and more. CD

Inventory #HL 06620018

ISBN: 9780793588497
UPC: 073999200188
Width: 9.0"
Length: 12.0"
48 pages


Power Grooves is Dave Lombardo's no-nonsense approach to developing effective beats for hard rock, thrash and heavy metal applications. The book and accompanying CD contain a wealth of material Including:
Power warm-ups
Eighth-note grooves,
Sixteenth-note grooves
Double bass grooves
Riding the Toms

In addition, the book contains detailed charts and the CD contains both demo and play-along versions of several tunes originally recorded by Dave with Grip Inc.:

Dave Lombardo is an internationally renowned recording artist, and drum instructor, and performer of drum instructional clinics whose innovative drumming has powered numerous live performances and recordings by his band Grip Inc. and the heavy metal band Slayer, and who has also recorded with Fantomas, Voodoo Cult and Testament. He is cosiderated the definitive thrash drummer.

is a performer, educator, and writer with many published materials to his credit, including Afro-Caribbean practical playalongs, the funkmasters, Changuito-mastering the Art of Cuban Timbales, Drumset artists of Cuba.


Dave Lombardo is an internationally renowned recording artist (see Discography, p. 46), drum instructor, and performer of drum instructional clinics. He came to national prominence as the drummer with the heavy metal band Slayer, and he has also worked with Grip Inc., Voodoo Cult, Fantomas, and Testament.

Chuck Silverman is known internationally as a performer, educator, and writer. He has many published materials to his credit, including Afro-Caribbean Practical Playalongs, The Funkmasters, Practical Applications Vols. 7-3, Changuito - Mastering the Art of Cuban Timbales, and the video production Drumset Artists of Cuba.
Dave Lombardo and Chuck Silverman met in the summer of 1996 after Chuck read an interview with Dave in Modern Drummer magazine. Always impressed with Dave's powerful drumming style, Chuck was intrigued when he found out that Dave was born in La Habana (Havana), Cuba.

The idea for POWER GROOVES was born when the two exchanged tapes of their favorite music. From listening to each other's favorite music, they knew that they would be able to work together. Soon after their initial conversations, Chuck met Dave at his home outside of Los Angeles, California, and the concept for POWER GROOVES was hammered out. For more information on

Dear Drummers,
Throughout my career, people have asked me questions about my style of drumming. I always felt I couldn't answer those questions because I was self-taught. I never thought there was a science to drumming. I just played. When I was approached by Chuck Silverman to collaborate on a book for drum students, I questioned myself as to what I had to offer. Chuck is a drummer, teacher, and writer. He analyzed my drumming and found it unorthodox but effective. I had something different to offer. I could finally answer those questions the fans have asked me for years. I could give something back to my supporters. My relationship with drums started before the fourth grade. My brother listened to Led Zeppelin, Cream, and others. He showed me how to play along to the songs. I started with pencils and a cardboard box, and banged my way through a toy drumset by the time I was seven.
The turning point of my early career came when I joined the school band when I was 10. I am left-handed and had been playing that way. My music teacher insisted that I learn righthanded drumming. To this day I playa right-handed set, but I still have the left-handed instincts. As you read through this book you will notice some of the fills lead with the left hand. As a result, the fills and rhythms are more complete.
My dad bought me my first drumset at the age of 11. It was a 5-piece Pearl "Maxwin." I began to teach myself television theme songs like "Hawaii Five-O" and learn songs from the radio by playing along with the records. I played everything from disco to hard rock. My dad danced and listened to Latin jazz bands and would take me along to see them perform. I would sit behind the amplifiers and watch the percussionist and drummer. I was determined to join a band. If I had a great time watching, what would happen if I played?
At 14 I performed in the school talent show with an instrumental version of "Johnny B. Goode," complete with drum solo. I joined a band after that and we played songs by AC/DC, Led Zeppelin, and Judas Priest. My parents were not going to support my expensive drum habit and insisted I get a job. I worked for K-Mart and saved enough money to buy a real drumset. It was Tama Swingstar with a Paiste Rude cymbal package. My sound was born. After recording and touring for 10 years with Slayer, I was developing a style that was unstoppable. It was unique as far as I could tell. I continued recording with them until it was time for me to leave. I knew there were more and better musical styles for me to pursue, although I didn't want to change completely at the time because I enjoy playing heavy aggressive music. (Don't get me wrong, I play and enjoy mellow music and everything in between!) Focusing on the present and future, I'm still very much involved with heavy music but I have found there are more ways to release energy with other grooves. You'll find many of these examples within the book. I've put this book together to share these and other musical drumming ideas with you. I hope you enjoy POWER GROOVES!


