One of the very few shell pink Jazz Basses ever produced by Fender. This is the bass Flea used for the entirety of 'Stadium Arcadium'. Features two stickers, one of which is of D. Boon (singer and guitarist of the [Minutemen](https://equipboard.com/band/minutemen)) which features the words "Punk is whatever we made it to be". (Picture of the bass with two stickers: http://bit.ly/1svY02N)more
"According to [Walter Everett](http://www.thecanteen.com/mccartney7.html) in The Beatles as Musicians (Volume 1), this Jazz Bass is played on five tracks: 'Yer Blues', 'Glass Onion', 'While My Guitar Gently Weeps', 'Sun King', and 'Mean Mr. Mustard'. (Everett infers that the right-handed model was also used during the sessions, by Lennon ('Helter Skelter') and Harrison ('Back in the USSR'))." Edit: Helter Skelter was a Fender Bass VI being played by Lennon, not the Jazz.more
Here in this Instagram post made by Jim Root you can see a white Fender Jazz Bass "Love it or hate it. Antigua is unique. This one is loaded with the @emgpickups retro actives... So here's another #straturday and my Jazz bass snuck in too. #fender #emgpickups #dunlopstrings #extracheese #holdthepicklesplease"more
Roger Waters used a Fender Jazz Bass during the Pink Floyd performance of Set the controls of the heart of the sun on the French ORTF TV show "Forum Musiques", broadcasted on 15 February 1969. It's almost certain that the instruments they played were borrowed just for the occasion, because this performance was mimed by the band. Judging by the video footage here, the Jazz Bass Roger used, could originate from between 1960 and 1965 (it's hard to tell from the video, whether his bass had two dual-concentric controls, or three). But it's obvious that it had a natural colour body, white pick guard, rosewood fingerboard with dot markers, and quite interestingly, this bass also had an additional pickup placed closer to neck, with the control knob under a tug bar. (For anyone interested, the electric guitar that David Gilmour played on "Forum Musique" was a cherry red Gibson ES-355.)more
As can be seen at the [source website](http://www.led-zeppelin.org/studio-and-live-gear/866) the 1962 Fender Jazz Bass JPJ's main bass during the Led Zeppelin years, also used in the studio with Them Crooked Vultures and Seasick Steve among others. He is pictured with the bass in the source.more
In this [photo](http://maxonemillion.com/wordpress/wp-content/uploads/2010/06/JacoPastorius.jpg), Jaco Pastorius can be seen playing with his Fender Jazz Bass 62' Sunburst. Rick Suchow's 2008 [article](http://www.ricksuchow.com/press-group-234.html) for Bass Guitar Magazine specifies the year, make, and model of his bass.more
Ronnie Wood mentions his Fender Jazz Bass in [this interview](http://www.guitarplayer.com/miscellaneous/1139/classic-interview-ron-wood-december-1975/12820) with Guitar Player in 1975: "Wood’s first bass was a Fender Jazz he 'obtained' from Sound City, a music store around the block from where they rehearsed. 'I had no money,' he explains. 'I couldn’t pay for it, so I borrowed it and never took it back. About five years later I paid for it, after they tracked me down.'"more
In this 1996 interview, Tom is seen performing "The Swifty" with what appears to be a Fender Jazz Bass. The performance starts at the 6:12 mark, and the headstock can best be seen in the 7:31 mark. There's also a [1997 interview and performance video](https://www.youtube.com/watch?v=NDqANSxxuYM&t=867s) in which Tom can be seen playing in another Fender Jazz Bass. Performances occur in the 0:52 (Cooper's World) and 12:21 (Beep Street) marks.more
This black 1970's Fender Jazz Bass, nicknamed 'Tree', was Ben's main bass right through Soundgarden's first period. He learned to play on this instrument and recorded most of Badmotorfinger and Superunknown on it. However, this piece of history was unfortunately stolen and its whereabouts are unknown.more
