Chords for Bass Camp 2015 - Alphonso Johnson
Tempo:
118.05 bpm
Chords used:
G
Ab
E
C
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Db] [A] [G]
[Eb] [G]
[F] [Eb] [C]
[Bb] [Ab] [Gm] [Eb] [C]
[Gm] [G]
[Ab] [Bb] [G]
[N] Well, this is my third or maybe even fourth opportunity to be here at the [G] Warwick Base [E] Camp.
And probably the thing that I find the most exciting is the fact [G] that we have so many
students coming back every year, which is nice.
But also the level of musicianship seems to have gotten a lot better.
Last year I think we had a young [Gb] 14-year-old bass player from [Eb] California who was here.
He was a little shy [Ab] about being [G] on stage, but he seemed to infect all the other older
musicians, you know, with his curiosity [E] and his ability to not be afraid and to just kind
of [G] jump in to the deep end of the music.
[C]
[Ab] [G]
[Bb] [Gm] [G]
[C]
[C] [G] Well, without a doubt, to have the opportunity to play with people that you [E] actually listen
to on record was just such a total blessing [N] for me.
Joseph Zawinul and Wayne Shorter, people like Carlos Santana or even Phil Collins, Har Silver.
It's like a dream come true, the fact that you're not only playing with them, you're
learning so much, you know.
Yeah, I, in 1974, I went to visit a guitar builder in [Gb] the village in New York.
His name was Charles [Gm] LeBout.
So we started with a [D] block of wood and he just watched me play and he built the neck
and then the body and fingerboard.
[G] So for many years that was my bass.
When I first met Hans Peter, I told him I'd really like to have that sound in a [Gb] bass that
was more contemporary, more modern.
We came up with [G] this model bass, which is built after [N] the Jack Bruce signature bass.
It has F holes, which when I'm [G] performing, sometimes I like to go out to the audience,
because [A] I'm wireless.
And it's a treat for the audience when [G] I'm out there with the lights on, you know, in the dark.
[D] It's kind of cool.
But it also has some other nice features.
It's got a phase switch.
When I can play regular bass, or [A] when I solo, I can switch it out of phase.
[E] [Am]
[D]
It's a nice [Ab] subtle difference, you know, kind of like lifts [D] the quality of the voice of
the [Ab] bass into like a [G] slightly different frequency, so it stands out more.
I get a lot of reaction to this bass.
People are surprised to know that it's mostly wood.
It's not made out of metal.
[E] Just has a chrome finish.
One of the things that I've learned [G] over the years is to really give as much value to the
rest as you do to the notes.
You don't have to be very busy in order to be musical.
I kind of like the way things have turned out in the sense that I think more musicians,
vocalists, painters, sculptors, dancers, they have more control over their talent and art right now.
If a musician wanted to release a recording of their compositions, they had to go through
a record company.
And now anybody can put together their material and post it on YouTube.
All of a sudden they've got a million people around the world, not just in their city or
in their state or in their country, that has access to their music.
So that's a very positive thing to empower the artist to have [F] control over their [G] music.
Everything we do is electronic, from pushing a button in an elevator, watching the barista
make your coffee, everything is automated now.
There can be a certain [F] danger in that, in that we get used to [E] things being so quick
when I'm teaching on campus, is that I see a lot of students walking around like this.
On their journey from one place to [Gm] another, they miss the opportunity to see [G]
people of
different cultures, possibly have a conversation with someone that's looking for directions,
hear another dialect, or you know, it forces us to kind of be attached to it or available
to it almost on a 24-hour basis.
Whereas before we had [Ab] time for each other and we [E] had time to interact with each other.
And then we would pick up the beeper on the cell phone.
[G]
I support Basis Against [C] Racism.
[D]
[Eb] [G]
[F] [Eb] [C]
[Bb] [Ab] [Gm] [Eb] [C]
[Gm] [G]
[Ab] [Bb] [G]
[N] Well, this is my third or maybe even fourth opportunity to be here at the [G] Warwick Base [E] Camp.