Dave's Setups
Table of Note Values and Notation Key
Chapter 1: WARMING UP
Recommended Listening
Dave Lombardo Discography

Throughout the book, numbers in indicate corresponding tracks on the accompanying compact disc.

Examples from Chapters 1-5



COLORS OF DEATH play-along - Music by WALDEMAR SORYCHTA - 1995

RUSTY NAIL play-along - Music by WALDEMAR SORYCHTA - 1997







Dave Lombardo Interview
Waking up in the morning, in the sleepy suburb of Victorville, California, Dave Lombardo finds that the whole family is still sleeping. Sons Davey and Jeremy are not stirring and neither is wife Teresa. So, Dave steals downstairs, make himself some espresso, and breaks out the latest...what, Meshugga CD? No, he's reading the latest book on studio techniques. Well, it proves to be a relaxing morning, for a little while. After an hour or two, the two young boys are up and at em. Teresa's getting them ready for pre-school and Dave is also participating in the family thing. Maybe he'll drive them to school or make their breakfast. Afterwards, perhaps a little time lounging by the pool. It's a nice start to the day in this suburb of Los Angeles.
Then it begins. What's it? Phone calls, appointments, percussion companies calling, Dave's manager, tours to put together, bands that need producing, What? Someone needs to rent my studio for band rehearsal?, people wanting to do interviews, things to do around the house, overseas calls from band mates and magazines and record companies and on it goes...until..what?? another rehearsal. Definitely not!! Time for sushi or dinner with the band and family. Tatsuki's a great Japanese restaurant near Dave's home. Check out their tekamaki! Awesome! Rehearsing with bands takes up a lot of Dave's time here at home. Lately he's been rehearsing with Grip, Inc., the heavyrhythmicmelodic band that's just released its third CD, Solidify. The new CD is a consistent representation of the band, heavy and melodic.
Grip's getting ready for a short West Coast tour and then a European tour, where they'll be performing all over. (ed. I think this tour has been cancelled.) The whole family's coming along, touring Europe in a Volvo wagon. Grip's breaking in a new bassist and everyone's feeling great about the new material and the heavy sound. Rehearsing every day with Grip is demanding and Dave feels great. The band is rehearsing their concert set which is about an hour and a half. Somedays they do the set two or three times. Chops are up because of all the playing Dave's been doing. When Grip started rehearsing there was no time wasted getting into shape. Their songs demand the highest levels of drumming and Dave's up to it. What's cool is that the family is always around, in one form or another. Everyone likes that!
Then there's Fantomas, the band led by Mike Patton from Faith No More, with Trevor Dunn, and Buzz Osborne (King Buzzo). Fantomas rehearses in San Francisco. Sure, it can take Dave away from the family, but it makes it that much sweeter to get home! The music of Fantomas was created and composed by Mike Patton. Each individual brings his own musicality to the project. It's a masterpiece. The context of the music goes from heavy to grindcore, really brutal, from a very soft piece to an organ piece. There are 30 songs that range from a minute to a minute and a half. People react to Fantomas in interesting ways. Hopefully there are very open-minded people at the concerts. They know what to expect. Mike is a very creative person. But some people hear who's in the band and know their history and they think they're gonna see something of that combination. Usually these people are drinking at the bar, and they can get offensive. But Fantomas wins them over. Everyone else says, dude, don't ya get it...this is creativity. Right now, Fantomas is on a brief hiatus because Patton has to record another album with Mr. Bungle. They may be doing some touring in October. The new CD is going to be released April 27th.
KKleq Muzzil.....what's that you ask? Well, just check out the Stick It CD and find out more about Dave's latest project, one which he's producing. KKleq Muzzil is drum and bass hardcore. Yeah, never heard of that have you? Well now you will! The band is made up of drums, bass, and lead guitar/vocals. Dave's playing a single bass kit with single pedal, three crashes, ride and hi hat. So, in Dave's spare time, in between the gardening and reading Jean Paul Sartre, in between Grip and Fantomas, and let's, not forget Teresa and Jeremy and little Davey...there's Kkleq Muzzil! The band's just finished their demo at Dave's in house studio and they're shopping it for a deal. The band's grooving with a heavy edge. James Brown's music has found it's way into the hardcore scene, with Dave, guitarist Jeremy Nestler, and bassist Juan Perez grinding out the super heavy core sounds! Dave's goal with Kkleq Muzzil is to be the band's producer; to mold them, to shape them into an entity that can entertain the ears. Where Grip, Inc.'s music is very rhythmic, and very tribal, KKleq Muzzil relies on groove, very deep grooves, rooted grooves. The bass, guiatr, and drums are played in such a way that the groove takes on a real heavy life of its own. It's greasy.
Time for some well-deserved time off. All this recording and touring, rehearsing and traveling. Time for a break. How about flying to Oakland, CA to rehearse and record with Testament? Sounds relaxing!!! Testament toured with Slayer during the Clash of the Titans tour. They opened up the show. Now Dave flies up to Oakland a week at a time, once a month, to write material for an album. It'll be out in June. The music's metal, heavy and hardcore, done in an old school traditional way. Two guitars, bass, drums, and vocals make up Testament.
And after all this, it certainly is time for that well deserved break. Ahh, back to the espresso and a good book. NAHHHH!! Time to break new ground and perform with classical musicians in Mantova, Italy, in a brand new adaptation of the music of Vivaldi. The project is called Vivaldi: The Meeting (release date June 8, 1999 from Thirsty Ear Recordings). What's this all about? While Dave was recording with Grip, Inc. in Hagen, Germany, he was approached by the producer of this new classical music project. The influence for this project was a fictional story about a Cuban percussionist traveling to Italy, in the 17th Century. This percussionist met with the famed composers Vivaldi and Handel. After an evening spent at the opera, they decided to challenge each other to musical improvisations. The arrangers of this very musical adaptation of the story wanted to follow the thread of the story. They knew that Dave was born in Cuba (Havana, to be exact) and they wanted to introduce Dave to Vivaldi, in a modern classical music context! The Meeting involves Dave on drums, two operatic soloists, an oraganist, oboist and flautist. The band would jam in the afternoons, afterwards partaking in a daily ritual of beautiful lunches in a wonderful house. The whole Lombardo family was there, in an apartment above the studio. The whole vibe was taking the band back to the days of the sumptuous opulence of Venice. The band rehearsed, played and recorded seven Vivaldi songs, leaving Dave free to jam. Dave's drum parts were solely dictated by the music. Whatever the songs fed to him, he expressed through the drums. The vibe of the performers was very enthusiastic because this has never been done before. This was done in the raw form, the way it was done when people just got together and grooved and jammed. All the musicians were studied classical players. Dave Lombardo was, well, Dave Lombardo.
This production is getting a lot of attention in Europe. Hear it for yourself June 8th when the project is released. Dave's involved with percussion education as well. Power Grooves is Dave's addition to the world of drum education. Dave can show people some of what he's all about. It's no mystery, it's just a different way of approaching the drums. A student of the drums can really learn something from this book and CD. Are there other ideas in the Lombardo pipeline? Dave has a high criteria for education projects and other musical productions. It has to be produced correctly, full of useful and practical information. Not lame. He don't care if the reviews are great, the project has got to really kick butt. A Lombardo video? Not out of reach at all. Dave says that you can really find so much to do by studying what you already know, expanding and creating on this foundation. It's what Dave's done and continues to do. He's show this in upcoming educational projects. So, there you have it. Dave Lombardo's answer to what to do for the New Millenium. Be with the family, rehearse, record, play on groundbreaking projects, tour globally, smash drums and cymbals at every possible chance. Groove is King for Mr. Lombardo. Long may they both reign! 

