Jimmy "Flim" Johnson

[cozmik_cowboy]

Enjoy, Graeme;  we saw them a few years ago, and it was amazing!
 
Peter

[bigredbass]

Jimmy, I need a little advice, and with your experience, and with your brother being an upright player:
 
Not that I play a lot of this stuff, but I would like to work on my walking lines, Ray Brown kind of stuff, but I run into a problem I once heard Will Lee remark about:  So many of these classic recordings, the upright is just not very focused nor easy to hear.  Will remarked that a lot of these records, the bass was 'felt more than clearly heard'.  I love classic Sinatra (those Nelson Riddle arrangements!), but it's clear they're speaking a language I can barely make out.
 
I am using every one of those beginner steps, and inevitably wind up playing arpeggiated chord forms instead of actually playing the tune.  Any advice, any recordings you could recommend?
 
Thanks!
 
J o e y

[JimmyJ]

Hey Graeme,
You knew about that gig before I did!  Thanks for making the arrangements, I look forward to seeing you and the Mrs in the fall.
 
J o e y,
Yeah, well, I'm certainly no walking expert myself.  It's a joy to hear the guys who can really weave a bass line together.  It's also another one of those things (like reading) that you can't really practice.  Ray Brown is a great choice to study.  I think there are a few method books from him that are probably good.  And the Nelson Riddle arrangements are classic - those bass lines were probably mostly written out to hit with the band exactly right.
 
What Will said is true, there was a time when the bass player's job was more that of a  kick drum than of a tonal center.  Drummers would ride the cymbal and use snare and kick only for accents while the bass kept the time rolling along.  Later when things got bigger and more driving the kick joined in with four on the floor.
 
My dad played in a few big bands back in the day, with no amp, and his style was high action, two-fingers on the right hand (like he was shooting arrows!), a very short note and amazingly loud.  More percussive than pitch although he also found his way through the chords really well.
 
My brother is amazingly smooth but he does it a lot and I think that's the only way to get good at it.
 
So yeah, Ray Brown books maybe?  You can probably still find some music minus bass somewhere to play along with (I suppose there's an app).  Beyond that I don't know what to tell you because my operating license doesn't include that area.  Ha!
 
Jimmy J

[tubeperson]

In addition to the Ray Brown books, there are books published by Sher Music dealing with Walking Bass techniques.  You could also look at the Jamey Abersold series of books such as the music minus one series.  I have a three volume set of Oscar Pettiford walking bass lines, transcribe by someone who got his PhD in Music for this set.  Very analytical.  Finally, go to Bassbooks.com, They have many titles available for Walking Bass.  And, don't forget, Keep Walking!

[bigredbass]

Thanks !
 
J o e y

[sonicus]

I am a long time fan of Leroy Vinnegar's walking bass technique and sound.
 
http://home.earthlink.net/~joflee/Leroy.htm

[hankster]

I'm a big fan of the Ray Brown book.  I'd played  bass for 35 years and thought I sort of knew how until I got that book.
Rick

[mario_farufyno]

Ray Brown was the ultimate cat, solid groove!

[gbulfon]

JJ! Unusual musical environment for you here!!
 
http://www.youtube.com/watch?v=EjfprFxxU1A
 
Stunning!  
Gabriele.

[JimmyJ]

Well spotted Gabriele.  That videographer is really talented, made it look like it was one live take...  
Some decent drumming too, right?
 
Jimmy J

[bigredbass]

Dynamite.  Now . . . . IF this was one take, everyone playing at once, WHICH drummer would you follow, or would you just 'sum' the two of them internally?  
 
I've never worked with two drummers at once, but Ive always wondered. . . . .  I've seen some bands (like the Dead) where one guy was the metronome and the other was the flourishes, or others (like the Allmans) where both guys were left and right hands of the same thoughts, almost blurred (at least only hearing the recordings and not seeing them as you would on stage to get some sense of who's doing what), maybe more jazz-like inasmuch as a big backbeat isn't as obvious . . . .
 
BTW, when do you have time for this, racing in NASCAR all those weekends?
 
If I never told you:  I can not tell you how I appreciate your having a go at my questions.  Best of the Holidays to You and Yours.
 
J o e y

[JimmyJ]

Hey J o e y,
Yeah, the race car driving is really tiring but it was worse when I was coaching the Dallas Cowboys......
 
The double drummer thing is unusual for sure, I've only done it a couple times. Although Steve Gadd occasionally likes to overdub a second pass so it sounds like he has 4 arms.  I've done some double bass player work too, but that's another story.
 
Usually in these situations the drummers work it out so what they play compliments each other and the outcome sounds like ONE extra complicated drum part - hopefully together.  The Allman Bro's approach is odd in that I think those guys play the exact same part.  The inevitable flams here and there are part of that sound I guess.  
 
I think the main point of this Weckl thing was the solo trading near the end.  Dave and Chris Coleman are both amazing players.
 
Jimmy J

[cozmik_cowboy]

At least you find time to play blues guitar in Chicago........
 
Peter

[lbpesq]

And congratulations on your new gig as closer for my Oakland Athletics.  You sure are a busy guy!
 
Bill, tgo

[David Houck]

Cool video, and great sound quality; I had the volume turned up, and the bass was sitting very nice in the mix, despite it being a drum-centric session.  Nice playing Jimmy; perfect for the tune.