And probably the thing that I find the most exciting is the fact [G] that we have so many
students coming back every year, which is nice.
But also the level of musicianship seems to have gotten a lot better.
Last year I think we had a young [Gb] 14-year-old bass player from [Eb] California who was here.
He was a little shy [Ab] about being [G] on stage, but he seemed to infect all the other older
musicians, you know, with his curiosity [E] and his ability to not be afraid and to just kind
of [G] jump in to the deep end of the music.
[C]
[Ab] [G]
[Bb] [Gm] [G]
[C]
[C] [G] Well, without a doubt, to have the opportunity to play with people that you [E] actually listen
to on record was just such a total blessing [N] for me.
Joseph Zawinul and Wayne Shorter, people like Carlos Santana or even Phil Collins, Har Silver.
It's like a dream come true, the fact that you're not only playing with them, you're
learning so much, you know.
Yeah, I, in 1974, I went to visit a guitar builder in [Gb] the village in New York.
His name was Charles [Gm] LeBout.
So we started with a [D] block of wood and he just watched me play and he built the neck
and then the body and fingerboard.
[G] So for many years that was my bass.
When I first met Hans Peter, I told him I'd really like to have that sound in a [Gb] bass that
was more contemporary, more modern.
We came up with [G] this model bass, which is built after [N] the Jack Bruce signature bass.
It has F holes, which when I'm [G] performing, sometimes I like to go out to the audience,
because [A] I'm wireless.
And it's a treat for the audience when [G] I'm out there with the lights on, you know, in the dark.
[D] It's kind of cool.
But it also has some other nice features.
It's got a phase switch.
When I can play regular bass, or [A] when I solo, I can switch it out of phase.
[E] [Am]
[D]
It's a nice [Ab] subtle difference, you know, kind of like lifts [D] the quality of the voice of
the [Ab] bass into like a [G] slightly different frequency, so it stands out more.
I get a lot of reaction to this bass.
People are surprised to know that it's mostly wood.
It's not made out of metal.
[E] Just has a chrome finish.
One of the things that I've learned [G] over the years is to really give as much value to the
rest as you do to the notes.
You don't have to be very busy in order to be musical.
I kind of like the way things have turned out in the sense that I think more musicians,
vocalists, painters, sculptors, dancers, they have more control over their talent and art right now.
If a musician wanted to release a recording of their compositions, they had to go through
a record company.
And now anybody can put together their material and post it on YouTube.
All of a sudden they've got a million people around the world, not just in their city or
in their state or in their country, that has access to their music.
So that's a very positive thing to empower the artist to have [F] control over their [G] music.
Everything we do is electronic, from pushing a button in an elevator, watching the barista
make your coffee, everything is automated now.
There can be a certain [F] danger in that, in that we get used to [E] things being so quick
when I'm teaching on campus, is that I see a lot of students walking around like this.
On their journey from one place to [Gm] another, they miss the opportunity to see [G]
people of
different cultures, possibly have a conversation with someone that's looking for directions,
hear another dialect, or you know, it forces us to kind of be attached to it or available
to it almost on a 24-hour basis.
Whereas before we had [Ab] time for each other and we [E] had time to interact with each other.
And then we would pick up the beeper on the cell phone.
[G]
I support Basis Against [C] Racism.
[D]
Key:
G
Ab
E
C
Gm
G
Ab
E
_ _ _ _ _ _ _ _
_ [Db] _ _ [A] _ _ _ _ [G] _
_ _ _ [Eb] _ _ _ _ [G] _
_ [F] _ [Eb] _ _ _ _ [C] _ _
[Bb] _ [Ab] _ _ [Gm] _ _ [Eb] _ _ [C] _
_ [Gm] _ _ _ _ [G] _ _ _
_ [Ab] _ [Bb] _ _ _ _ _ [G] _
_ [N] Well, this is my third or maybe even fourth _ _ opportunity to be here at the [G] Warwick Base [E] Camp.
And probably the thing that I find the most exciting is the fact [G] that we have so many
students coming back every year, which is nice.
But also the _ level of musicianship seems to have gotten a lot better.
Last year I think we had a young [Gb] 14-year-old bass player from [Eb] California who was here.
He was a little shy [Ab] about being [G] on stage, but he seemed to infect all the other older
musicians, you know, with his curiosity [E] and his ability to not be afraid and to just kind
of [G] jump in to the deep end of the music.
[C] _
_ _ _ [Ab] _ _ [G] _ _ _
_ [Bb] _ _ _ [Gm] _ _ _ [G] _
_ _ _ [C] _ _ _ _ _
[C] _ _ _ [G] Well, without a doubt, to have the opportunity to play with people that you [E] actually listen
to on record was just such a total blessing [N] for me.
Joseph Zawinul and Wayne Shorter, people like Carlos Santana _ or even Phil Collins, Har Silver. _
It's like a dream come true, the fact that you're not only playing with them, you're
learning so much, you know.
Yeah, I, _ in 1974, I went to visit a guitar builder in [Gb] the village in New York.
His name was Charles [Gm] LeBout.
So we started with a [D] block of wood and he just watched me play and he built the neck
and then the body and fingerboard.
[G] So for many years that was my bass.
When I first met Hans Peter, I told him I'd really like to have that sound in a [Gb] bass that
was more contemporary, more modern.
We came up with [G] this model bass, which is built after [N] the Jack Bruce signature bass.
It has F holes, which when I'm [G] performing, sometimes I like to go out to the audience,
because [A] I'm wireless.
And it's a treat for the audience when [G] I'm out there with the lights on, you know, in the dark.
[D] It's kind of cool.
But it also has some other nice features.
It's got a _ phase switch.
When I can play regular bass, or [A] _ _ when I solo, I can switch it out of phase.
[E] _ _ _ _ _ _ [Am] _
_ [D] _ _ _ _ _ _ _
_ _ _ It's a nice [Ab] subtle difference, you know, kind of like lifts [D] the quality of the voice of
the [Ab] bass into like a [G] slightly different frequency, so it stands out more.
I get a lot of reaction to this bass.
People are surprised to know that it's mostly wood.
It's not made out of metal.
[E] Just has a chrome finish.
One of the things that I've learned [G] over the years is to really give as much value to the
rest as you do to the notes.
You don't have to be very busy in order to be musical.
I kind of like the way things have turned out in the sense that I think more musicians,
vocalists, _ painters, sculptors, dancers, they have more control over their talent and art right now.
If a musician wanted to release a recording of their compositions, they had to go through
a record company.
And now _ anybody can put together their material and post it on YouTube.
All of a sudden they've got a million people around the world, not just in their city or
in their state or in their country, that has access to their music.
So that's a very positive thing to empower the artist to have [F] control over their [G] music.
Everything we do is electronic, from pushing a button in an elevator, watching the barista
make your coffee, _ everything is automated now.
There can be a certain [F] danger in that, in that we get used to [E] things being so quick
when I'm teaching on campus, is that I see a lot of students walking around like this.
_ On their journey from one place to [Gm] another, they miss the opportunity to see _ [G]
people of
different cultures, possibly have a conversation with someone that's looking for directions,
hear another dialect, or you know, it forces us to kind of be _ _ attached to it or available
to it almost on a 24-hour basis.
Whereas before we had [Ab] time for each other and we [E] had time to interact with each other.
And then we would pick up the beeper on the cell phone.
_ [G] _
_ _ _ I support Basis Against [C] Racism.
