Watch Flea and Red Hot Chili Peppers Perform "Higher Ground" (VIDEO) | Bassplayer Watch Flea and Red Hot Chili Peppers Perform "Higher Ground" (VIDEO) BY Jon D'Auria March 20, 2015 Here's a funky clip of Flea slapping his way through "Higher Ground" with the Red Hot Chili Peppers at La Cigale in Paris, France in 2011. Flea - Biography - IMDb Biography Showing all 32 items Jump to: Overview (3) | Mini Bio (1) | Spouse (2) | Trade Mark (3) | Trivia (21) | Personal Quotes (2) Overview (3) 5' 6" (1.68 m) Mini Bio (1) Michael Peter Balzary was born on the sixteenth of October 1962, in Melbourne, Australia. When he was four, his parents divorced and Michael, his sister Karen and his mother Patricia headed for New York; they didn't stay long and soon ended up in L.A. (in 1972), where his step-father, a jazz musician named Walter Urban Jr., intended to start a career.

Flea would often sit in on weekly jam sessions with his stepfather and the constant flow of musicians who trucked through. High school was not always an easy road for young Michael. He was a misfit because of his unusual musical taste. While most of the kids were into disco and dance music, Flea preferred jazz artists like Miles Davis and Dizzy Gillespie . Flea's first musical instrument was the drums, but soon he also began playing the trumpet. After school he would race home to listen to his Gillespie records and play along with his idol. He counts as his greatest childhood memory the time his mother got him back-stage to meet Gillespie after one of his concerts. He also played with the Los Angeles Junior Philarmonic Orchestra. Influenced by some of his friends from school who shared the same passion for music - among them, Jack Irons and Hillel Slovak , who would later play in the Red Hot Chili Peppers with him - his musical interests then diversified: he discovered funk music, and Jimi Hendrix became his new idol. At the end of 1977, he met Anthony Kiedis.

For some reason, Michael was holding a young schoolmate named Tony Sherr in a headlock, when Kiedis, who was Tony's best friend at the time, came to rescue him; they almost had a fight. After this meeting, they soon became aware they were made to be friends, and have been inseparable since. The two became known for their mischievous antics, which often got them into trouble. This is also when he gained the nickname Flea, while he was joking with some friends about calling each other a cartoon name. Around 1979, due to Flea's obvious musical talent, he was sought out as a recruit for a band formed by his school-mates, Anthym, with Jack Irons (drums), Hillel Slovak (guitar) and Alain Johannes (vocals and guitar) as members. Flea picked up the bass, which he had never played before, and became so good that within a few months he had forged his very own style, which later would make him one of the most famous and talented bass players in the world. After a shaky start the band got a few club gigs but no major breaks.

Anthony Kiedis, who was always there to support them, became the presenter of their shows which he opened with a few jokes or improvised poems of his own. In 1982, Flea joined the L.A. punk band Fear. He also landed a small role in the Penelope Spheeris film Suburbia (1984). John Lydon of PIL asked Flea to join his band when he left Fear in 1984, but Flea instead decided to rejoin his friends. With Kiedis, Slovak and Irons, they started another band together, the Red Hot Chili Peppers, which soon earned a good reputation in the Los Angeles underground music scene. Flea was married in 1985 to Loesha Zeviar, whose first name he got tattooed above his left nipple - close to his heart. They have since divorced, but still share daughter Clara, born on September 16, 1988. Clara sometimes goes on the road with her dad, and has done artwork for the Chili Peppers' t-shirts and promotional material.

In 2001, along with friends Pete Weiss and Keith Barry, Flea founded the Silverlake Conservatory Of Music, an organization whose aim is to provide affordable music lessons to everyone and to encourage children's musical education. Flea - Bassist - Biography.com Bassist With the Red Hot Chili Peppers, bassist Flea has scored numerous hit albums, including 1991's BloodSugarSexMagik and 2006's Stadium Arcadium. IN THESE GROUPS Famous People Named Flea Synopsis Born in Australia in 1962, Michael "Flea" Balzary started out as a jazz enthusiast. He was a talented trumpeter growing up. In high school, Flea turned to punk and rock. He formed the Red Hot Chili Peppers with three friends from high school. The band had its first hit album, BloodSugarSexMagik, in 1991. More successes have followed, including 2006's Stadium Arcadium and 2011's I'm With You. Early Life As the bassist for the Red Hot Chili Peppers, Michael "Flea" Balzary is one of rock's most famous performers.

The band, known for its funk-punk infused sound, has enjoyed great success since the release of their 1991 breakout album BloodSugarSexMagik. Flea, however, started out as a jazz performer before crossing over to rock. Some of his early musical influences came from his stepfather, a jazz musician, and included Dizzy Gillespie and Miles Davis. Growing up, Flea became enamored with the trumpet and developed into a musical prodigy. His family life, however, was unstable. His parents had split up when he was young, and his stepfather had problems with alcohol. At Fairfax High School, Flea was a bit of an outcast for his quirky musical tastes. There he met Anthony Kiedis and the two became good friends. Flea's musical tastes began to change, adding such rock legends as Jimi Hendrix to his list of favorite performers. Before long, he had taken up the bass guitar. Flea basically taught himself the instrument with a little help from friend Hillel Slovak. The trumpeter quickly transformed into an ace bassist, playing in a couple of bands, including the Los Angeles punk group Fear.

Red Hot Chili Peppers In 1983, Flea formed what would become the legendary Red Hot Chili Peppers with high school friends Kiedis, Slovak, and Jack Irons. Marrying the hard, driving sound of punk and 1970s funk, the group was a popular act on the Hollywood club scene. The Chili Peppers were known for their high-energy stage antics as well as their wild lives off-stage. While their first few albums failed to make a commercial impact, the group soldiered on. Flea and his fellow band members were deeply hurt by Slovak's death from an overdose in 1988. Things soon started to turned around for the group with the addition of guitarist John Frusciante and drummer Chad Smith. The Chili Peppers started to attract notice for their innovative sound from more mainstream outlets, including getting their videos on MTV. Mother's Milk (1989) featured a cover of Stevie Wonder's "Higher Ground" as well as their own composition "Knock Me Down." The Chili Peppers reached new heights with 1991's BloodSugarSexMagik with a little help from famed producer Rick Rubin.

With such hits as "Under The Bridge," the album went on to sell more than 4 million copies. The group soon went through some line-up changes, replacing Frusciante with Jane's Addiction guitarist Dave Navarro for a time. But by 1999's Californication, Frusciante was back in the band. The Chili Peppers continued their winning streak with such songs as "Scar Tissue" and "Otherside." The Chili Peppers have showed tremendous staying power on the charts, still racking up hits more than two decades after they got their start. With 2006's Stadium Arcadium, the band delighted fans with such songs as "Dani California." After an extended break, Flea returned to the album charts with 2011's I'm With You with bandmates Kiedis and Smith and new guitarist Josh Klinghoffer. Over the years, Flea has remained a constant force within the Chili Peppers, keeping the band going. He and Kiedis have stayed with the group from the beginning, weathering all sorts of personal challenges. In 2012, they received special recognition for their contributions when they were inducted into the Rock and Roll Hall of Fame.

Other Projects Outside of his work with the Red Hot Chili Peppers, Flea has recorded and performed with other artists. He has worked as a musician on albums by Mick Jagger, Alanis Morissette and Johnny Cash. Flea paired up with Radiohead's Thom Yorke for Atoms for Peace in 2009. Tackling another collaborative project, Flea joined with Damon Albarn of Blur fame and Tony Allen to form Rocket Juice and the Moon, which released its debut album in 2012. A natural performer, Flea has also dabbled in acting. He has appeared in several films, beginning with 1983's Suburbia. He also had recurring small part in Back to the Future Part II (1989) and Back to the Future Part III (1990) with Michael J. Fox. Working with some of the top directors, Flea appeared in Gus Van Sant's My Own Private Idaho (1991) and Joel and Ethan Coen's The Big Lebowski (1998).

He also lent his voice to several animated projects, including The Wild Thornberrys Movie (2002) and Rugrats Go Wild (2003). Personal Life Flea is married to model Frankie Rayder. The couple has a daughter, Sunny Bepop Balzary, who was born in 2005. He also has an older daughter, Clara, from his first marriage to Loesha Zeviar. Flea has credited his children with helping him drop his hard-partying ways. He has seen the destructive powers of drug and alcohol abuse. In 1993, Flea was with actor River Phoenix, a close friend, when he suffered a fatal overdose. This devoted dad has worked to share his musical knowledge with children. In 2001, Flea helped establish the Silverlake Conservatory of Music to provide music instruction to young people. He even ran the Los Angeles Marathon in 2010 to raise money for his non-profit organization. Heavily tattooed, Flea has a portrait of legendary guitarist Jimi Hendrix on one of his arms.

He also has his high school nickname—"Flea"—tattooed on his head, and his ex-wife's first name appears on his chest. Fact Check We strive for accuracy and fairness. If you see something that doesn't look right, contact us ! Citation Information Bass Player June 2006 Flea on Stadium Arcadium | Red Hot Chili Peppers fansite, news and forum – thechilisource.com Bass Player June 2006 Flea on Stadium Arcadium Transcript: Many thanks to Sally Sturman ofr typing this all out! FLEA GIVES HIS ALL ON THE RED HOT CHILI PEPPERS’ STADIUM ARCADIUM DRIVING RAIN DRUMMED MERCILESSLY AGAINST Malibu’s lone highway, as if to remind the exclusive seaside town’s residents of life’s inescapable cacophony. Above the curvy road, snug and secluded, Flea’s hillside home seemed content amid the downpour, and the rock star himself was enjoying in his own hard-fought happiness.

“Music is this beautiful, sacred thing, and I take it really seriously,” intoned the 43-year old, perched on a soft couch in his high ceiling practice room. Nearby a silvery trumpet and an open Real Book on a music stand stood at the ready, while wall-size shelves of Cds, albums and music books offered shelter. “I feel like I’m just getting started. I’ve let go of a lot in my life to really focus on music. I want to work and grow and be the best musician I can be. Not just as the Red Hot Chili Peppers’ bass player, but as a good musician who can give and contribute in a variety of situations. I feel more focused now than ever on achieving that.” Flea may be clear on his future goals, but his band’s new double-disc album, Stadium Arcadium, stands as a major achievement right now. After months of writing and jamming, the quartet – Flea, drummer Chad Smith, singer Anthony Kiedis and guitarist John Frusciante – recorded the album in producer Rich Rubin’s mansion studio, where they made what many consider their best effort, 1991’s Blood Sugar Sex Magik.

Like that album, Stadium Arcadium shows the band’s potency and cohesion, but it goes beyond powerful grooves and dreamy ballads. Flea and his band mates’ individual contributions are among their best ever, and the performances as a whole convey greater emotional depth, while retaining the essence of their aggressive groove approach. It’s an album that proves the Red Hot Chili Peppers are one of the most cohesive units in rock & roll. Anthony has called the album “the best thing we’ve ever done.” How does Flea make sense of this achievement? “Our personal relationships have more to do with the quality of the music than anything,” he says. “And on this record, we were each really open to what the others were doing.” Stadium Arcadium has 28 songs. Did you set out to make an album that long? “No, we actually had been talking about how we always make records that are too long. We really wanted to make a 12-song “classic,” but we just kept writing. We all want to give to the process so much, and we just kept coming in with ideas.” What is the writing process like? “We always write together, but there are three different ways songs come about.

One is that I come in with a bass line or a series of bass lines that go together. Then, if someone does his thing on top of it, it’ll be a song. Another way is John will come in with a guitar part or series of parts. The third way is jamming, and we jam all the time just for fun. If we’re playing something we think could be a song, we’ll record it. It’ll usually be a chorus or a verse; Anthony will start singing something over it, and then we’ll fill in all the other stuff around it. Often, if we have, say, a verse and a chorus and we need a bridge, we’ll do what we call a “face-off.” John and I have a tradition where we look at each other and go, “Arghh!” – it’s just a friendly competition thing – then we go our separate ways for 10 or 15 minutes and each write a part. When we come back, we all decide together which part is best. Sometimes we use both.” Do you always write on bass? “I sometimes write on piano, but more for myself.

The best way that I can give in the band is with bass.” When we spoke with Charlie Haden, you said, “If you’re an improvising musician, you have to trust yourself and love yourself, so that when you do what you do, it’ll be beautiful because you are who you are. And if you’re not a humble giving person, there’s no way you can love or trust yourself.” “Yeah that makes sense to me. I’m not trying to put myself on the level of great musicians – that’s not for me to say. But as an improvising musician, that’s what it’s all about. The great musicians trust themselves to let go, become completely untethered, and give themselves to the process. You can feel the character of who they are in their playing. And when they have a clear conscience because they know they mean well in the world, the music is beautiful. It can be argued that there are a lot of great musicians who were angry and bitter people, like maybe Miles Davis, who was one of the greatest improvisers of all time. But I believe every note Miles played was packed with love.

