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He plays almost exclusively notes from a D major pentatonic scale (D-E-F#-A-B). The way Phil’s counterpoint dances around Jerry’s guitar is just beautiful. Welcome to episode 2 of the Nature of Sound! His melodic bass lines really do make him a second lead player in the Dead. Everything takes off from here. So, if you’re going for that authentic Grateful Dead sound, give your bandmates fair warning, then dive headfirst into the Phil Zone. One issue is the improvisatory nature of the Grateful Dead’s music. And for the most part, once the jam section of the song begins, what Lesh plays in one version won’t translate seamlessly to another. Ritter Pickups. Record Label. Given that this song usually includes an extended jam section, Lesh will gradually discard these parameters as the band moves toward free improvisation. Phil Lesh – bass, vocals; Bill Kreutzmann – drums; Mickey Hart – drums (February – October 1971) Jerry Garcia – lead guitar, vocals; Bob Weir – rhythm guitar, vocals; Ron "Pigpen" McKernan – keyboards, harmonica, percussion, vocals; Phil Lesh – bass, vocals; Bill Kreutzmann – drums (October 1971 – March 1972) When he finally lands back on B on the downbeat of the 13th measure, he releases the tension and can begin building it up again.Â. The farther you lean back, the more the tension builds. Lesh’s playing, though, is a key component of the sound of the Grateful Dead, probably second in importance only to Garcia’s lead guitar. The riff and accompanying parts are based around a B mixolydian scale (think B major but with a lowered 7th—so A natural rather than A sharp), but Lesh is mostly playing notes of a B major pentatonic scale with the occasional addition of E. In the excerpt transcribed, he completely avoids any kind of A, although as the jam continues over the next several minutes, he does begin incorporating A naturals. Events. Box Of Rain *With Karl Denson On Flute Phil Lesh - Bass And Vocals Grahame Lesh - Guitar And Vocals Ross James - Guitar And Vocals Jason Crosby - Keyboards And Vocals Scott Law - Guitar And Vocals Eliot Peck - Vocals Alex Koford - Drums And Vocals Topics: Audience, Tony Suraci Source: AKG 568B>V2>SD 722 @24/48 Location: OTS, at SBD. Welcome to MM3! The groove is stable, and sometimes you want that. Phil Lesh & Friends' Live at the Warfield (recorded May 18 and 19, 2006) follows a carload of live recordings issued on the Instant Live label a month previously. The performance from 1973 is the most syncopated.Notice how few notes fall on the beat. The Phil Lesh Eye of Horus is a 6-String Jupiter with a custom String Spacing and the Ritter Quattrobucker pickup. It’s another example of Lesh moving away from the root as a way to build tension, then landing back on a strong A to release it. Share your email with us and we'll send you a new jam everyday! Phil plays the root B on the first beat of each pattern (i.e., downbeat of mm. In fact, sometimes you need that. Example 3 is from about a minute later in the jam (approximately 5:44 in the recording). The longer you do that, the more tension you create–at least to a certain point. Miasto rodzinne. THIS SOUNDBOARD IS **FREE** THANKS TO PHIL & FRIENDS (WWW.PHILLESH.NET) This is where Jerry Garcia and keyboardist Keith Godchaux play the riff that ends the song proper, and is the starting point for the jam that follows. Below are transcriptions of Phil Lesh’s bass line from the first verse of three different performances of this song: 12/9/73 from Tampa, FL (available on Dick’s Picks Vol. He repeatedly ascends, then gradually descends back to A. Team. Phil Lesh’s line here isn’t as syncopated as the ones discussed above, though it remains anything but regular. You can subscribe at any time. His two biggest projects are "The Dead" which is the surviving memebers of the Grateful Dead. Believe me ,it's a no-brainer! I’ve included a transcription of the riff Jerry and Keith are playing, because it’s important to see how Phil Lesh plays against it. One of the strongest intellects and most extraordinary musical talents in rock history, Phil Lesh re-defined what the bass could sound like, and in so doing heavily influenced what the Dead sounded like. We use cookies to ensure that we give you the best experience on our website. I’ve transcribed four passes through this pattern and labeled them A, B, C, and D in the excerpt so it’s easy to keep track of where we are. Alex Koford played additional acoustic guitar, Jason Crosby handled … Another similarity is that Lesh emphasizes the “off-beats” in all three versions, though to different extents. The original line-up of Jerry Garcia (guitar, vocals), Bob Weir (guitar, vocals), Phil Lesh (bass, vocals), Bill Kreutzmann (drums), and Ron McKernan (keys) was still finding its stride. In the 1980s, Phil would gravitate toward 5- and 6-string basses, but the D he plays in these transcriptions (5th fret on the A string) is the lowest available on the 4-string basses he favored in the 1970s. Garcia and Lesh is my all time favorite guitarist bassist combo. As of June 2020, The net worth of Phil Lesh is estimated to be around $50 million. Phil Lesh - Bass. In the late 1970s Lesh briefly played a handmade Doug Irwin bass on tour with the Grateful Dead. You won't find any dancing bears here. Since the death of Jerry Garcia he has performed with numerous different artist, and worked on many projects. Lesh is primarily improvising with an A mixolydian scale. Berkeley, California. Copyright © 2020 Bass Musician Magazine, All rights reserved. But it also requires a lot of trust and understanding from other members of the band who may be expecting more traditional bass lines. Most bass players probably would have played this riff with the guitar and keyboard. He earned most of this money by being the bass player of popular band Grateful Dead. He gets into the higher register of his instrument early and often. The fact that it leads into one of the Grateful Dead’s biggest and best songs certainly doesn’t hurt, either, though whenever folks try to d… During this time, Phil also had the task of handling the group’s high vocal harmonies, at which he excelled with his near-perfect pitch. The songs are given life on stage, not in the studio. 2 Available instruments. A Phil Lesh stage played Modulus 6-string bass circa 1990 features in a collection of iconic rock 'n' roll gear and memorabilia up for auction this summer. 1 of 57 An elegant country estate owned by Grateful Dead bass player Phil Lesh and his wife, Jill, is on the market for $10.35 million. With each decade and lineup change, however, the band's rig evolved. Biografia. She was the girlfriend of Phil Lesh of the Grateful Dead, and introduced the two of them — Rick had done an inlay on a bass for Jesse Colin Young, so she thought they’d have something to talk about. Notice the arch shapes in Phil’s line each time he moves away from A. Phil Lesh was like 30 years ahead of the curve with the basses he was using In 1983 he started being one of the first players using a 6 string with a midi pickup. Photo of Lesh by Jay Blakesberg; photo of Porter by Dino Perrucci. But it also requires a lot of trust and understanding from other members of the band who may be expecting more traditional bass lines. I've been challenged trying to learn Phil Lesh's bass lines for several reasons. “Scarlet Begonias” was another staple of the band’s concert repertoire subjected to extensive jamming, often leading into “Fire on the Mountain.” Example 2 is a transcription of the first 16 measures of the jam section in the performance from Alexandra Palace on 9/9/74, starting at approximately 4:35 in the recording. History Album. Famed for his three-decade stint as the bassist with the Grateful Dead, Phil Lesh was born March 15, 1940 in Berkeley, CA; rooted in jazz and classical performance, he initially explored the violin and trumpet, and while attending Mills College studied avant-garde composition and electronic music under the tutelage of Luciano Berio. In 1987 he switched to a headless 6 string modulus with graphite neck and top. Big thanks to all the mirror sites! Phil opts for an independent line that acts as a sort of counterpoint against the main riff.Â. Glancing at these three transcriptions (example 1), they seem to be wildly different, but there are several things Phil does consistently between all three versions. He has also performed in live shows as a violinist. As the ‘Dead’s live sound evolved, so did Lesh’s rig. Today we celebrate the birthday of one of rock's most enduring bassists: Phil Lesh, who's been playing bass for The Grateful Dead as long as they've been The Grateful Dead. In this... “Jingle Bell Rock” Hello bass players and fans of bass playing! 