Julie Slick, Julie Slick [julieslick.com]

It was audacious enough for Philadelphia bassist Julie Slick to tour with Adrian Belew at just 19, let alone to rack up experience with Stewart Copeland, Ann Wilson, Jon Anderson, and Alice Cooper all by age 24.
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It was audacious enough for Philadelphia bassist Julie Slick to tour with Adrian Belew at just 19, let alone to rack up experience with Stewart Copeland, Ann Wilson, Jon Anderson, and Alice Cooper all by age 24. So why not a highly experimental and delightfully challenging debut solo album as well? This avant-garde instrumental fusion of progressive rock, funk, and electronica isn’t about virtuosic soling, or compositional high-wire walking, or even song form at all. It’s more about sounds, textures, and moments in Slick’s inventive sonic kaleidoscope. Accompanied by King Crimson guitarist Robert Fripp, and drummers Pat Mastelotto, Marco Minnemann, and brother Eric Slick, Julie creates an uptempo, acid-tripped, angularmelodied loop soundtrack (“Mela”), a Pink Floyd-inspired minor progressive dirge (“Nothing to Be Done”), a hypnotic, Nine Inch Nails Ghosts-era pattern with bells, chimes, hand claps, and driving bass (“Shadow Trip”), and a slab of hardcharging punk electronica (“The Rivalry” and “Cage Match”). Slick’s collection of grooves and soundscapes are unpredictable and highly original, and her aggressively picked bass somehow gives it all a fresh, anti-muso edge. Some might even recommend playing this disc at 20 after four. We wouldn’t argue, but from where we sit, it’s worth spinning anytime.


Derek Frank, Let The Games Begin [www.dfrank.net]

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 Heavi

King Crimson's ''Red'' (40th Anniversary Series)

For progressive and classic rock bands releasing albums in 1974, the bar was set pretty high. In the wake of milestone releases from bands like Yes, Genesis, Led Zeppelin, and Emerson, Lake and Palmer came King Crimson’s seminal album Red, in which the power trio of guitarist Robert Fripp, drummer Bill Bruford, and bassist/vocalist John Wetton took the seemingly welldrawn boundary between ethereal progressive rock and early hard rock and smashed it to dark, dissonant pieces. The result was an album that influenced future musicians—and bassists—far beyond what was imaginable at the time.

Augury Fragmentary Evidence

Here’s a welcome development— as death metal turns ever more technical, the bass is becoming not just increasingly audible (there’s a start!), but more complex, counterpunctual, and essential to the actual song. That’s certainly the case with Montreal-based Augury’s second album Fragmentary Evidence, as bassist Dominic “Forest” LaPointe summons an unholy alliance of influences—Jaco Pastorius, Steve DiGiorgio, Adam Nitti?! — and throws down fierce, technique-driven lines all over the necks of his fretless, his 6- string, you name it. With a dark, warm, growling tone that somehow gets sweet up high, LaPointe opens “Sovereigns Unknown” with a furious tapping and fingerpicked riff, drives “Simian Cattle” with a neck-spanning, double- stop tri-tone lick, and performs a chordal/arpeggiated tour-de-force on “Jupiter To Ignite.” The deeper into the disc you go, the more you want to hear what he does next. So, metal bassists: come for the expected payoff of well-delive

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

The Ed Palermo Big Band

The Ed Palermo Big Band Eddy Loves Frank [Cunieform, 2009] It’s been said there are eight million stories in the naked city, and one of them has got to be bassist Paul Adamy, a pro who’s done everything you can do in New York—major network TV (The Cosby Show) and movie sessions, Broadway shows, jazz festivals, A-list jingles, the New York Philharmonic, and a list of credits (starting with Carly Simon) that’ll make your eyes pop. For fun, Adamy’s been playing in the Ed Palermo Big Band, which exclusively does Frank Zappa material re-arranged by Palermo for his outfit. Eddy Loves Frank is a session pro’s dream gig to stretch on, taking on the Frank oeuvre and nailing rock, funk, swing, and all manner of involved form and arrangement. Adamy plays with the smooth grace and steady aplomb of a guy who’s been there, done that, and still having a blast. Zappa fans will love the swinging original arrangements (especially “Echidna’s Arf” and