The things he was angry about were injustices in the world, and the way he manifested it often came across as bitterness. But the motivation was love.” That’s a sophisticated perspective on music, one that many wouldn’t expect from a rock musician. Is there a way that kids starting out in rock bands can tap into that kind of idea? “Well I didn’t consciously think that from the beginning. I mean, I wanted to be a jazz musician way before I was in a rock band. I was dead-set on being a jazz trumpet player. And so I definitely had a different perspective on rock music when I got into it, because I was raised to think rock was simple-minded music for people that didn’t think.” Your step-dad was a jazz musician. Did he tell you that? “Oh, yeah. The opinion was that rock was haircuts and bullshit, but jazz was where it was at. When I first started listening to rock, it was the virtuoso playing I really liked, like Jimi Hendrix and Led Zeppelin, where there were beautiful textures and cool arrangements. And the funk stuff, like Sly & the Family Stone, P-Funk, and the Ohio Players, which is much closer to jazz.

But when I got into punk rock, the beauty of it and how much I related to it hit me from the core of who I was. The first record that struck me like that was the first Germs record [(GI), Slash, 1979], which I listened to on headphones every night for a month. That changed the way I looked at music completely. I always aspired to scale the lofty peaks like John Coltrane or Hendrix, but it hit me that the emotional commitment, the intent, and what you put into music makes the simplest two-chord punk rock song as valid as [Coltrane’s] A Love Supreme. That’s the same concept I’m talking about with being an improvising jazz musician. Bob Marley once said it didn’t matter what you do, but your commitment to it and giving all of yourself to it is everything. And when you really believe in the righteousness of what you’re doing, the odds of it being good are pretty strong.” I suppose you can transfer that idea from your art to the way you conduct your relationships and life. “Yeah, totally.

There are many times when I’ve been less than noble in my life and suffered as an artist because of it.” Do you practice a lot? “I practice every day. Lately, I’ve been working through jazz books and trying to walk – which I have no idea how to do, but I’m working on it – and playing heads like Charlie Parker’s “Donna Lee” and “Ornithology.” Actually, it was that night with Charlie that made me think, I’ve really got to learn how to do that. Did practicing jazz impact your contributions to Stadium Arcadium? “I wasn’t really working on it at the time, but I had been reading jazz theory books and sitting at the piano a lot. Because I never really played a chordal instrument, I thought it was important to start learning all that stuff. It definitely gave me a bigger picture of music.” “I really want to learn. I know this bass player in Australia – a really talented kid – and we were playing jazz tunes during my annual trip down there this past Christmas. I was playing trumpet and he was playing upright, and we were doing gigs and putting out the hat at the open market.” Do you not have the recognition there you have here?

“I do, but my place is in the middle of nowhere! [Laughs] I think there were a few kids who knew, but mostly it was just old people walking by and listening.” You did a solo-bass looping thing recently, too. “[Experimental punk poet/singer] Patti Smith created this festival in London called Meltdown, and she asked me to play. I did a version of [Jimi Hendrix’s] “Third Stone from the Sun” doing all the parts myself, and then I added new parts and played trumpet on top. Actually, it backfired a bit because I was doing all these really intricate moves. There were like 50 steps involved in the layering, and I had it down – I had practiced it so much – but I had to hear myself perfectly to do it. If I messed up once, the whole thing was screwed, you know? But at the gig, I couldn’t hear myself. So I skipped a bunch of the steps and just cranked down the fuzz and started wailing! [Laughs] But it was still really fun, and the preparation for it was a great experience. I also played with Patti, which was a blessing, man.

She’s just a real dynamic, emotional, powerful woman.” Your bass sound on the recording is really big and warm. “I just try to get the natural sound of the instrument. I’m playing the Fender bass with flat wound strings. In the studio, sometimes I played through my big Gallien-Krueger rig that I use live. But sometimes I played through an old Ampeg SVT tube head or a little Ampeg flip-top. Now I’m trying out all different gear, because I feel I’m way more serious about bass playing now than I ever have been. I feel like I’ve done myself a disservice over the years by not taking my sound more seriously. I’ve been really lucky getting great equipment, like Gallien-Krueger amps. But I want to search around and get something that feels perfect to me now, especially because I’m playing these old basses and getting into their character. They’re so beautiful, and I want that character to come out when they’re being played in big places. I feel it’s important for me to experiment. Also, I just really want to get better.” Why do you think you’re taking your bass playing more seriously these days?

“I’m at a point in my life where I feel free to work on my art. For a long time my life was really angst-ridden, with a lot of anxiety, hard times, and challenges. For the first time in a long time, I feel comfortable and happy. I have a family; everything is peaceful and things are good. I don’t have to worry about being defensive, or what my next step is, or being lonely or some weird thing, so I’m free to work. I’m kind of an emotional person in that way, so it’s helpful for me to have a real solid, nice home life.” Is that difference something you feel people will hear on the record? “Yeah, I think so. I mean, I don’t know. I definitely know that the guys in my band appreciate that I’m a lot happier and probably easier to be around. I’ve always tried to do my best, but there were times when I’d be hurting and not as present as I could be.” “So now, I feel really in love with the bass. I just want to play and figure stuff out. I’ll do anything.

The last couple of days I got out Jeff Beck’s Wired album [Epic, 1976] and was like, I gotta learn the bass lines on this record! There are some cool, classic riffs on there. Wilbur Bascomb – he’s great.” On the new album, it sounds like you have a real openness to being creative. “I feel real open. On the last record, I didn’t feel open at all. I was unhappy with the whole process, and there was a lot of tension between John and me. My tendency in that situation is to withdraw, but for music I need to be loose and do what I do.” Is there a difference between tapping into that openness and creativity in the studio and doing it onstage? “Yeah. It’s different because the songs always take on a life of their own live and the arrangements change. But I have this feeling like, fuck it – whatever happens, happens. I don’t even care. I mean, obviously I care: I want the music to be as good as it can be.

But I feel that it will become its best if I let it be whatever it’s going to be, and really be open to what happens: Love the mistakes, let them lead to improvisations, and be loose with it.” You mentioned how letting go of some things has helped you be a better musician. Were there things you had to let go of that surprised you? “No. Everyone has their childhood issues and some have more than others. There were things I had to learn about being a man that I didn’t learn when I was a kid; to not be a needy person and have enough faith in myself to be comfortable in my skin. For a long time, playing has been cathartic for me in terms of letting out this rage I had inside of me. When I look back, it was so healthy for me to have that, but now I don’t feel so afraid anymore, and I don’t need to be so angry. I still love that type of aggression in music and that kind of primal, animal feeling in music will always be a part of me. But I want to move into a higher place with it, too.