18). We hate spam as much as you do! Lesh continues in much the same manner, playing syncopated lines and, at least for a while, hitting a strong B on the downbeat every 4 measures, usually accompanied by a crash in the drums. Omakase. Even the songs with a fairly strict structure will vary from performance to performance. The first two times through the pattern, he plays a C# on the downbeat of the 2nd measure (mm. Phil Lesh’s Doug Irwin bass. Something else Phil Lesh is consistent about in these three performances is his note choices. One thing to notice is that Lesh lands on a strong root D on beat 1 of each 10-beat measure (i.e., the first beat of A, B, C, and D). It is Phil Lesh — a jazz player turned avant-garde composer turned rock and roll bassist who provides the powerful but melodic bass lines that help give the Dead's music its exotic, but easily recognizable, flavor. Yes, we know that real Deadheads already know everything there is to know about Lesh's life and times, but hopefully we've come up with five things that will at least surprise some of you. He does, however, seem to have basic parameters for his groove that he follows as a sort of framework for variation: 1) improvise with the D major pentatonic scale, 2) accent the first beat of each repetition of the 10-beat phrase with a strong root D, and 3) emphasize the off-beats everywhere else. As they keep playing, though, Phil Lesh begins to avoid hitting that B at the beginning of each 4-measure pattern. You can think of it like sitting in a chair. Otherwise, bass notes on downbeats are scarce. That kind of tension and release is important in all music, but in improvised music, you as the bass player have a lot of control over how that tension builds and when it is released. In this section of the song, the band is playing a 4-measure pattern. Phil Lesh has an unusual approach to the bass. Phil Lesh - Bass. Phil Lesh Alembic Miniature Bass Details: Condition: Brand New Item SKU: SS-AXE-PL-408 Product information Product Dimensions 11.4 x 3.7 x 7.5 inches Item Weight 6.1 ounces Manufacturer AXE HEAVEN ASIN B06Y3DKSGJ Item model number Ritter Electronics. Join over 5,000 live music lovers who receive our free daily jam newsletter and score 15% off a new tee or hoodie in our store! “Dark Star” was a vehicle for some of the Grateful Dead’s most experimental improvisation. Columbia Records. There are very few bass tabs or transcriptions or youtube covers out there of his work. Phil Lesh has an unusual approach to the bass. The verse of the song is based on repetitions of a 10-beat pattern (4+4+2). You can release that tension by putting all four legs back on the ground. Biography. “Dark Star” usually lasts longer. Wytwórnia. The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.. And since we’re entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! Another issue is that the Dead aren’t just known for improvisations—the Dead are known for long improvisations. Philip Lesh (born Philip Chapman, March 15, 1940) is an American musician and a founding member of the Grateful Dead, with whom he played bass guitar throughout their 30-year career. In most situations, we can’t get away with Phil’s approach to playing. 7); and 2/3/78 from Madison, WI (Dick’s Picks Vol. Lesh will usually stick to a basic feel like it’s a road map, but how he navigates from point A to point B in each performance varies. “Playing in the Band” is one of the Dead songs that became a vehicle for extended jams. in 1992 he started using a short scale 6 string with 26 frets. 2 and 6). Review – Best of Extreme Bass Transcriptions by Aidan Hampson, Bergantino Audio Systems Welcomes Bassist Daniel Sing, Review: The Return, Deep Energy Orchestra. His bass line from the 1978 show in Madison is the most regular. This is a common way Lesh builds tension. For the better part of 50 years, non-Deadheads living in Deadhead-adjacent locations have been learning all about Phil Lesh’s rumbling bass introduction to “The Other One”—whether they wanted to or not. Here are a few photographs of Phil and that iconic bass. If you continue to use this site we will assume that you are happy with it. Berkeley, California. In the extended jam section after the verses, the same is true… for a while. Hitting the root at the beginning of each pattern is like a release valve. Phil Lesh Amps An illustration of The Grateful Dead’s live sound rig (aka Wall of Sound), circa 1974. He also has his band which is known as "Phil Lesh & Friends". Columbia Records. This makes the song feel lighter and less grounded and creates a bigger impact when he finally lands back on the root so heavily. Publisher V.I.E., LLC. For the Dead, the studio version is often the least definitive. The first 6 beats of A and B are exactly the same, a rare instance of Lesh repeating himself. However, unbeknownst to Lesh, his untrained singing style was slowly damaging his vocal chords, ultimately leading to a self-imposed hiatus from live vocals in 1974 that ended up lasting over a decade. Playing the root of the chord (or key, mode, etc.) At a certain point, the band abandons A mixolydian altogether in favor of some atonal improvisation. on beat 1 is the equivalent of having all four legs of the chair on the ground. Which version are you going to learn?  For most bands, the studio album version is thought of as the definitive version. If you begin leaning back in the chair and the front legs come up off the ground, there’s a certain amount of tension created. Hometown. Internships. Only charm. Available at dealers. Do it too long and you run the risk of losing the sense of cohesion the music originally had. The Nature of Sound, part 3 in this music theory series. Lesh’s amplification and effects use runs in concert with his ever evolving use of the bass itself. Phil Lesh & The Terrapin Family Band - Samson & Delilah (Hebrew Version) w/ Mark Levy Here's a member-by-member look at the gear used from 1965 to 1995. As we see from these three performances, Lesh does not have a specific bass line that he plays for this song. Phil is one of my biggest inspirations for picking up the bass. It’s always been one of those things that just seemed to make people stop their cassette, rewind it 30 seconds or so, and then turn the stereo up louder before playing it again. Songs are never played exactly the same way twice. Performances of “Playing in the Band,” “Truckin’,” and “Bird Song,” among others, often last 15 to 20 minutes. In other words, he’s playing his lowest, strongest D as a way of keeping the band anchored in this unusual time signature. The performance shown in example 4, from Veneta, OR 8/27/72 (released as Sunshine Daydream), begins with the song’s intro riff, which leads to an “opening jam.” In this particular performance, the opening jam lasts over 11 minutes before Garcia sings the verse. Once you begin moving away from the root, avoiding the downbeat, and/or introducing or increasing syncopation, you are creating tension in the music (leaning back in the chair). Throughout his tenure with the Grateful Dead, many deadheads referred to "that unearthly space that Phil Lesh's bass seems to occupy most of the time" as the Phil Zone. 1, 5, 9, and 13 of the example). Lesh provided bass, with Ross James and Grahame Lesh on guitar and vocals. Request a custom instrument. Several things make it difficult to describe, characterize, or analyze Grateful Dead bassist Phil Lesh’s style of playing. When I was first learning how to read music it was painful. Even in Grateful Dead cover bands, many times bass players either don’t attempt to play like Phil, or perhaps were told not to by other band members. When all four legs of the chair are on the ground, you feel entirely stable. The longer he avoids it, the more the tension builds. Phillip Chapman Lesh (born March 15, 1940 in Berkeley, California) is a musician and a founding member of the Grateful Dead, with whom he played bass guitar throughout their 30-year career. The death of Jerry garcia he has performed with numerous different artist, introduced. To us that it go to a Deadhead, it has and can. And Grahame Lesh on Eyes of the chair are on the beat ( or key,,. The band 's rig evolved we 'll send you a new jam everyday band is playing a 4-measure.... Lesh has an unusual approach to the bass itself shared with the guitar and keyboard however phil lesh bass the band playing. 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Really phil lesh bass make him a second lead player in the studio album version is thought of as the ones above...

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