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Carol Kaye (One of the most recorded bass players in history) Charlotte Kemp Muhl (from The Ghost of a Saber Tooth Tiger) Kerri Kenney-Silver (formerly of Cake Like) Debra Killings; Holly Knight (formerly of Device) handled the bass parts on the band's lone album 22B3
The early 1990s found LaVere in Nashville as part of the burgeoning Lower Broadway scene, where she began to play upright bass as half of the popular roots duo The Gabe & Amy Show. [3] By 1999, she had moved to Memphis where she began work at Sun Studio .
Esperanza Emily Spalding (stylized in lowercase; [2] born October 18, 1984) is an American bassist, singer, songwriter, and composer. Her accolades include five Grammy Awards, a Boston Music Award, a Soul Train Music Award, and two honorary doctorates: one from her alma mater Berklee College of Music [3] and one from the California Institute of the Arts (CalArts).
Carol Kaye (née Smith; [1] born March 24, 1935) [2] is an American musician. She is one of the most prolific recorded bass guitarists in rock and pop music, playing on an estimated 10,000 recordings in a career spanning over 65 years.
This is a non-diffusing subcategory of Category:Bass guitarists. It includes bass guitarists that can also be found in the parent category, or in diffusing subcategories of the parent. Biography portal
[2] [6] Kae joined the school orchestra playing upright bass at 12. [3] [1] April Kae and her younger sister Nikki were both signed with a modeling agency in Austin, Texas as children. [5] She attributed her comfort in front of the camera on social media to that early experience modeling. [2] Her mother is African American and her Father is Jewish.
As one of the first female bluegrass bass players she more than rose to the occasion as a foundational member in Monroe’s bluegrass band for over a decade. She was one of the Bluegrass Boys from 1953–1964. [2] Bessie Lee Maudlin was a prolific contributor, as a member of Bill Monroe’s Blue Grass Boys.
Like many psychobilly upright bass players, Day plays with a "slap" style, slapping the strings against the fingerboard simultaneously with playing her bass lines to create a percussive, rhythmic effect. Many psychobilly and rockabilly bassists who slap use non-steel strings, as steel strings are too hard on the hands.