_ _ _ [D] _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Db] _ _ [A] _ _ _ _ [G] _
_ _ _ [Eb] _ _ _ _ [G] _
_ [F] _ [Eb] _ _ _ _ [C] _ _
[Bb] _ [Ab] _ _ [Gm] _ _ [Eb] _ _ [C] _
_ [Gm] _ _ _ _ [G] _ _ _
_ [Ab] _ [Bb] _ _ _ _ _ [G] _
_ [N] Well, this is my third or maybe even fourth _ _ opportunity to be here at the [G] Warwick Base [E] Camp.
And probably the thing that I find the most exciting is the fact [G] that we have so many
students coming back every year, which is nice.
But also the _ level of musicianship seems to have gotten a lot better.
Last year I think we had a young [Gb] 14-year-old bass player from [Eb] California who was here.
He was a little shy [Ab] about being [G] on stage, but he seemed to infect all the other older
musicians, you know, with his curiosity [E] and his ability to not be afraid and to just kind
of [G] jump in to the deep end of the music.
[C] _
_ _ _ [Ab] _ _ [G] _ _ _
_ [Bb] _ _ _ [Gm] _ _ _ [G] _
_ _ _ [C] _ _ _ _ _
[C] _ _ _ [G] Well, without a doubt, to have the opportunity to play with people that you [E] actually listen
to on record was just such a total blessing [N] for me.
Joseph Zawinul and Wayne Shorter, people like Carlos Santana _ or even Phil Collins, Har Silver. _
It's like a dream come true, the fact that you're not only playing with them, you're
learning so much, you know.
Yeah, I, _ in 1974, I went to visit a guitar builder in [Gb] the village in New York.
His name was Charles [Gm] LeBout.
So we started with a [D] block of wood and he just watched me play and he built the neck
and then the body and fingerboard.
[G] So for many years that was my bass.
When I first met Hans Peter, I told him I'd really like to have that sound in a [Gb] bass that
was more contemporary, more modern.
We came up with [G] this model bass, which is built after [N] the Jack Bruce signature bass.
It has F holes, which when I'm [G] performing, sometimes I like to go out to the audience,
because [A] I'm wireless.
And it's a treat for the audience when [G] I'm out there with the lights on, you know, in the dark.
[D] It's kind of cool.
But it also has some other nice features.
It's got a _ phase switch.
When I can play regular bass, or [A] _ _ when I solo, I can switch it out of phase.
[E] _ _ _ _ _ _ [Am] _
_ [D] _ _ _ _ _ _ _
_ _ _ It's a nice [Ab] subtle difference, you know, kind of like lifts [D] the quality of the voice of
the [Ab] bass into like a [G] slightly different frequency, so it stands out more.
I get a lot of reaction to this bass.
People are surprised to know that it's mostly wood.
It's not made out of metal.
[E] Just has a chrome finish.
One of the things that I've learned [G] over the years is to really give as much value to the
rest as you do to the notes.
You don't have to be very busy in order to be musical.
I kind of like the way things have turned out in the sense that I think more musicians,
vocalists, _ painters, sculptors, dancers, they have more control over their talent and art right now.
If a musician wanted to release a recording of their compositions, they had to go through
a record company.
And now _ anybody can put together their material and post it on YouTube.
All of a sudden they've got a million people around the world, not just in their city or
in their state or in their country, that has access to their music.
So that's a very positive thing to empower the artist to have [F] control over their [G] music.
Everything we do is electronic, from pushing a button in an elevator, watching the barista
make your coffee, _ everything is automated now.
There can be a certain [F] danger in that, in that we get used to [E] things being so quick
when I'm teaching on campus, is that I see a lot of students walking around like this.
_ On their journey from one place to [Gm] another, they miss the opportunity to see _ [G]
people of
different cultures, possibly have a conversation with someone that's looking for directions,
hear another dialect, or you know, it forces us to kind of be _ _ attached to it or available
to it almost on a 24-hour basis.
Whereas before we had [Ab] time for each other and we [E] had time to interact with each other.
And then we would pick up the beeper on the cell phone.
_ [G] _
_ _ _ I support Basis Against [C] Racism.
_ _ _ [D] _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _