framus & warwick magazine november 2014
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Artist News
Chuck Rainey joins the Warwick family!
At one time tagged as the hardest working bass player in America, Chuck Rainey’s bass playing
on successful television shows, motion pictures and recordings illustrate his legendary style, feel and concept for the instrument.
Learning to play the guitar while on military active duty before college, eventually led him to professionally play the guitar with local bands in Youngstown and Cleveland after returning home from college and military obligations. Since his formal training did not encompass improvisational skills, his guitar playing ability was limited to ‘rhythm playing.’ He began to play the ‘electric’ bass instrument after it was obvious that his skills were more valuable playing single note patterns.
His arrival in New York City during the spring of 1962 coincided with the beginning of a new era in American commercial music. After a 3 and a half-year stint with legendary FT. Worth sax man King Curtis in New York, Chuck began an illustrious career as a ‘sideman’ in the recording studio along with Bernard Purdy, Eric Gale, Richard T., Donny Hathaway, Paul Griffen and Herb Lavelle to name a few. Without any argument, he is the most recorded bass player in the history of recorded music and is the most imitated by bass players as a whole.
During the period 1963 thru 1971, Chuck toured and/or recorded with some of the most prominent artists of that era. They include King Curtis, Sam Cooke, Etta James, The original Coasters, Jackie Wilson, Harry Bellefonte, Al Kooper, The Supremes, Labelle, Aretha Franklin, Roberta Flack and Quincy Jones. Of special note; as a member of ‘The King Curtis All Stars’, the second Beatle Tour of the US took him to Los Angeles where he made a commitment to return as soon as the Universe saw fit.Moving in 1972 from New York to Los Angeles as a member of Quincy Jones big band, his career as a studio musician continued to grow. Additionally, his unique style brought him opportunities in the television and film industries where he can be heard performing on musical themes and in the source music of numerous motion pictures, television series and sitcoms, along with radio and TV advertisements. He also has composer, arranger and production credits in his career.
A recipient of a grant from The Ohio Arts Council in 1981, Chuck joins the group of a selected few ‘music sidemen’ who have been a recipient of prestigious awards. They include; 17 platinum or gold records, The Dean Markely ‘Life Time Of Achievement’ Award, Bass Player Magazine/New York Bass Collective ‘Life Time achievement’ Award, a record 35 year consecutive placement in the top 10 music poll (category - bass) in Downbeat and Playboy Magazines and the list goes on.Having written and taught the first bass course curriculums for The Musicians Institute/B.I.T. and Dick Grove Music Works Shops adds to his experience in
the field of music education. He was among the first celebrated musicians to write teaching columns in Guitar Player and Bass Player Magazines in the 70’s. The ‘Rock and Roll Hall Of Fame’ yearly inducts the legends of Rock music. As of 2003, Chuck Rainey’s bass lines and rhythm influence are the documented backbone of the original hit recordings of the following artists and the year they were inducted: Aretha Franklin (1987), Marvin Gaye (1988), The Jackson 5 (1997), The Rascals (2000), Steely Dan (2001). Warwick is honored to have this legendary bassist in the family!
Magnum with Warwick Artist Allan Barrow
released “On Christmas Day” on digital and as a 10” vinyl.
Release dates:D: Nov. 14th, 2014EU: Nov. 17th, 2014UK: Dec. 1st, 2014
Artist News
Let’s hear it for cool people in the music business! We had the pleasure of being hosted by bass player
Hansford Rowe, at the campus and factory of Framus & Warwick, makers of outstanding basses, guitars and amplifiers. Hansford took us on a tour of the factory-which was mind blowing, so many state of the art techniques. We saw the custom shop, took a look at a fresh Bootsy Collins star bass right off the line and another guitar that shot lasers out of the back of the guitar and had it’s own smoke machine built into the guitar!! We checked out the Framus museum showcasing models from their product lines over the years. Fuze and DJ got to geek out with a myriad of amazing stock and custom instruments and amps. Then we had dinner with Hansford and the staff and DJ got to break bread with one of his bass idols the legendary Chuck Rainey... as in, “I played on Steely Dan, Aretha Franklin, Marvin Gaye, Roberta Flack, Donnie Hathaway, Minnie Ripperton and Quincy Jone’s records Chuck Rainey!” Such a distinguished gentleman, Mr. Rainey would never brag like that, but we can. It really was a great day and we won’t forget it, nor will we forget Hansford, Hans-Peter, the head of Framus & Warwick, Katja and Marcin. We’re coming back next time to lay some S.H.T. in the Framus & Warwick Music Hall, that’s a promise. Thank you guys again. Peace. - Freedom Bremner
Bassmen on Tour
Warwick Artists Stu Hamm and Ove Bosch continue their workshop tour this fall.