That’s where I feel myself moving toward as a musician, and specifically as a bass player.” FLEA FILLS A STADIUM “EVERYONE REALLY SHINES ON THIS RECORD,” says Flea. He was talking about his band mates, but he just as well could have been talking about his own playing. Without a doubt, Flea is in fine form throughout Stadium Arcadium’s 28 tracks. Though his approach differs widely across the two discs – from simple rock riffs and four-chord progressions to finger picked parts and double-stop funk – the precision, energy and creativity that mark his personal bass brand are always in evidence. As we videotaped (see for clips), Flea showed us how he played several lines from the record. Ex. 1a is similar to the verse line on the album’s first single, “DanI California.” Note length is key to making this straight, boxy riff rock. Flea completes each two-bar phase with a variety of improvised fills. Ex. 1b shows the structure of Flea’s part on the song’s pre-chorus, which ends with full-band syncopation on beat four. Ex.

2a is in the style of the verse bass line on “Charlie,” which Flea propels with galloping ghost-notes. Ex. 2b recalls the song’s chorus, which has Flea outlining chords by playing 10ths on the E and G strings. On the funkified “Hump De Bump,” Flea snaps two strings at once, plucking with his thumb and first two fingers, in a line similar to Ex. 3a. “We called this song ‘Ghost Town’ for a while because it’s similar to a song we did with George Clinton back in ‘85 called ‘American Ghost Dance’ [Freaky Styley, EMI].” Ex. 3b captures the rhythmically precise spirit of the song’s blazing chorus riffs. While the verse has a slight funky swing, Flea plays the chorus straight with razor-sharp rhythmic precision. At the end he cuts through with a killer riff. “I do that kind of thing all the time,” says Flea, of the quick descending pentatonic scale and triplet passing tone. “But here it’s by itself and it’s faster.” Ex.

4 outlines Flea’s approach on “Hey,” a line he calls “one of my favourites.” Despite how forcefully he pulls these double-stops with his right thumb and forefinger, the long notes and moody harmonies sound sweetly sentimental, even as his left hand stretches to fret each interval. An even mellower musical approach comes on the song “If.” Ex. 5 shows the guitar-like thumb-and-fingers finger picking Flea uses for the line. A JAZZ SUPREME First it was Ernie Ball MusicMan StingRays, then a Spector NS, then the sticker-covered Wal Mach II he played on Blood Sugar Sex Magik, and then the sparkle-finished Modulus Flea Bass. Flea’s latest love predates all those modern axes. His main bass is a ‘61 Fender Jazz Bass in Shell Pink, the rarest of Fender custom finishes. It may in fact be the only Shell Pink ‘61 J in existence, and as such, this instrument would command well over $35,000 on the vintage instrument market.

The bass was a gift from Zach Stevens, who, after working on the AOL Time Warner merger during the late ‘90s tech boom, had the freedom to embark on special projects. One was to present this prized instrument to Flea, who had asked his fans in his online tour journal if anyone knew where he could get a pre-CBS Fender, so he could be “as cool as John Paul Jones.” Before travelling to Australia to present Flea with the bass in 2000, Stevens stopped by BASS PLAYER’S offices where we examined this rare instrument and photographed it. (We even wrote down the pot codes – 1376025 and 1376039 – which translate to CTS pots made in the 25th and 29th weeks of 1960). Flea has since removed the bridge and pickup covers and marked the bass as his own with a well-placed sticker. 1996 February Bass Player (Flea) | Red Hot Chili Peppers fansite, news and forum – thechilisource.com 1996 February Bass Player (Flea) Bass player 1996 He can’t take it.

Flea, red-hot bassist for the Chili Peppers, is in desperate need of a fix. After 27 hours on an airplane, it seems the Guru of Groove is having big-time bass withdrawal. “Sorry, man-I just got to Australia and I haven’t played yet,” he says. Flea grabs his Alembic Epic and thwacks a few funky notes to curb his urges. The animated bassist is chilling out at “Cuttlefish Castle,” his sprawling beach-front retreat in the wilds of New South Wales. Like its owner, the home’s decor is, well, unique: bright red, green, blue, and brown walls surround elegant wooden floors, while a copper, brass, and wrought-iron spiral staircase ascends upward from the middle of the ocean-view room. Out back, a basketball court sits dormant at the foot of a dense forest. “This is a great place to hang out,” says Flea. “I just wish it weren’t so far away.” With the bass still in his lap, Flea makes a jaw-dropping statement: “I’d be surprised if bass players are into our new record,” he says.

He ponders the remark for a second and adds, “One Hot Minute is just a bunch of rock songs. They’re great, but I think someone who reads Bass Player would be much more into a guy like Michael Manring.” Don’t let Flea’s humbleness fool you. Judging by the fact that BP readers have named him Best Funk Bassist for three years in a row-and that he’s always been in the top ten in the voting for Bassist Of The Year-it appears he’s still connecting. Few have inspired more post-P-Funk bass grooves than Flea, and his band’s latest funk/chunk offering should send many more young thumbs into overdrive. Produced by Rick Rubin, One Hot Minute is the follow-up to the band’s multi-platinum smash Blood Sugar Sex Magik. No other Chili Peppers record has displayed more dimension or emotion than this one, which was written in Hawaii and recorded in Los Angeles. The addition of ex-Jane’s Addiction axeslinger Dave Navarro, who replaces John Frusciante, has something to do with it: he brings a heavier, more textured guitar style to the Peppers’ party-but it’s Flea’s bass that guides the project.

His parts are as streamlined as the ones on Blood Sugar but also display a newfound melodic depth and powerful presence. The lofty float of “Aeroplane” (see page 45), the smooth stride of “Walkabout,” and the wiry bass solo on “Coffee Shop” illustrate Flea’s commanding-yet-essential approach. At 33, he’s grown beyond the psycho-slap style that made him legendary among 4-string funkateers, and he now insists the song is his #1 priority. “I’ve put less emphasis on the bass,” he says. “I’m trying to improve as a songwriter as well.” During a two-week break from the band’s grueling tour schedule, the “bassopotamus” took some time to explain why he’s fallen back in love with his instrument after recording six albums, how not to be a player who’s “all flash and no smash,” and why practicing Transcendental Meditation has helped him to become a better musician. Flea… meditating? Compared to the full-bore thumbwork of early Chili Peppers records, your parts on Blood Sugar Sex Magik showcased a more stripped-down, rudimentary approach.

On One Hot Minute, did you try to combine elements of both? Not on a conscious level. I was trying to play simply on Blood Sugar because I had been playing too much prior to that, so I thought, I’ve really got to chill out and play half as many notes. When you play less, it’s more exciting-there’s more room for everything. If I do play something busy, it stands out, instead of the bass being a constant onslaught of notes. Space is good. I think my playing on One Hot Minute is even more simple; I just wanted to play shit that sounded good. I thrashed through the recording and didn’t care about the parts being perfect. It’s not that I don’t love the bass passionately anymore-I just felt I’d been getting too many accolades for being “Joe Bass Player.” So the simpler approach is a reaction to all the recognition you’ve received? That, plus the whole concept of being a jack-off musician and not thinking about the big picture. I do consider myself fortunate to have achieved popularity as a bassist, but I felt there was too much emphasis being placed on playing technique, as opposed to just playing music.

So before we recorded this album, I spent more time strumming an acoustic guitar than I did playing bass. To me, my bass parts are more incidental to the song now, because I’m thinking less as a bass player and more as a songwriter. Some might argue that this record is one of your stronger bass efforts. Really? Maybe not thinking about it made me play better. I definitely left lots of mistakes on there, and I can’t even think of anything I played that was complex; even the slapping stuff is simple. It’s original-sounding, and I’m proud of that-but what I played was more a matter of aesthetic choice. On the other hand, I guess “Giant Steps” was simple to [saxophonist] John Coltrane, because it was him playing it. It’s easy if you can do it! [Laughs.] Overall, how do you think One Hot Minute differs from Blood Sugar Sex Magik? There are two big differences. First, I was in a different place emotionally for this record. I was coming out of a two-year period of misery, when I was down emotionally, physically, and spiritually. Second, Dave Navarro is intensely different from John Frusciante.

When we recorded Blood Sugar, John played all his tracks once and maybe overdubbed a few solos, so the whole record was very spontaneous. Dave is really into the studio; he would spend weeks on every song, put something like 15 tracks of guitar on every tune, and weed through it in the mix. Dave’s sound is more layered and “effecty” than John’s, which was like, boom-play it dry and leave it alone. Also, Dave and I are very different musically. He’ll often play some ’70s rock song, and most of the time I don’t even know who did it, but I’ll start playing along-and to me it’s ridiculous. But our differences create our music. So the contrast between your styles created the album’s textured sound? The contrast made a big difference. John was a huge fan of the band when he joined, so it wasn’t a big change for us. He did come into his own aesthetic as time went on, and he had a huge amount to do with the sound of the band, but Dave’s coming from his own trip-the Jane’s Addiction thing in particular, which was very different from the Chili Peppers.

Did adjusting to yet another guitar player affect the feel? It had its ups and downs. We were playing something new, and it was exciting-but on the negative side, we’d never toured together. The record is what it is, though: a document of that time. It has good energy, the grooves are good, and the music is good; I’m happy with the way I played, but I’m already onto another groove. The band’s jams seem to be stretching out into new areas. To me, this is the least jam-oriented record we’ve made. I mean, we definitely jammed on the ideas, but there’s only one groove on the whole album that came from a jam, “Deep Kick.” The rest of it came from my sitting down with a guitar or bass and saying, “Check this out, guys.” I wrote almost all of the music on the record. So you’ve expanded beyond writing only grooves? I’ve always had a major hand in writing, but on some of the One Hot Minute songs, I wrote the chords and the melody and most of the words. I wrote a lot of the lyrics on “Deep Kick” and “Transcending,” for example.

Did you put the songs together on a 4-track? I’ve got one, but mostly I’d play acoustic guitar and come up with the chords and melody, and Dave would take my simple guitar part and play it in his magical Navarro way. Or, I would have a bass line, and Dave would think of a guitar part to go with it. When did you start learning to play guitar? I started a couple of months before we began making this record. Rick Rubin gave me a Martin acoustic, and I bought a Neil Young songbook to learn chords. Playing guitar has definitely helped me as a songwriter; instead of thinking in terms of bass lines and grooves, which is an amazing way to think, I now think about chord progressions and melodies. It’s another musical dimension for me. Do you think bass players make good songwriters because they think of the groove instead of just chords? A good songwriter is someone who has something interesting to say, period. I’ve heard great songs from people who could barely string together a couple of chords, and I’ve heard shitty music come from world-renowned virtuosos.

Obviously, more good music comes out of good musicians-but I think being a good songwriter requires being in touch with all the emotions and stuff that are flying through the air around you. What’s your opinion of the role of the bass? It’s difficult to generalize, but I like hearing the bass when it’s really locking in with the drums. I like it simple. I like it when it makes you want to fuck-that warm, good feeling. Very seldom do I enjoy bass playing that takes center stage; even on a funk song where the bass is the focus, such as Funkadelic’s “(Not Just) Knee Deep” [Uncle Jam Wants You, Priority], it’s just a funky groove-it’s not “Look at me.” Plenty of bass players have fancy chops, but they don’t make you feel any emotions. You don’t feel anger, fear, or love. That’s what I call “all flash and no smash,” a phrase I got from Lonnie Marshall of the band Weapon Of Choice. Lonnie’s one of the funkiest bass players alive today-I’ve totally copped stuff off him. So what’s your function as the Chili Peppers bassist?

My position goes beyond that of just a bass player; I also consider myself an entertainer. As a bassist, my job is to kick ass. When I pick up my bass and play with the band, it’s time to get serious. It’s my job to give my all every time I play, no matter how I feel. But I also buy into the show-biz aesthetic of giving a dazzling performance, and I’m into putting on a show. Does the entertainer side of your job ever interfere with the bass-playing side? No. Standing in one place and playing isn’t what the Red Hot Chili Peppers are about-it’s about being the wildest rock band on earth. People buy tickets to see us play, and I’m into entertaining them. I think as much about dancing and being bizarre as I do about playing well. I’m not saying that to do a good show you have to jump around and do an avant-garde dance while spinning on your head-but no one would have liked Charlie Chaplin if he hadn’t fallen on his face every once in a while! [Laughs.] Does the punk-rock concept of “play every note like it’s your last” still apply to what you do? Definitely.

Punk rock changed my life. As for punk rock music, though, I don’t think it exists anymore. So you wouldn’t categorize bands such as Green Day punk? No. I like Green Day, but they’re more like an oldies pop band. Punk-rock music ended with the Germs, but punk rock as an attitude hasn’t. That means spitting in the face of convention and doing your own thing that’s “anti”-anti the bloated, corporate, boring, heard-it-a-billion-times-before bullshit. The bands that did it well were playing some of the most innovative, exciting music of their time-but now, it’s about playing fun music and having a good time. That’s cool, but it’s not punk. You’ve said that most of your influences tend to be more emotional than technical. Are there any incidents besides experiencing punk rock that had a big impact on you? Seeing my stepdad play upright bass in our living room when I was eight had a huge influence on me. I’d watch him and his friends play hardcore bebop, which to me is one of the highest forms of expression-intellectually, emotionally, spiritually, and technically; America has come up with nothing better than bebop.

Seeing them play filled me with this incredible feeling of joy I’d never experienced before. Meeting [Chili Peppers singer] Anthony Kiedis in high school had a lot to do with how I ended up as a musician. He was the first kid I met who didn’t give a shit about being like anybody else. The way he talked, the way he dressed, and the way he acted had a big influence on me. He was so anti; he thought anyone who tried to be like anyone else was lame. Also, taking acid was a big thing for me as a youngster. I don’t recommend drugs to anyone, but I can’t deny that I did them. Anthony and I would sit and listen to Eric Dolphy play “God Bless the Child” [Here & There, Prestige] on the bass clarinet over and over again, for about five hours! How could I not be deeply affected by that? I couldn’t believe a human being was making that noise! There’s nothing more amazing than a human creating that energy through an instrument; I’ve never reached that level, because I’m just not studied enough in music to do something as amazing as Eric Dolphy did.

The thing that’s changed me even more recently is having realized the importance of becoming a loving person: someone who thinks, What can I give? rather than, What am I going to get? Has that developed from being a father? Being a dad is definitely part of it. It also comes from becoming a more aware person. I was stoned every day of my life for 15 years, which I don’t regret. I’ve done a lot of shitty things to myself, but everything’s for a reason-so if I can be more aware of what’s going on around me, then I’m going to be a better person and a better musician. Now, I meditate every day. It means so much to sit and be quiet. I just feel what’s going on inside myself, and it’s helped me to be more in touch with my feelings-with my purest level of expression. It also helps me to remove the blocks between my heart and my brain so I’m able to express myself and not be worried about some stupid bullshit. Right now, I’m very eager to learn; I haven’t had that feeling for quite a while. I’ve had that hunger for music as a whole, but not for the bass as an instrument.

After we play a gig nowadays, I go back to my hotel room and play even more. I’m trying to figure out new sounds and get my hands and mind to be coordinated in a beautiful, flowing way. My dynamic has changed-I really want to improve as a bass player. What have you been practicing? I’m jamming on grooves and bass lines and trying to find new ones. Also, I’m going to start learning stuff off records to get new perspectives, which is something I’ve rarely done. I’ve always played by improvising with myself. Are you working on learning any theory? No, but I need to. A friend of mine, a great upright bassist named Hilliard Green, was talking to me about theory. The way he explains it, there are certain things very easily within my grasp; I just need to spend some time to figure them out. My music is based mostly on intuition and instinct, but I could go further with a better understanding of theory. Since you trust your instincts, are you afraid of being affected negatively by learning theory? No-I’m a punk rocker, so it can’t hurt me!

[Laughs.] I’d love to walk into a room and be able to play with [saxophonist] Wayne Shorter and [pianist] McCoy Tyner-that would be beautiful. I feel I could play well in any rock, reggae, funk, or African band in the world, but jazz … that’s intense! I feel jazz, but I just don’t know enough about theory to play it. There are a bunch of different styles mixed together in the bass line of “Aeroplane.” How did you come up with the slap part in the verses? I was sitting in my garage with a bass Louis Johnson gave me-a Treker Louis Johnson Signature 4-string-and I started playing that ’70s funk line. The bass had light strings on it and had that whacka-whackita sound. It’s kind of a “been done” groove, but it’s nice and Anthony liked it. The chorus part was one of those things where we were stuck; sometimes when we’re looking for another part, I’ll have no idea what I’m going to do, but I’ll say, “What about this?” I went [mimics zooming sound up neck]; it’s all sliding on the E string.

[Ed. Note: See page 45 for more on the song.] Actually, “Aeroplane” was the only song I was worried about-I thought it sounded like another stupid white boy trying to be funky! [Laughs.] I put it out anyway, but it’s the one thing I’d go back and fix. When I played it live in the studio with the band, the bass didn’t record right for some reason, so it was one of the few things I had to overdub. The part kept feeling stiff to me, as if it wasn’t my day; I wasn’t flowing with the drums. I wanted to redo it, but Rick said, “It’s cool.” “Coffee Shop” is chock full of bass stuff, including a solo. It’s funny-“Coffee Shop” would never have been a song if it weren’t for this effect called the [Electro-Harmonix] BassBalls. [Ed.

Note: For more about the BassBalls, see “Clearance Classics” in the July/Aug ’95 Product Profiles.] I started playing with it one morning in Hawaii, and it had the most amazing underwater, Bootsy kind of sound-and it also had this siren effect going on. But when we got to L.A. to start recording, the box never made the sound again. I got so mad, I crushed it! I almost didn’t even want to record the song, because to me, it was all about that bass sound. I ended up using a Boss Dynamic Filter on the record. In the solo, it sounds as if you’re ripping the strings off the fingerboard. We didn’t know what to do at the end, so I said, “I’ll solo.” I played the track once, and I wanted to fix it later because I thought it sucked, but I never did. “Pea,” your bass-and-vocals solo piece, features an acoustic bass guitar. Yeah-it’s a Sigma acoustic. There’s not much to say about “Pea.” I mean, it’s just a song I wrote. Are you catching any flack for it? Because I say, “Homophobic redneck dick”?

I did get some shit for it, but fuck those people! We had to put out a version of the album for Wal-Mart without that song. Did that upset you at all? No. I mean, if someone says, “I’m not going to buy your record, but I’ll buy these songs,” then okay-buy those songs. I’d rather they hear it all, but to hell with my ego. The ending of “One Big Mob” has a heavy feel. That song was actually part of a 12-minute movement. The end was the intro to another song called “Stretch You Out,” which is more of a funk thing, but we didn’t put it on the record. It’s too bad, because bass players would probably like that tune more than any other song on the album. I think we’ll put it out as a B-side. “Walkabout” is built around the bass, especially the verses. I had gone to see the Spike Lee movie Crooklyn, which has this cool ’70s funk soundtrack. I came home, picked up my bass, and started playing that verse line. I wrote the intro at rehearsal-it was another one of those “What about this?” things.

“Transcending” centers around a twisted b7 bass riff. I play the root and the b7, which ring at the same time, and then I play the 4th and bend it up while I keep plucking. I wrote that part on my acoustic bass guitar while I was sitting on the beach in Hawaii, before I decided we should all write there. Did you use an Ernie Ball Music Man StingRay on the album? I may have played a StingRay on “Aeroplane,” but I used an Alembic for most of the record. [Ed. Note: According to Alembic, Flea’s bass is a stock Epic 4-string with a mahogany body, flame-maple top, and a three-piece maple neck with an ebony fingerboard.] Did the Alembic make you play differently than the Music Man? Maybe. It was the bass I had in the studio, so I was like, “Let’s record, let’s rock.” The Alembic isn’t as in-my-face as the Music Man, but the high notes are as loud as the low ones, from the bottom of the neck to the top, which is a problem on the Music Man.

