The trendsters say the ’80s are hot right now, but Los Angeles sideman vet Derek Frank is having none of that on his supergroovy debut album Let The Games Begin. Right from the bass-anddrums- only downbeat of disc opener “Breakout,” it’s an unapologetic, bassdrenched homage to everything cool about rhythm sections from the ’70s, and Frank’s ’63 Fender P-Bass (strung with flats, of course) is the star of the show, in front of the mix and carving fiercely. Games isn’t stuck in that era’s rut, either; there’s just enough modernity sprinkled about to avoid easy caricature, and today’s thumb stylists will appreciate the Marcus-influenced slapmelody approach to the Hall & Oates classic “I Can’t Go For That (No Can Do).” But make no mistake—this is mostly a smorgasbord of vintage keys, unison horn lines, and filter-soaked funky bass that’s designed to make the booty move while the disco ball spins. Somewhere, the Brand New Heavies and Jamiroquai are nodding their heads in approval.
David Pastorius & Local 518 Sense Of Urgency
Imagine if Michael Jordan’s nephew decided to be a basketball player. No pressure, right? Good thing, then, that bassist David Pastorius isn’t even trying to ape you-know-who. The delicious bass tone is a thick, meaty, both-pickupsfull- on, decidedly fretted jazz bass sound with a touch of edge on the high end. When he gets to slapping—and boy, does he ever on the blazing “Groundhog Day”—it’s as if Flea’s hand was landing on Marcus’s bass. His melodic tapping pays clear homage to Stu Hamm on the solo piece “Extra Ecclesam.” Meanwhile, his meat-and-potatoes fingerstyle grooving is superb throughout this widely varied collection of original rock/funk/jazz fusion compositions. As a composer and producer Pastorius is still growing into his ample talents, but ultimately it’s a treat to hear David groove, comp, and solo through these unapologetically sprawling tunes, regardless of his ancestry. That said, though the overall texture couldn’t be more different than, say, anything on Word Of