Nov 17th - Zoundhouse, Dresden Nov 18th - Music World, Augsburg Nov 19th - B, T, M, Nuremberg Nov 20th - Six & Four GmbH , Sulzbach Nov 21st - MUSIC STORE , Cologne
Job For A Cowboy with Warwick Artist Nick
Schendzielos on bass released their new album “Sun Eater” on November 11th, 2014.
Jack Bruce has been a cherished member of the Warwick family for nigh on three decades.
His original connection to the Wilfer family actually began in the sixties when he played a Framus Star Bass.In 1986 Framus & Warwick owner Hans-Peter Wilfer got a call from a shop in a small town near Cologne, Germany. Jack Bruce was interested in the new Thumb Bass. A fretless 4 string Thumb NT bass was shipped out and Jack bought it immediately. A twenty-eight year love affair began. Jack never endorsed another brand. Several Jack Bruce signature models followed over the years. The first was two years later; a Thumb Bass NT 4 string fretless of Bubinga Pommelé, with his signature inlayed on the body. Jack was looking for endless sustain, clear note definition and a warm tone.
In 1992 and 2002 the second and third edition were released eventually sporting LED side dots.
When rumors of a Cream reunion began to circulate in 2004 the first plans were made for the JB Cream Reunion Bass.
In May 2005 Warwick launched the Jack Bruce CRB. When Jack received the first production model he called it his “baby.” This neck-through masterpiece featured a 5-piece Ovangkol neck with black veneers between each laminate. A thin black veneer between the fingerboard and the neck created a very cool racing stripe highlighted by LED side dots and a mother-of-pearl block inlay on the body that says “Jack Bruce Cream Reunion.” The body was made of solid Bubinga with interior tone chambers that not only enhanced the harmonics and sustain but lightened the overall weight of the bass.
Jack Bruce
The top of the bass was made from stunning 4A Bubinga Pommelé. Two MEC humbuckers were hand wired to Jack’s personal specifications. There is an active MEC 3-band Vintage preamp also custom made under his supervision. Cream gave four sold-out concerts at the Royal Albert Hall.
In 2011 an Artist Series version (Made in Korea) was released.
Over the years, Jack became good friends with fellow bassist and Warwick amp designer Jonas Hellborg. He kept a Hellborg rig at home and used the Hellborg Preamp in the studio.
Jack’s health in the new millennium was fragile and in 2012 he decided to call his latest signature bass the Survivor with the hope that it would be around long after him. The Jack Bruce Survivor and his last record, Silver Rails are solid testaments to Jack’s endless love of music.
Jack Bruce
Jack Bruce CRB 2005
Jack Bruce
Jack Bruce Artist Series 2011
Jack’s favorite Thumb NT (Rosewood)
Cream Reunion - Royal Albert Hall May 2005
“All my team and I will miss you Jack. You will always be in our hearts.”- Hans-Peter Wilfer
Jack Bruce
Jack Bruce and Jonas Hellborg
Framus & Warwick Custom Shop - NYC 2013
MAREKHOFMAN // Photography
Framus Diablo Supreme X for Chris Rime
Nirvana BlackBurst High Polish | Flamed Maple neck | Rosewood Fingerboard | Framus oval inlays | AAA Flamed Maple Top with US Swamp Ash body | Graph Tech Ratio Locking Machine Heads with Wooden Knobs | SD SH-2N/SSL-1/SH-8B Pickups | Floyd Rose
• Bass combo• 150 Watt Power Amp• Class A Low Noise Preamp• 4’’ High frequency horn• 15 ’’ Warwick Custom Speaker• Bass Reflex Housing• DDL (Dynamic Distortion Limiter) • 2 inputs for 2 instruments at the same time• FX Loop• Aux Stereo Input (Mini Jack)• Integrated headphone amplifier
warwick.de
musikmachen.de from Germany
kitarablogi.com from Finland
BC 150
For many years I have been a Warwick Artist. I am very proud and happy to be in the family.
On my current tour with Entombed A.D. I am using my Warwick basses, a Warwick LWA 1000 amp and Warwick cabinets. The LWA 1000 has two separate channels. On this tour I use one channel and I lend the rig (and the other channel) to the two support bands. The LWA1000 sounds great and is a real workhorse. We are doing 38 gigs straight and all three bands are using the same amp. That is 114 loud and heavy gigs in 38 days! And since the LWA 1000 is so light and compact, I keep it on my pedal-board and it fits in the pedal bag too.
So if you are looking for a workhorse bass amp that gives you all the heavy sound but not the heavy lifting, look no further. The LWA1000 from Warwick is truly a game changer. I want an amp to be a trusty workhorse that sounds great every gig and that is easy to use. With the LWA1000 I have all that plus all it‘s features that makes it built for the road.
We recorded our new album “Back to the Front” in studio Bohus in Sweden with Roberto Laghi. There I used the Warwick Hellborg rig; a beast of an amp that is one of the best in the world. I think “no compromise!” was what they had in mind while building the amp. Warwick really flexed their muscles with this Rolls Royce of amps.
It is truly a humbling experience to use Warwick basses and amps. For me, this is as good as it gets. The quality, the details, the sound, the feel… I get a smile on my face just thinking about it.
Amps
Victor Brandt
Streamer LX
AAA Quilted Maple Top | Blue front and side LEDs | Wenge Fingerboard | Active MEC P/J pickups | Active MEC 2-way electronics Volume P/P / Balance / Treble / Bass | Bleached Blue Stain High Polish Finish | Chrome Hardware | 2-piece solid Brass Warwick Bridge AAA Quilted Maple Top | Blue front and side LEDs | Wenge Fingerboard | Active MEC P/J pickups | Active MEC 2-way electronics Volume P/P / Balance / Treble / Bass | Bleached Blue Stain High Polish Finish | Chrome Hardware | 2-piece solid Brass Warwick Bridge
Heavyweights love light weight
Phil Chen, Ryan Martinie, Norwood Fisher
If you look up “tumult” in the New American Webster College Dictionary, one of the meanings is: ‘high
excitement’. Well, that fits my generation, of which Jack Bruce was an important part, to a “tee”. Jack was never dull--he played like his personality: explosive, powerful, uncompromising--in a word, exciting. Those of us who knew him for at least forty-plus years could never pronounce him boring, staid, retiring or complacent; no, he was full of fire; Jack was blatantly, honestly and unflinchingly devoted to progressive music. He, like so many of us, had demons, but what the heck, it was the Sixties--I was also plagued by my share of demons over the years, and in the end it means very little compared to our never-flagging love of always trying to play better.
Jack and I started out as a mutual admiration society when I was with Gary Burton and he with Cream and we shared a bill at the Fillmore in San Francisco with the Electric Flag. It was during one of those marathon, one-chord Cream “jams” that I noticed Jack using whole tone scale-intervals in his bass lines. I thought, “hey this is a jazz guy here”--we gotta connect!
And connect we did--he left Cream, started out on his own, and invited myself and my colleague (from the Eleventh House) Mike Mandel to join Mitch Mitchell (boy, did he play his tail off!) and we became a touring band called Jack Bruce and Friends.
Mike and I flew to England (on Jack’s dime--he was generous to a fault) and started learning his tunes. Things like “Theme from an Imaginary Western” and “Politician” impressed me very much with their unique quality of composition; oh--ridge-ah-null! Jack sat at the piano and expostulated his concepts; I picked up (i.e. “stole”) a few things I heard him play when he was just messing around. One thing he did, a swiftly descending Eb minor pentatonic scale leading to a D Mixolydian resolution, later became incorporated into a composition of mine called “Scotland”.
And to this day, whenever I play anything in seven, I use a rhythmic device, or, if you will, a “trick” that Jack showed me to negotiate the four-and-three time signature. Just play off that pattern and you’ll not get lost--almost never, and I do mean almost, ha ha. With seven, you never know.
ANYWAY, the multiple-city American Tour we did in 1971 or ’72 (can’t remember exactly when) was a tour for the ages--the most endearing memory being this; we were opening for Mountain at the Fillmore East in NYC--we played our set, and the audience simply wouldn’t let us off the stage--they were cheering in perpetual motion, “freaking out,” to use the vernacular of those times. Boy, those guys in Mountain were baffled, but hey, it happens--remember, Jack was as explosive as they come, and, always at the end of his set, he’d bring down the house with his anthemic “Sunshine of Your Love.” You couldn’t help but go crazy--what a bassist, what a composer, what a singer, AND what a Scot (mind you, he was from Glasgow, and quite proud of that).
Jack Bruce & Friends. From left, Bruce, guitarist Larry Coryell, keyboardist Mike Mandel and drummer Mitch Mitchell.
Jack’s passing is a cause for all of us old enough to recall another time in Twentieth Century Western Culture, when the impact of popular music had a plethora of soul (“Crossroads”) and intelligence (“Songs for a Tailor”)--so much so, that by 1967 everybody I knew was always waiting with bated breath for the next Cream or Beatles record to come out. Music truly ruled our world then. May the beauty of Jack Bruce’s musical and artistic devotion, so tumultuous as it was, re-kindle in today’s musicians, especially bassists, a desire to be ruled by a renewed quest for exciting and fresh aural moments. Jack would have wanted it that way; turn it up buddy and blast! - Larry Coryell
Remembering Jack
Coryell’s Corner
Imprint Warwick Newsletter: Editorial Office: Hans-‐Peter Wilfer (Editor)
Appearing monthly
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© 2011 Warwick GmbH & Co Music Equipment KG.All rights reserved. www.warwick.de/catalog
Cover photo by Michael Sherer