I probably could have used the StingRay for the entire album, but when we go to record, I always think I need the best bass for recording. Did you use your G-K amp and MESA/Boogie speakers? Yeah-an 800RB head with a MESA/Boogie 2×15; I like the way they sound together. I’m not picky when it comes to equipment, but I like it to sound good and to work right. I’ve tried a bunch of different stuff, but I haven’t found anything else as good. How did you get that ultra-slimy sound on “Falling Into Grace”? It’s the BassBalls, the Boss Dynamic Filter, and maybe a Boss Auto Wah, too. I had all three hooked up, but I may have used only two of them. You also played on Alanis Morissette’s “You Oughta Know” [Jagged Little Pill]. How did you come up with that funky fingerstyle line? It was very instinctive-I showed up, rocked out, and split. When I first heard the track, it had a different bassist and guitarist on it; I listened to the bass line and thought, That’s some weak shit!

[Laughs.] It was no flash and no smash! But the vocal was strong, so I just tried to play something good. Was the Alanis cut the most successful side project you’ve done? I also played on “Bust a Move” by Young M.C. [Stone Cold Rhymin’], which was a #1 hit. I have a bitter taste in my mouth about that, though, because I feel as though I got ripped off. The bass line I wrote ended up being a major melody of the tune, and I felt I deserved songwriting credit and money because it was a #1 hit. They sold millions of records, and I got $200! Afterwards, my lawyer told them, “You should throw down Flea some cash,” but the record company said, “We told him exactly what to play.” No one was even in the room at the time but me and the engineer! It was ridiculous, but I learned from it. Have you played on any other records? Not that many, but probably my favorite is an album by Cheikha Rimitti called Sidi Mansour. She sings so beautifully.

It’s rhyme and traditional North African music mixed with me on bass, Robert Fripp on guitar, and the Dead Kennedys’ East Bay Ray on guitar. The songs are kind of tribalish grooves, and I’m playing funky bass over percussion and microtonal flute. Have you ever considered doing a solo disc? Yes, but it won’t be a solo-bass record; the bass will just play the bass lines in the songs. I’m not saying the melody can’t be featured on the bass, but I think if a song is about the bass guitar, it’ll revolve around a beautiful line with things layered on top of it-kind of a sexy dub type of thing. I’m also going to make a record with my friend John Lurie, who’s the sax player from the Lounge Lizards. Has your daughter shown any interest in music? Clara’s already a great drummer. I realized it for the first time while we were in London recently; she’s six years old, and she got up behind the drum set and started playing boom, pop, boom boom, pop, and I was like, Where did that come from?

I started playing along with her [sings funky bass line], and she was right on the groove! I have a drum kit at home, but now I might get her a little set of her own. What advice would you offer to Clara about playing music? My only advice is to do whatever you want as long as you don’t hurt yourself or anybody else. I would hope she would have the love and self-esteem to make her craft interesting and do something beautiful. In general, I believe that if you don’t really love what you’re doing, you should stop right away-and if you do truly want to play, then you should play your own way and play what makes you feel good. Try to recognize the parts of your character that are your own, because a lot of people do things they think other people will like instead of embracing what they love. Do that on your instrument-play something you like, not something you’d do for someone else. That’s what makes great music. My best advice for someone who wants to play music, though, is this: Pretend music is a big Mona Lisa, and paint a mustache on it!

Leave a Reply Miki Santamaria - Extreme Slap & Tapping Bass Solo (WITH TABS!) - Modulus Funk Unlimited (Flea Bass) - YouTube Miki Santamaria - Extreme Slap & Tapping Bass Solo (WITH TABS!) - Modulus Funk Unlimited (Flea Bass) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Aug 1, 2012 - BASS TABS and BACKING TRACKS for this solo available here: - TABLATURA DE BAJO y PISTA DE ACOMPAÑAMIENTO disponible aquí: Subscribe for +125 more bass videos! :D ... And give my facebook page a like to stay up to date on my musical endeavours!: ... Instagram: mikisantamaria The word "extreme" is just a hook, hope you don't mind :P Bass: Modulus Funk Unilimited Flea Bass tuned D-A-D-G, seymour pickup, aguilar obp-3 preamp.

Strings: Ernie Ball Slinky 45-105 No amp, No FX, just a little compresion. Recorded with an M-Audio Fast Track audio interface, Garage Band -audio-, Iphone 4s -video-, and mixed with iMovie. *Special thanks to JONATHAN SAVAGE -bass player for Red NOT Chili Peppers tribute band from San Diego California, for lending me his bass and his home to record this video! BTW, shortly after recording this video this bass got STOLEN. If you happen to see it, please let me know! Category Red Hot Chili Peppers: Our guitars were unplugged at Super Bowl - TODAY.com Today.com Red Hot Chili Peppers: Our guitars were unplugged at Super Bowl 2014-02-05T01:41:00.000Z Some music fans noticed something about the Super Bowl halftime show on Sunday: The guitars of the Red Hot Chili Peppers, who joined Bruno Mars to perform, were not plugged in.

That+guitar+is+plugged+into+NOTHING â+Vernon+Reid+(@vurnt22)+ February+3,+2014 + ICYMI:+Flea+was+playing+air+bass+the+whole+time.+I+feel+so+lied+to.+ #pic + #SB48 + #HalfTime + #RHCP + pic.twitter.com/q445jla4vF â+1310+Ticket+Radio+(@TicketRadio)+ February+3,+2014 + On Tuesday, Chili Peppers bass player Flea issued a lengthy statement , posted on the band's website, admitting that while frontman Anthony Kiedis did sing live, the instrumental track was pre-recorded. The band wasn't thrilled about having to perform in such a way, but there was no choice, Flea said. "I understand the NFL's stance on this," he wrote, "Given they only have a few minutes to set up the stage, there (are) a zillion things that could go wrong and ruin the sound for the folks watching in the stadium and the t.v. viewers.