"I was at school with [ex-Trapeze and Whitesnake guitarist] Mel Galley - RIP - he was my hero, but he didn't even know I existed. I was in short pants - I must have been 12 and he was 15. Over the course of the next few years we befriended each other. He joined a band called Finders Keepers, so when their bassist left in '68, he asked me if I would be interested in switching from guitar - my first instrument. I really wanted to play with him, so I bought a bass from the bass player of that group and I started to play. So my first bass was a Salmon '62 Fender J bass."more
[Quote](http://www.musicradar.com/news/bass/interview-the-smashing-pumpkins-nicole-fiorentino-on-oceania-fender-basses-and-more-554178/): "on this record I was messing around a lot with some of the Jazz Basses that Billy had in the studio. There was one in particular, a '63 Jazz, and I probably recorded 75 percent of the record with that bass. I just fell in love with it."more
"CTE’s bassist fell in love with an old loaner seafoam green Fender Jazz bass during the recording of Thank You, Happy Birthday. The bass was heavily altered and featured P-bass pickups. Unfortunately for Tichenor, he couldn’t convince the owner to sell. Enter tech Jordan Powell who was enlisted to mod one of his J basses with P-bass electronics and hardware. Tichenor truly relishes playing this bass and all its wonkiness because he requested Powell not to fill in the holes where the old pickups and controls once resided. This bass is used primarily on the band’s heavier songs and he is looking to eventually drop Fender American Vintage ’63 Special pickups into it," states [this](http://www.premierguitar.com/articles/21457-rig-rundown-cage-the-elephant) Premier Guitar article.more
"Matt then bought a new Jerry Jones hollow body 'longhorn' bass, in celeste green. Unfortunately he soon found out that it wasn't useful in live performance ... This is when Matt made the trade for the Warmoth neck. This is a Telecaster Bass style neck, but a little different. A similar but not identical model is still made, but this particular one was an early model and made from a very interesting swirly kind of darker wood, that newer ones just don't have. Though the trade recipient got the whole Explorer Hamer for the neck, he was still quoted as saying, "You're ripping me off!" The neck was that nice! This neck was grafted onto a vintage black Fender Jazz Bass body he got as a gift from Johnny of El Magnifico. Matt got some Schecter pickups and the 'Frankenstein' bass was complete." - Karl Koch, weezer.commore
Visible in this photo and another in [this other photo](https://images.squarespace-cdn.com/content/v1/52d881e0e4b093afad1a2ae2/1527722038280-Q8CPQ9J55YGV8EICRBHB/ke17ZwdGBToddI8pDm48kPn0NR89yBg7jSQxBJjxk857gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1UcLpT9zlFTO9N-IDsNL1rl3CJJvzSRo3hghgv5pItYTMlotzjZwTJcqBZZbgS9G89A/ty+dolla+2.jpg?format=500w), both from the official Gallien-Krueger website.more
An alternate colour/angle photo can be found here: http://www.kristiandunn.com/images/softlightesindallastx.jpg . Before forming El Ten Eleven, Kristian was part of a San Diego-based band called the Softlightes. This appeared to be his bass of choice during his time playing with them.more
Mentioned by Blair in this January 2013 *Bass Player* article. > I’ve tried some non-vintage basses, but the one I mainly use is a black 1964 Fender Jazz. The pickups are microphonic, so at the end of a song I have to turn it off real fast. Th at bass is similar to the one I used in the early days, which unfortunately got stolen. My friend Norm from Norm’s Rare Guitars asked me, “Whatever happened to that bass?” and I told him it was stolen. He told me he was going to find one for me, which went on for 15 years until he finally found the right one. It’s the perfect bass for me. It’s easy to get around on, and I like the playability. It’s got a great tone. You need both pickups’ volume full up or it hums, so if you want less treble, you have to adjust the pickup down. If I play with a pick I need to back it off a little, and if I play with my fingers I need to turn that up. But at those big gigs, you’ve got to be careful when you play with your fingers because you may lose definition in those big halls. But when you’re playing with a pick you don’t really hear the pick; it just becomes part of the general band attack. (...) So I basically use the Fender Jazz Bass and an Ampeg SVT. The beauty of that is, even in the dark I can set it. I turn up all the knobs on my bass, and reach over in the dark on the Ampeg and make sure everything’s at 12 o’clock, and I’ve got my sound. > > Live, I’m using an Ampeg SVT Heritage from 2010, and on my Jazz Bass, D’Addario XL Pro Steels strings gauged from .045 to .105. I use medium Fender picks. In [the now defunct Hard Rock Café memorabilia page](http://memorabilia.hardrock.com/), one of the catalogued artifacts was Blair's candy red Fender Jazz Bass, used by Blair on Tom Petty and the Heartbreakers' 2008 tour. It has a "Fragile! Handle with care!" sticker and a "Don't tread on me" sticker.more
