Chords for Victor Wooten - Bass Extremes /// Scott's Bass Lessons

One of my favourite albums, like you do, you've obviously got serious chops on it,
but it was the album that you did, the Trio album with Steve Smith and Scott Henderson.
_ That's one of my favourite albums that you played on.
I absolutely loved it because there was _ the chops, but there was just some
[E] killing bass playing on there [A] as well.
_ [D#m] Well, I mean, [G] that's what I do.
Even though I solo a lot, if you [D#] really listen to it, 90% of it,
even with Bale of Flake and the Flecktones, [C#] 90% of the time I'm playing [A#] bass lines.
It's bass lines, isn't it?
But people pay attention [C] to the [D#] soloing, which I don't mind [F#] that,
but it [D#] ends up causing people like me to not get called for bass playing opportunities.
For bass gigs.
Gigs, recordings or whatever.
I'm always so excited when I [Em] finally get called to play the bass.
_ _ What do you do?
Root and fifth all night?
Yeah, I got a recording session from a well _ _ _ -known_
I _ _
[F] _ _ _ _ don't know how to describe him.
Just a [G] kind of popular artist from the 70s and 80s.
I got a phone call to do a session because he was looking for a specific thing.
_ And I asked the guy on the phone, I was [F#] like, what does he want, a solo?
He's like, [C] no, no solo.
[F#] I was like, really?
_ The same thing with this great singer I like, a woman named India Arie.
Oh, [C] yeah, yeah.
I got called to do a song for her. Oh, really?
And the producer just wanted the connection between this drummer and me.
And _ I knew this producer.
I was like, no solo?
No solo.
_ Yes.
_ To his face.
[G#] _ _ [A#] I love it.
I mean, that's how I grew up.
[C#] But when the Flecktones hit, _ _ I [D#] became known as the soloist. _
Because all of a sudden, now I had a worldwide audience. _
[B] I was in Bass Player Magazine three years straight on the back [F#] cover with this company.
And _ I became [D] known for that.
And there's a blessing and a curse.
I have a [F#] career because of it.
_ [F] But there's a lot of [D#] opportunities [C#] I don't get because of it.
_ So I like to just send that out to all of us Chopsters.
_ _ _ [F#] _ _ _
That even more than we show the chops, we need to show that we can play bass.
That we [G] can support, [F] that we can listen, that [E] we know how to play behind a singer.
We need to know how to [C] do that.
So I love [E] players like _ [D#] listening to _ _ _ Pino Palladino _ _ [Dm] and [C] some of these newer [F] guys that
are [E] doing the work now.
That some of the [D] older guys like Bob Babbitt [E] and [F#] Chuck Rainey [C#] and Jamerson.
There's a whole newer batch of people.
Lee Sklar and Pino and their guys and Daryl Jones and Marcus.
There's people [D] that everybody [C] wants.
_ Like Marcus.
Marcus has more chops than most of us get to see.
_ [F#] Really?
But he's smart about [Gm] it.
_ He's smart about [F#] it.
Marcus will [F] take a solo and [G] it's built around the bass line. _
And he'll get fancy a [D#m] little bit. _ _ _
_ _ [E] But he's aware.
Oh my [F#] goodness.
Yeah, he's [C#] smart about it.
Because you've been on tour with [E] Marcus and Stanley, didn't you?
[D#] You did the trio thing, didn't you?
Yeah, yeah, yeah.
What a treat.
Was that strange when you actually initially hooked up?
Yeah.
And was it one of you guys that initiated it or was it sort of like an outside force
that thought you guys needed to hit punch?
It was the outside force that finally _ solidified it.
But _ [G] I had been dropping [E] these hints with Marcus and Stanley.
Because [F#] when I saw _ [F] Paco de Ocilla, _ _ John [E] McLaughlin and Al Di Meola do that trio,
I was like, I want to do that with bass players.
Who would I want to do [D#] it with?
Stanley and [G#] Marcus.
[C] So as [F#] my name started to grow to where we started to know each other,
and usually I would only see them _ at the NAMM [D#] show or something like that.
Or if they came to [E] now where [D#] I was living, Nashville, I [C] would go see them.
[Gm] But [N] every time I would mention to Marcus,
_ Stanley, you and me and Stanley [Gm] should do something. _
[A] And OK, sure, yeah, we should.
I'd see Stanley, Stanley, Marcus, you and me, we should do something.
OK, OK.
[G] _
[F#] That would happen [B] a lot.
But it wasn't until [F] Bass Player [E] Magazine in the [F#] US _ was going to give
[E] Stanley a Lifetime [D#] Achievement Award.
And for [F] some reason, they asked Marcus and me to present the [C] award to him.
And that's when it happened.
That's when it happened.
We got on stage and played School Days.
_ Stanley asked us to play School Days with him.
_ And during soundcheck, _ without rehearsal, we just started playing it
and it was like perfect.
_ Because [F] those guys _ are [D] such musicians.
[F#] _ _ If Stanley's [Fm] up here, Marcus goes down here, I find the middle.
If Marcus comes up here, I'll drop. _ _
Everybody's thinking the same thing.
And I was like, wow, this is no work.
So _ in the interview, once that magazine came out, _ _
I'm reading the article [F#] and Stanley's saying,
oh yeah, we're going to be doing this recording and then we're going to tour.
And I'm like, really?
_ _ _ He's laying out this whole plan [C] of what we're going to do with Stanley and Marcus and me.
I called him.
_ [E] Really, we're going to do this?
Yeah, let's do it.
[Fm] _ _ _ _ _ [C#] _ _ _ _ _ _ [Cm] _ _ _
_ [G#] _ _ _ _ _ _ [C#] _
_ _ [Cm] _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _