La storia di Flea e del suo basso: “He eats a fiume. Può is powerful like a waterfall or placid like a lake”

«I caught it, I learned it from the top, I felt it with my hands and I entered that ipnotic state in which I did not think a nulla: I am just a conductive element of the rhythm, whatever part comes from it, pass from you, give it the instrument and give it the case». È one of the sentences with cui flee dei Red Hot Chilli Peppers He has described the visceral and symbiotic rapport with his instrument, his bass.

Il basso è stata una rivelazione per fleewho has started his adventure in the world of music loving jazz, following the influence of his father, the jazz player Walter Urban (with whom his mother transferred to Los Angeles) and sounding the trumpet. If it says yes status Hillel Slovakcompagno di scuola alla Fairfax High School insieme a Anthony Kiedis a fargli scoprire il punk rock. Slovak sta forming his sua prima band, gli Anthyms insert the drummer Jack Ironsvuole will sound the chitarra e dà a single lezione di basso a Flea. Lui has a phenomenon, sviluppa il suo de suo stile unico e travolgente y si butta nella scena punk rock di The Angels entering far parte di una band storica della scena della città, i afraiduntil when in 1983 he formed a new band with Hillel Slovak, Jack Irons and another friend of childhood, Anthony Kiedis. The first name is Tony Flow & the Miracolously Majestic Masters of Mayhempoi change name in Red Hot Chilli Peppers.

Flea è stato nominato più volte tra i migliori bassisti del mundohas suonato diverse modelli di Fender Precision and fender-jazz (The vintage bass from 1961 is the favorite for «Quel suono di legno vecchio»), Music Man and modules. Il suo basso of him is a Silver Jazz Bass created per lui da Fender CustomShop I will start the tour The Getaway from 2016 to 2009 has also been funded Fleabassil suo marchio di bassi with il quale ha voluto i will create a line of instruments of high qualità ad a price accessible to tutti. Ne possiede also one personalized, created by lui dall’artista inglese Damian Hirst: «Not è un’opera d’arte da appendere to the wall» ha detto, «I always dreamed of it in the studio, ci ho registrato interi album».

Talking about his instrument and the cosmic connection that he sat with lui, Flea has also described: «Suonare il basso è come far scorrere ad un fiume: lo posso far andare via swift and powerful, as a fast violent oppure posso I will create a calm and rilassante lake». Lastly, the true reason for which he has dedicated his life to the fundamental vibration of the bass and the research of emotions: «Il basso può supportare a canzone or essere an ipnotic and repetitive rhythm that creates a kind of ipnosi. Isn’t that what we chiediamo alla musica? We might listen to Slayer or a classic piano forte by Erik Satie or maybe something else in mezzo, but deep down the only thing I love when listening to good music is the human connection». Flea if he is full, he practices and studies all the time he sleeps always because he will surprise me with the music, and because he will recapture the feeling of serenity that his instrument has given him the end of when he was a ragazzino: «Mi piace la sensazione di non sapere cosa suonerò. Mi fido delle mie mani, del mio nervous system, del mio cervello e del mio rapporto con Dio e cerco solo di fare apparire la musica. When I have to handle my basso, tutto goes to the posto giusto nel mio mondo».

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La storia di Flea e del suo basso: “He eats a fiume. Può is powerful like a waterfall or placid like a lake”

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