page_title: Guitar, Drums 'n' Bass
section_title: Recording
hierarchical_section_title: Guitar, Drums 'n' Bass / Recording
caption_attribution_description: English: NEWPORT, RI - AUGUST 1: The 60th edition of the Newport Jazz Festival kicks off with a full day of programming, with John Zorn's Masada Marathon being the highlight of the day. Other acts include Mostly Other People Do The Killing, the world premiere of Rudresh Mahanthappa's Charlie Parker Project, Jon Batista&amp;Stay Human, Darcy James Argue's Secret Society, Cécile McLorin Salvant, and the URI Jazz Festival Big Band. Shot on Friday, August 1, 2014.
context_page_description: Guitar, Drums 'n' Bass is an album by free improvisation guitarist Derek Bailey, released by Avant Records in 1996. After spending several years improvising his guitar to the sound of jungle and drum and bass music on pirate radio, Bailey proposed to collaborator John Zorn that he make an album of his musical fusion. Zorn then contacted Birmingham-based drum and bass producer D.J. Ninj to provide the musical backing, who recorded his contributions in spring 1995. After a failed session with engineer Mick Harris, Bailey recorded his overlaid guitar improvisations in Bill Laswell's New York City studio in October 1995, slightly altering Ninj's contributions to remove electric piano passages.
  The resulting album has been considered the first duet's fusion of free improvisation guitar and breakbeat music ever released. Ninj's drum and bass backing is thudding and minimal, while Bailey's guitar playing is inventive, loud and fast, incorporating truncated licks, heavy distortion and chiming sounds. The album was released to critical acclaim, with some critics finding the album's pairing inspiring.
context_section_description: Ninj sent Bailey a Digital Audio Tape of his own music to improvise over, recorded in his native Birmingham in spring 1995. From New York City, Zorn and Laswell arranged for Bailey to record his parts in a Birmingham studio run by Mick Harris in June 1995, with Harris as engineer. Although Bailey was able to set up the day before, he realised the studio had no suitable armless chairs for him to sit on as he improvised, this being his traditional recording set-up. He briefly tried to use the studio's drum stool, but it was broken and "kind of weaved around," so it was "a fairly skillful business" for Bailey to sit upright on it. Returning the next day to record, he realised the problems turned towards Harris, who Bailey felt was incapable of mixing a Digital Audio Tape or live instrument. The guitarist began improvising to Ninj's first piece, only to find Harris–who believed Bailey to be warming up–had not recorded it. They started anew again and finished unsuccessfully 40 minutes later, by which point Bailey had been "into the control box a few times."
  Bailey said that by the third take, "it was possible to detect that there was a guitar player" on the recordings. Though he was playing relatively loud, this did not automatically ensure "anything if you're mixing," and Harris' tape once again did not contain Bailey's improvising. After some time, Bailey could hear rainfall and asked Harris to "turn the fucking thing up," but again, nothing made it on to tape. Though the presence of Ninj at the session, who was fascinated by Bailey's improvising, had kept Bailey's spirits high, Bailey and Harris were becoming frustrated and the former abandoned the session there, at which point Harris suggested Bailey use Laswell's studio in New York, which Bailey soon arranged with Zorn, hoping to hire Bob Musso as engineer.
  Bailey took Ninj's tape to New York in September 1995 to record his contributions in Laswell's studio. Upon arrival, he removed passages of electric piano from Ninj's tape which he was not interested in. Speaking of the electronic piano passages, he said: "I gather that that is a recent development [in drum and bass]. But I thought the drums and bass were real nice. So we took all that out and left spaces." They then played back the entire tape and Bailey played along in one take. In The Sunday Times, Stewart Lee wrote: "In stripping away Ninj's embellishments, Bailey re-created the original, simpler drum'n'bass model, but he is worried he may have offended Ninj's musical ambitions. Tellingly, perhaps, the young DJ hasn't been in touch since the project." Allan Tucker mastered the album, with Zorn credited as executive producer and Kazunori Sugiyama as assistant producer.
caption: John Zorn acted as executive producer and arranged the collaboration and recording sessions.
exif: {"Image ImageDescription": "NEWPORT, RI - AUGUST 1: The 60th edition of the Newport Jazz Festival kicks off with a full day of programming, with John Zorn's Masada Marathon being the highlight of the day. Other acts include Mostly Other People Do The Killing, the world premiere of Rudresh Mahanthappa's Charlie Parker Project, Jon Batista & Stay Human, Darcy James Argue's Secret Society, C\u00e9cile McLorin Salvant, and the URI Jazz Festival Big Band. Shot on Friday, August 1, 2014.", "Image Make": "Canon", "Image Model": "Canon EOS 5D Mark III", "Image XResolution": "72", "Image YResolution": "72", "Image ResolutionUnit": "Pixels/Centimeter", "Image Software": "Adobe Photoshop Lightroom 5.6 (Windows)", "Image DateTime": "2014:08:03 16:31:45", "Image Artist": "Tim Bugbee", "Image Copyright": "\u00a9 Tim Bugbee", "Image ExifOffset": "732", "Thumbnail Compression": "JPEG (old-style)", "Thumbnail XResolution": "72", "Thumbnail YResolution": "72", "Thumbnail ResolutionUnit": "Pixels/Centimeter", "Thumbnail JPEGInterchangeFormat": "1390", "Thumbnail JPEGInterchangeFormatLength": "14295", "EXIF ExposureTime": "1/250", "EXIF FNumber": "7/2", "EXIF ExposureProgram": "Manual", "EXIF ISOSpeedRatings": "640", "EXIF SensitivityType": "Recommended Exposure Index", "EXIF RecommendedExposureIndex": "640", "EXIF ExifVersion": "0230", "EXIF DateTimeOriginal": "2014:08:01 14:35:29", "EXIF DateTimeDigitized": "2014:08:01 14:35:29", "EXIF ShutterSpeedValue": "995723/125000", "EXIF ApertureValue": "361471/100000", "EXIF ExposureBiasValue": "0", "EXIF MaxApertureValue": "3", "EXIF MeteringMode": "Partial", "EXIF Flash": "Flash did not fire, compulsory flash mode", "EXIF FocalLength": "123", "EXIF SubSecTimeOriginal": "14", "EXIF SubSecTimeDigitized": "14", "EXIF ColorSpace": "sRGB", "EXIF FocalPlaneXResolution": "1600", "EXIF FocalPlaneYResolution": "1600", "EXIF FocalPlaneResolutionUnit": "3", "EXIF CustomRendered": "Normal", "EXIF ExposureMode": "Manual Exposure", "EXIF WhiteBalance": "Auto", "EXIF SceneCaptureType": "Standard", "EXIF BodySerialNumber": "082024003963", "EXIF LensSpecification": "[70, 200, 0/0, 0/0]", "EXIF LensModel": "EF70-200mm f/2.8L IS II USM", "EXIF LensSerialNumber": "000042ead5"}