Price: €17,99


SPEED & THRASH DRUM METHOD. Micidiale metodo per batteria metal, in stile Metallica, Anthrax, Megadeth. CD

Teaches metal drumming in the style of Metallica and Anthrax. Learn the techniques used by Lars, Charlie and other cutting-edge drummers. Loaded with instruction, detailed photos and tons of musical examples, this package includes three oroginal songs fully transcribed. The accompanying CD includes the three originals plus numerour recorded examples. 46 pages.

Price: €24,00


GOSPEL GUITAR, VOLUME 1. FINGERPICKING AND TRAVIS STYLE. La musica Gospel è la musica dei canti religiosi dei neri d'America. Negli anni venti, prima della grande depressione che colpì gli Stati Uniti nel 1929, quando ai neri fu concesso di avere le proprie chiese, la canzone gospel si definì maggiormente, ed iniziò a diffondersi anche attraverso i dischi. In questo libro troverete alcuni tra i titoli più famosi di musica Gospel (Vangelo). Numerosi artisti della scena americana degli anni '50, iniziarono cantando in chiesa le canzoni sacre di questo libro. Ogni titolo è arrangiato in tre modi: per chitarra e canto, per chitarra fingerstyle e in Merle Travis style. Casualmente nel 1956 Elvis Presley, Carl Perkins, Jerry Lee Lewis e Johnny Cash si trovarono nello studio di registrazione nello stesso periodo, e durante gli intervalli cantarono insieme, divertendosi con alcune canzoni del repertorio Gospel. Siamo certi che questo libro vi aiuterà ad organizzare una vostra divertente Gospel "jam session" improvvisando con queste semplici e chiare melodie. Amazing grace -angel band -can the circle be unbroken -give me that old time religion -in the sweet bye and bye -just a closer walk with thee -life is like a mountain railroad -old gospel ship -rock of ages -swing low, sweet chariot -this train -walking in Jerusalem just like John -wayfaring stranger -when the saints go marching in. TAB.

Price: €13,00


SPEED MECHANICS FOR LEAD GUITAR. Stetina. Oltre a numerosi esercizi e consigli per lo sviluppo della velocità e dello sweep picking; contiene le 106 battute del "Il volo del calabrone" di Rimsky-Korsakov (completo); il "Capriccio n.10" di Paganini e "Preludio in D" di J.S. Bach. CD TAB.

Series: Stylistic Method TAB
Author: Troy Stetina
Take your playing to the stratosphere with the most advanced lead book by this proven heavy metal author. Speed Mechanics is the ultimate technique book for developing the kind of speed and precision in today's explosive playing styles. Learn the fastest ways to achieve speed and control, secrets to make your practice time really count, and how to open your ears and make your musical ideas more solid and tangible. Packed with over 200 vicious exercises including Troy's scorching version of Flight of the Bumblebee. Music and examples demonstrated on CD. 89-minute audio.
80 pages

Caprice No. 10 (Paganini)
Prelude In D (Bach)
The Flight Of The Bumble Bee

Price: €24,99


SPEED METAL. Raccolta di Brani di Paganini, R. Kruetzer, Pachelbel con il celebre "Canon in re", con una dimostrazione di tecnica "tapping". Con un estratto dalla famosa "Toccata e fuga in Re minore" di J. S Bach; che potrete vedere anche nel video di Wolf Marshall, styles and secrets Yngwie Malmsteen. E' sorprendente come la tecnica del tapping nella chitarra elettrica riesce ad emulare il suono originale dell'organo. Contiene: Jesu, joy of man's desiring (J.S. Bach) -partita number 1 (J.S. Bach) -Toccata number 4 -etude (R. Kruetzer) -capriccio numero 24, e 11 variazioni (Paganini) -le quattro stagioni (Vivaldi) -il volo del calabrone (N.Rimsky-Korsakoff) -Canon in re (Pachelbel) -Toccata (J.S. Bach) -Fugue (J.S. Bach). CD TAB.

Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover with CD
Composer: Dave Celentano

In an attempt to teach the aspiring rock guitarist how to pick faster and play more melodically, Dave Celentano uses heavy metal neo-classical styles from Paganini and Bach to rock in this great new book/CD pack. The book is structured to take the player through the examples in order of difficulty, from easiest to most challenging.

Price: €29,99
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