There was not any room for argument on this, the NFL does not want to risk their show being botched by bad sound, period." Flea also said the band chose not to plug in the guitars simply to save face. "For the actual performance, Josh, Chad, and I were playing along with the pre-recorded track so there was no need to plug in our guitars, so we did not," he wrote. "Could we have plugged them in and avoided bumming people out who have expressed disappointment that the instrumental track was pre-recorded? Of course easily we could have and this would be a non-issue. We thought it better to not pretend." Closed Captioning Top 10 Awesome Rock Bassists Top 10 Awesome Rock Bassists Daniel Eriksson | 03.11.2016 Playing backup to a lead guitarist who gets all the attention. If you’ve ever doubted the importance of the bassist, imagine any song by the likes of AC/DC, The Who, or the Rolling Stones without bass — it would sound flat and incomplete. It is the bassist’s job to fill out the sound and give depth to a band’s music. But some bassists go above and beyond that main requirement.

Here we’ll take a look at some of the best bass players to ever walk the earth. Who did we forget? Let us know in the comments! Flea If there is one bass player that is instantly recognizable it has to be Flea of the Red Hot Chili Peppers. When you hear that unique slap bass sound that Flea has developed you know right away that it’s him, even when he’s guest starring on someone else’s song, like Alanis Morissette’s breakthrough single “You Oughta Know.” Flea comes from a jazz background, having originally started his musical career playing the trumpet, and it seems as if he draws a lot of inspiration from that genre in his bass playing. Pino Palladino The least known person on this list is probably Pino Palladino. But that doesn’t mean he is any less deserving of being on this list. Palladino has mainly worked as a session musician, but after John Entwistle’s passing he has stepped in to fill the void he left in The Who, a job that he was quite clearly made for. Pino Palladino is also one third of the John Mayer Trio, along with John Mayer (of course), and drummer Steve Jordan.

Geddy Lee Recent Hall of Fame inductee Geddy Lee of Rush is basically the original that many bassists try to imitate. What makes Lee so special is the fact that aside from playing some of the most intricate bass lines ever heard, he does it while singing. Sometimes he even adds keyboards to the mix, while playing bass notes with foot pedals. Stefan Lessard Stefan Lessard joined Dave Matthews Band when he was only sixteen years old. In fact, when the band would perform in bars they would actually have to sneak him in. Just like his band mates, Lessard is an incredibly gifted musician. He plays the bass as if it were a lead instrument. If you want to hear a great example of Lessard in action, check out any live recording of DMB doing “All Along The Watchtower.” Stefan does the most intricate and melodic bass intro that sets the mood for the entire song. Les Claypool Master funk bassist Les Claypool admits being heavily influenced by another bassist on this list: Geddy Lee of Rush.

Claypool was able to take those influences, master them, and turn them in to his own style, which was the back bone of his band Primus, probably the wackiest band to ever cross over to mainstream success. John Entwistle The Who bassist John Entwistle passed away far too early at the age of 57. But the legacy he left behind is remarkable. Entwistle was the only possible choice to match the talent of Pete Townshend. His bass playing was so melodic, it could at times be mistaken for the lead guitar part. Cliff Burton Cliff Burton’s contribution to music only consisted in the first three Metallica albums, Kill ‘Em All, Ride The Lightning, and Master of Puppets. But with those three albums, Master of Puppets in particular, Burton set the bar for what a bassist in a metal band could do. It seems to be a common theme that great bass players know how to push their instrument to the limit, making it sound like more than just bass notes backing up a lead guitarist. John Paul Jones Just like his Led Zeppelin band mate Jimmy Page, John Paul Jones started out as a session musician.

Jones masters multiple music styles, having played bass in the studio for such diverse artists as Cat Stevens and Jeff Beck. Along with the late John Bonham, John Paul Jones provided the most solid and recognizable rhythm section a band could have. Billy Sheehan When you see Billy Sheehan playing the bass live, your jaw will most certainly drop by the sheer speed with which he plays the bass. It is really hard to grasp that a human being can play like that. Sheehan has played bass with the likes of Steve Vai, and David Lee Roth, as well as his own band Mr. Big. In Mr. Big, Sheehan and guitarist Paul Gilbert use power drills with guitar picks mounted on them to play the song “Daddy, Brother, Lover, Little Boy” as if they weren’t playing fast enough already. Phil Lynott It’s easy to forget that aside from being a great front man and songwriter, Phil Lynott was also an excellent bass player. His bass lines are some of the most inventive you will find in rock music. You also have to keep in mind that Lynott played them while singing — that takes some serious skills!

Phil Lynott left this world way too soon, but at least he left behind a great collection of music that is still in heavy rotation on rock radio stations all over the world. Fender Unveils Flea Signature Jazz Bass | VIDEO | GuitarPlayer BY GP Editors July 13, 2016 Fender Musical Instruments Corporation (FMIC) is proud to announce its collaboration with Red Hot Chili Peppers bassist Flea for the launch of the Flea Jazz Bass, as part of the Fender Signature Series. Fender and Flea have crafted a precise recreation of his classic Shell Pink ’61 Jazz Bass, focusing on every last detail of his most beloved instrument. “The ’61 Fender Jazz Bass is magic. It’s truly the greatest bass I’ve ever played,” Flea says. “Fender embodies everything I love about music and individuality. It reflects the soul of rock, punk, R&B and funk. It’s this bass that pushes me to give more each time I play.

The Flea Jazz Bass is a true resurrection and possesses that wave of energy a bass should give you when it’s in your hands.” Flea’s funk- and jazz-influenced bass lines helped propel the Red Hot Chili Peppers to the top of the rock and alternative charts while redefining the role of the bass in the modern era. To celebrate his enduring influence, Fender recreated his cherished Shell Pink ’61 Jazz Bass that he received from a fan and used with super group Atoms For Peace, to record the Peppers’ Stadium Arcadium and their latest album The Getaway, which was released last month and debuted at Number 1 around the world. “‎Flea is a hugely influential and innovative musician and icon of the modern bass,” adds Justin Norvell Vice President, Category, Electric Guitars and Basses. “We are honored to have such an incredible talent as part of the Fender Signature Series, and to capture and share his unique vision through this incredible bass.” Handcrafted in Ensenada, Mexico, the Flea Jazz Bass has an offset alder body and eye-catching Road Worn faded shell pink nitrocellulose lacquer finish, perfectly replicating his personal instrument as it exists today—complete with playing wear.

This signature bass plays fast and easy with a 20-fret “C”-shaped maple neck, 7.25” radius rosewood fingerboard, and 1.5” wide nut. Dual Pure Vintage ’64 Jazz Bass single-coil pickups provide classic tone with clear articulation, clear low end definition, up-front midrange punch and singing high end. The model is completed by a special four-bolt neck plate with engraved artwork by Flea. Fender Signature Series is geared toward product progression and storytelling, creating instruments designed to the unique specifications of the world’s most iconic artists. For more information, visit Fender.com . Keep up-to-date on the latest news

Question: Bass player 'Flea' is part of which pop group?
Answer: Red Hot Chilli Peppers