Jazz

That time Miles Davis stopped his entire band to give John McLaughlin some unlikely advice

By Jackson Maxwell published 22 February 25

The famously blunt and temperamental jazz icon was determined to realize his boundary-pushing late-'60s creative vision, but nonetheless had great respect for the budding guitar virtuoso

How do you anchor a band like Pleasure? If you’re Nate Philips, you do it with a formidable slap technique

By Nick Wells published 21 February 25

Pleasure’s fusion-influenced dance music reached its peak with Glide, the Top 10 R&B single from Future Now

When asked by Miles Davis to move to New York and do some gigs, Dave Holland didn’t blink

By Jonathan Herrera published 15 February 25

Dave Holland’s arrival in New York coincided with one of the most transformative periods for Miles Davis and his Lost Quintet

Why the 1960s Fender Bass VI is a tone machine that (almost) defies categorization

By David Davidson published 13 February 25

Loved by the likes of Jack Bruce, the Hollies and Aerosmith, the Bass VI is the Fender six-string that looks like a guitar, sounds like a bass, and is an offset with mojo and low-end to burn

With Rage Against the Machine, Tim Commerford pioneered an all-time iconic bass tone. No wonder he's cagey about his setup

By Nick Wells published 8 February 25

The toughest right hand in bass charts his never-ending quest for the ultimate tone

Played by a session great, this Chaka Khan line was hailed by Nathan East as “the perfect bassline”

By Chris Jisi published 1 February 25

Anthony Jackson tuned his ‘career girl’ – a Fender hybrid consisting of a ’75 Jazz Bass body and ’73 Precision neck – down two whole steps for Move Me No Mountain

How flipturn keep their three-guitar approach tight, while leaving room for creativity

By Ellie Rogers published 30 January 25

The Floridians share their love of open tunings, the one pedal they couldn’t live without, and the nightmare feeling when a ’board fails during a show