Jimmy "Flim" Johnson

[JimmyJ]

Gabriele,
Thanks for the comments, I'm glad you got out to hear Allan, Chad and Ernest.  I know 40 Reasons was an important record for you and expect you will enjoy Chad's new project with the same cast of characters.  And we all hope Allan can get his new project off the ground as well, what he comes up with is always surprising.  One of the great things about music is that there is always something new coming.  Creative folks are working to make our ears happy!
Cheers,
Jimmy J

[gbulfon]

 yes, I'm sure they will both be surprising as always  I just ordered the new Gary Husband recording featuring you on bass  can't wait to hear it.
I remember you talking about this milan date some  months ago, you should have been here. What happened?

[gbulfon]

Jimmyyy!!! Wow!!!
Finally I got the new Gary Husband CD ))))
...and....wow.....
...and....Dreams in Blue.....I'm terrified!
Expecially because, as a joke with my friend, we like to talk about you as the Melodrome...meaning...well, I think you know what I mean!
Well....your solo in this Chaos Dream is still incredibly melodic!!!
You're incredible!
 
Thanx for the music again

[JimmyJ]

Thanks Gabriele.  
It's an honor to be on a record with some of my musical heros!  
Melodrome?!  That's funny!  Not sure if you mean mellow, melodic, or melodramatic.  Ha!!
Jimmy J

[gbulfon]

Hi again  I was wondering if we can have a talk about your way of approaching music, harmony, melody and so forth  
I'm always transcribing Allan's music, and I'd love to have a pale view of your approach on his music. May I write down examples here to analyze with you?

[JimmyJ]

Gabriele,
 
I don't think this is the place for a lengthy back and forth about my personal approach to music so let me summarize it for you:
 
Our individual voices on our instruments are the sum of all of our musical experiences.  I studied clarinet for several years so the literature written for that instrument certainly effected my sense of melody and how I approach soloing.  I have been exposed to a good mix of musical styles ever since I started playing bass so each has influenced how I approach playing in a rhythm section.  I have no formal musical education and so no ability (nor desire) to analyze anything.  I play by ear.  
 
That's my whole story, I hope you enjoyed it.
 
Now a question for you - how is it that you heard Gary's record before it was released?
 
Cheers,
Jimmy J
 
(Message edited by mica on November 23, 2010)

[gbulfon]

Hi, first the answer to your question.
The simple answer is that Gary's album was released in Europe at the beginning of November.
It will be released in January in USA.
More, Abstract Logix were so nice that for those who bought it before release (as I did from their site in the middle of october), they provided us a secret link to download mp3s before receiving the package. So I could pre-listen at the end of october.  
More, I also bought Ranjit Barot release together with Gary's one, as a special bundle provided by Abstract Logix.
I understand you didn't like some of my actions on this blog, but no need to be so suspicious.
I love music, that's all.
 
Back to my question, I was more interested in the way you may approach sheets, this time. I was not talking about your improvisation, but the way you solve some kind of Allan's chords.
But I understand you don't like to talk about it.
Pity.
 
Cheers,
Gabriele.

[JimmyJ]

OK, thanks for explaining that.  I was confused because the record was released in the US on Nov.16 and according to Gary's website wasn't due to be released Worldwide until the following months.  Apparently it was available everywhere at the same time and with your secret link you were able to hear the completed record before I could.  Ha!.  Anyway, thank you for supporting it.
 
About Allan's chords - I can tell you that he thinks in scales and not in normal chord voicings.  The charts he makes for himself do not have standard chord notation but instead contain symbols referring to which scale fits at what moment.  Often he is not particular about the root or bass note as long as it fits with the tonality.  This is why sometimes, in a solo section for instance, there will be an alternate bass note for the same harmonic moment.
 
My way of approaching this?  I just play by ear.  As he shows us a new song I will listen to the chord, find a note and ask how about this one?  No?  Maybe this one? etc... until he likes the set of choices and then that becomes the bass part.  It's a very unusual situation but this extra participation in shaping the music is really a kick!
 
Thanks,
Jimmy J

[jacko]

Whatever the approach, it works REALLY well ;-)
 
Graeme
 
p.s. all the best bassists played clarinet first ;-)

[jacko]

Hey Jimmy.
I've just had a mail from the JT site saying he's touring with Ben next year. Any chance you could bend his ear and comvince him that the UK would be a cool trip? Somewhere north of Manchester would be great. Newcastle, Glasgow or Edinburgh for example. I can guarantee he'll fill at least 2 seats ;-)
 
Graeme

[muller1007]

Jimmy,
 
Just received my copy of Gary Husband's CD in the mail. It's fantastic! Also great to hear how your playing style compliments the flow of the songs. It's something I regret to have missed during Allan Holdsworth's performance in Zoetermeer this month. Ernest is a fantastic bass player, who plays all the right notes, but the flow and overall sound of the music was so different from what I'm used to hearing/feeling. It was obvious to me and many others in the audience that your musical approach, playing style and bass tone(!!) largely contributes to the total sound and feel of Allan Holdsworth's music. It might be a matter of taste, but it seemed to be the general consensus in the audience. With just three people in the band, everything has to seemlessly connect and fall into place. To my taste, somehow Allen, Ernest and Chad missed this connection at some points. In that respect, Allan's 2009 performance in Zoetermeer, with Gary and you, was by far the best I've ever seen and heard. To me, that trio is magic.
 
Glad to have been there this year though. Allan just blows my mind every time and I wouldn't miss his live performances for the world.
 
Duncan

[jakebass]

Hi Jimmy nice to hear your thoughts on this and I like your lack of desire for analysis, it makes for music coming from a musician which is such an obvious statement that it's potency can easily be missed. I have always struggled to do anything that doesn't just come from what I hear, so learning theory means nothing unless it's made part of what you can hear and execute.
I hope James and Ben decide to make it over here to the UK next year...!
 
All the best
 
Jake

[JimmyJ]

Thanks Graeme. Yes, it seems many bassists have transferred in from the b-flat treble clef side...  As far as I know the Ben & JT tour is States only.  There have been murmurs of something in the UK/EU in summer but no details or even what band might be involved.  I'll try to warn you if I'm coming your way.
 
Duncan, thank you for the kind comments.  I'm glad you like Gary's record.  That was quite a major undertaking and I think he did a great job of making it happen.  It is as you say; changing one guy in a trio can have a big effect on the overall sound.  Add to that the fact that Allan never tells anybody what to play (might be the Miles technique, via Tony Williams) and one guy can send the music in a totally different direction.  Even with the different player combinations it's always a good idea to hear Allan whenever possible.  Thank's for supporting the team!
 
Jake, my sum of your parts idea should include any extended musical education experiences.  I sometimes wish I had a bit more legit training.  But ultimately after you learn scales, voicings, patterns, riffs, theory, transcribe and work out famous solos, then you must FORGET all that and play music.  When a piece of music sends a chill up your spine, it's not because your brain is enjoying the analysis. HA!
 
Thanks all,
Jimmy J

[white_cloud]

I sometimes wish I had a bit more legit training. But ultimately after you learn scales, voicings, patterns, riffs, theory, transcribe and work out famous solos, then you must FORGET all that and play music. When a piece of music sends a chill up your spine, it's not because your brain is enjoying the analysis. HA!
 
For me this is perhaps the single most  pertinent observation/evaluation on musicianship I have seen - young aspiring musicians take heed.

[gbulfon]

True. And untrue.
Sure it's not about your brain enjoying the analysis.
But sure, when you reach the level to FORGET and play, your brain is doing the analysis in the background.
It's not about the technical background on the instrument (that, anyway, helps).
It's about understanding the music around you.
And I can't believe you don't have your own idea of scales and chords when Duncan Terrace starts and you have D/C# and then Dmaj7.
It's there in your bass playing, in your melodic choices and in your root bass notes.
And you know what you're playing, and your choices.
That's why you can FORGET and play.
Sure, it's true. Just staying around scales, voicings, patterns, riffs and theory won't take you to the next level. That is Your level.
But I can't believe you never did this.
It's there. In your playing.
 
Gabriele.