Visible in this photo of Doostzadeh and [this June 1, 2016 Instagram post](https://www.instagram.com/p/BGHoeB3Stre/). > Musician Payam Doostzadeh of the band Young the Giant performs at the Hangout Stage during 2017 Hangout Music Festival on May 21, 2017 in Gulf Shores, Alabama.more
"I've been a Fender guy for a long time, I used to play precisions but I've swept for the Jazz bass now." Mige started using Fender Jazz basses from 2009 and it's been his exclusive model of choice ever since. He seems to prefer using a pick with this model and he never used one with Precisions.more
Vern played the same Fender Jazz Bass exclusively for the entirety of Unwound, and [still does to this day](https://www.youtube.com/watch?v=9nQ7_7LaAw8). The finish and paint can be seen consistently wearing off over time in videos of the band performing, indicating it as the same bass.more
"My favorite is a ’63 Fender Jazz Bass, and I also have a ’59 Fender P-Bass. If I’m looking for that old-school rock and roll vibe, I grab the P-Bass. If I need something to speak a bit more and cut through the mix, I’ll use the Jazz. Lately, I’ve been tuning down a minor third, and using heavier-gauge strings, so I can grab some lower notes that you usually can’t get with standard E, A, D, G tuning."more
Ryan can be seen playing multiple different Jazz Basses in Letlive.'s music videos and during live performances. 1. Fender American Standard JB (sunburst, maple neck, white pickup covers) - "Banshee" Music Video at 1:57 2. Fender American Standard JB (?) (sunburst, rosewood neck, white pu covers) 3. Fender Jazz Bass (?) (black, rosewood fretboard, grey pearloid pickguard) 4. Fender Jazz Bass (?) (sunburst, rosewood fretboard, black pu covers)more
“I play a Fender Jazz bass because, since its creation along with the P bass, they’re the basses that all basses have been compared to. My Jazz bass has a simple, straight-to-the-point tone. I’ve had this bass since I really started pursuing music seriously and it’s been a great journey to able to grow with my instrument as a player and have it age with me—it sounds better every day. I play an Ashdown ABM 500 EVO III head with the matching 6x10 Ashdown cabinet. It gives me the clarity I desire, with tons of bottom end to rattle the stage and crowd. I love having the accessibility of pumping a single ECC83-S tube through the head as well. It offers up just enough grit to help me really pump the tone throughout the mix and not use any pedals for boosting or overdrive.”more
On this photo you can see Simon playing Fender Jazz Bass. Probably this is 1971 Olympic White Fender Jazz Bass, because headstock has a big logo from the 1970s, rosewood fingerboards with white binding and pearl block inlays. Bridge covers and original tortoise pickguard are removed but you can see screw holes and lighter paint at those spots. Simon doesn't use this bass with Balthazar, he only uses it with Senne Guns and Douglas Firs band. You can watch Simon playing this bass in this video https://youtu.be/bk-bxNTxndk?t=1m49smore
2005 : > J'ai [...] une Fender Jazz Bass US de 72 qui m'a servi à l'enregistrement de l'album de Magma. En ce moment, je joue une Jazz Bass japonaise de 96 produite pour les 50 ans de Fender. réédition du modèle de 75 : un superbe instrument dont j'ai juste changé les micros pour des Seymour Duncan Hot Jazz Bass. Je viens tout juste d'acheter une autre Jazz Bass mexicaine à touche palissandre.more
"I bought the bass on Oct. 12, 1959, from Manny's in New York. If you remove the neck you can see Leo Fender's signature and because it's a prototype it has various bits that are not standard. For example, underneath the pickguard they installed what was tantamount to a fuzzbox but it was very primitive - a couple of resistors that cut the signal in half and fouled it up. It had a switch on it and when you tried to cut the roughness out it wouldn't cut out properly, so I took it out." Despite Flowers' claim to have bought the bass in '59, [its serial number is 57025](http://www.herbieflowers.com/notepad.html), a 1960 number. Paul Alcantra later told Curtis Novak Guitars and Pickups "I solved the discrepancy with the patent numbers on the headstock of Herbie's bass and the date at which he recalls buying it (1959/60). The headstock decal—which was flaking off—was apparently changed by George Harrison's guitar tech when Herbie was working on the 'Gone Troppo' album! So there you have it. Regards, Paul" [Flowers' official website elaborates:](http://www.herbieflowers.com/notepad.html) "WHAT HAS ADDED TO THE CONTROVERSY MORE THAN ANYTHING ELSE IS THE 'DECAL' (TRANSFER) ON THE HEAD OF THE INSTRUMENT. A PATENT NUMBER SHOWS THE DATE AS 1965. HERBIE SAYS THAT THE ORIGINAL CAME OFF AFTER THE INSTRUMENT GOT WET DURING AN OPEN AIR GIG WITH T.REX., AND WEEKS LATER GEORGE HARRISON'S GUITAR TECHIE REPLACED IT WITH A SPARE ONE THAT HE HAD – SADLY NOT THE REAL McCOY."more
Ballad of Paka: Logic Pro for DAW. Guitars were recorded with a MXL 890 through a Focusrite 2i2. My friend recorded drum samples for me to use - not sure what his set up was for those. Vocals were through the MXL and Focusrite as well. As for VST I used some sort of 8bit wave generator for most of the synths plus a thermin plugin for Toothless. Organs were just through the built-in Logic organs. Bass I usually just direct input through the Focusrite. Pollen King: Logic Pro for Daw. This time Guitars were recorded up close with an SM57, with the MXL 890 picking up room noise (both recorded simultaneously through the Focusrite 2i2.). Drums were recorded live this time with my friend's 8-input firepod. I think I mic'd everything with SM57s and used the MXL 890 and whatever condenser mic he had picking up room noise. Viola on Copper/Gold was recorded with the MXL890 and then re-recorded via my monitors to a tape recorder I bought at Goodwill. I then mixed the two together. VST I think I only used a Mellotron sampler I found online and whatever the built in electric piano for Logic is called. Bass was recorded direct input from the Focusrite again. Vocals through the MXL 890. Equipment (outside of aforementioned mics): Gibson SG for guitar (Maybe a Strat on some of Pollen King), Vox Solid State amp, Fender Jazz Bass, Basic Starter Bell Kit. Outside of the drums (don't know the make on those) I think that might be it. Happy to answer more questions if you've got themmore
Featured in this TalkBass.com forum post (which includes [a photo](https://www.talkbass.com/attachments/dsc01093-jpg.1349407/)). > Layne Staley of Alice in Chains and Mike McCreedy of Pearl Jam formed a side project band called Madseason. They employed an unknown bass player named "Baker". They recorded one album "Above" and played a few shows. Years later Baker OD'd on Heroin and died. I bought it off Ebay. It is a 1972 Fender Jazz. I love it.more
Mentioned in this September 15, 2008 post on the official Allman Brothers Band website forum. > Here is an excerpt from the first draft of Johnny's book: > > "Duane was playing a Telly with a Strat neck and he and Gregg both had super Beetle Vox amps. I had an early '60s Fender Bassman amp Duane really liked so we took it out to California with us. As loud as we were playing at that time, the speakers in the amp were going and not quite loud enough so we put JBLs in it. I kept that amp until my friend, Butch Owens, borrowed it and it was stolen. He later replaced it with something as good as or maybe even better than what I had. It's a good amp and I still have it. I think it was one he got from Joe Walk. Paul played an A-100 with a leslie cut down to be portable. It wasn't a B-2 but it was close to it and we had a Wurlitzer piano that Gregg played. When Pete joined the band he played a Jazz bass with a custom amp. The amp belonged to a guy who lived in Decatur. > We had a Fender 12-string Gregg would use sometimes and maybe an acoustic/electric guitar. Gregg didn't play guitar very often but he wrote a lot of songs on one. He became friends with Jackson Browne when we were out there and Gregg learned a lot from him. I think they learned from each other. Gregg went through a folk phase with his writing but his style changed with different instruments. > I've still got the Wurlitzer from the band and it has a story that came with it. Several of us went to a music store in L.A. and picked out this particular Wurlitzer for Paul to play since he was playing most of the Wurlitzer parts then. Actually, Gregg and Paul set up close together so they could swap between the Wurlitzer and B-3 when they needed to but Paul was primarily on the Wurlitzer. The salesman showed us how to hook it up to an amp which was essential because you couldn't play it off the little speaker that came in it. Once we figured it out, it sounded great. The Wurlitzer is still my favorite keyboard. Duane had borrowed a '59 gold top Les Paul from Tommy Compton, who still lives in Decatur, and he didn't want to give it back to Tommy. And Tommy definitely wanted it back. Eventually it worked around to Gregg trading the Wurlitzer for the guitar. The guitar was worth more than the piano but Tommy had a use for it and was trying to keep Duane from getting busted because Tommy's dad was ready to go after Duane to get the guitar back. So, the piano was sent back to Decatur and Duane kept the guitar. Of course that guitar would be worth a fortune now, certainly more than the piano is worth. Tommy eventually sold the piano to a guy who sold it to Eddie Hinton. After Eddie died in '95, his mother sent the piano back to the guy who'd sold it to Eddie and I bought it back from him a year or so later to use in my studio."more
“I played her in the bars for years before I joined REO Speedwagon,” Hall noted. “One winter night, I happened to leave her in the van, and the finish cracked. I was upset when it happened, but as time went on, I thought it looked cooler. In fact, I later took her to the Fender Custom Shop – I take her down there once or twice a year – and they took pictures of her because they wanted to see if they could duplicate the look when they were relic’ing instruments.”more
Mentioned in this March 1, 2019 al.com interview. > The bass Hood played from FAME days as well as after co-founding Muscle Shoals Sound in 1969, with Johnson, Hawkins and key Beckett, was the very first bass he ever owned: a sunburst 1961 Fender Jazz. > Before Hood embarked on a rare (for him) tour in 1973, performing with Steve Winwood's jam-band Traffic, he stripped his Jazz finish to give the instrument a new look. Hood had recently built some speaker cabinets for his home stereo. He used leftover walnut-stain to re-hue his bass. He cut a new pickguard from a floor tile and then painted it black. "It was really cool looking," Hood recalls. Alas, while on tour with Traffic his beloved '61 Jazz was stolen from behind New York venue Brooklyn Academy of Music at a gig. "I hated to lose that bass," he says. > The next day, Hood went to Manny's Music and bought two new Fender Jazz Basses. "But they'd changed by then and I was never really happy with that," he says. Later, he acquired an Alembic bass and played that instrument on many of his recording sessions after 1976. "The guys in San Francisco that equipped the Grateful Dead made they [*sic*] Alembic instruments," Hood says. "I've still got mine. It's got a double-octave neck though and with arthritis in my wrists and shoulders I rarely play it, because it's not really comfortable to play. But it's a great sounding instrument." The '61 bass is also discussed in [this February 20, 2014 *No Treble* interview](https://www.notreble.com/buzz/2014/02/20/ill-take-you-there-an-interview-with-david-hood/). > **What are some of your favorite instruments to use in the studio? Does it change based upon the session?** > My first bass was a ’61 Fender Jazz. It took a long time, but I eventually got a really good sound with it. I worked with that bass for over 10 years so I knew how to make it sound right and I measured all other basses against that one. That bass got stolen on one of the Traffic tours in ’73 so I immediately went out and got two other Jazz basses. Then I got an Alembic and was able to get a really good sound with that one. People would come in to the studio and say, “Gosh, I thought you played a Fender. What’s that thing?” But it got a great sound, and as always, I was playing and working for the sound that came out of the speakers. I’ve gotten a good sound with a Kubicki X-Factor bass and then I’ve got some Lakland basses that I really like… one of them is a Joe Osborn model. It’s the closest thing to my first jazz bass; it’s got the stacked tone controls and the neck feels like the neck that was on that Jazz. It has the sound I want and it plays well for my hands. A photo of Hood with a Jazz bass can be found [here](https://i.pinimg.com/originals/20/c4/1a/20c41a545b77e54940908c5c9305a6c3.jpg).more
Great for playing slap style bass and for accompaniment with electric piano. Sings with round-wound strings or with D'Addario Chromes, but not with other flat-wound or tape-wound strings. Has lots of sounds to choose from between the bridge and neck pickups--everything except a true P-bass sound.
My other J is basically a parts-bass. It's got standard Fender J pickups, a Badass II bridge, a Mexican neck, Japanese body, and the wiring harness out of an old Rogue POS bass. It's pell-mell to say the least, but it has some growl to it that I really like.
I've had this thing for about seven years and it is exactly what you'd expect. A dependable, well playing gig machine. In recent years, it's been relegated to backup status behind a Stingray, but it has put in its time and done well.
This thing doesn't do anything special, but it does its job well and lasts forever.
Mine has had the electronics completely swapped for a John East J-Tone 01 preamp and Delano JC 4 AL pickups.
I pushed back on J basses for years because I just wanted to love P basses more but I finally came to the dark side… well, actually it's a white on white bass… so.
I love the clarity and punch I get from this late 2000's J bass; the rosewood fretboard gives me just enough darkness that I don't even feel like it's brittle or sharp and the neck profile is extremely comfortable.
There's nothing special about mine, but I'd recommend you buy one, because.
If you want to have an intense experience in your sound you only have to choose the Fender Jazz Bass, it is the mix between modern and vintage sound, we can always use both, good for me I find no Worries with my bass I love it and I always see that I can discover new horizon with it .
This is a great bass with versatile sound, just what I need when I want to experiment with tones. I own a Wine Red colored JBass and it has gone through literally every travel scenario imaginable for the past year. I recommend it, but still make sure you know what the knobs do.
1997 "Standard Jazz Bass" aka the MIM, Alder body with Rosewood fretboard. Upgraded with copper shielded body cavity, Fender Custom Shop 60's pickups with new pads, CTS pots, heavy gauge wiring, professional setup by a Luthier, Fender American TRS jack, Fender American pick guard in black, with the sunburst body shown. Currently strung with DR Fat Beams Marcus Miller MM-45 45-65-85-105 stainless steel round wounds for that low grand piano key rumble.
Upgrades I still want to do are a HipShot Drop-D tuner or . whole set with the Drop-D, replace the synthetic bone nut with a true bone nut, and ideally a Badass II bridge or a Hipshot high mass.
Overall it plays great and the Custom Shop 60's pickups and electronics upgrades made it come alive and feel like a real instrument. With pedals, preamps and amps, it's a tonebeast that I can make morph into almost any bass guitar sound. It sounds great just through a good DI box like my Radial Pro DI2 straight into any mixing console or audio interface. The only thing lacking in a Jazz Bass is just the low end power of a P Bass, for which you just need to go get a Precision Bass for. I've been meaning to toy with some LaBella flat wounds, but haven't gotten around to it yet, since I can go from Marcus Miller style funk, to Jaco fusion, to Justin Chancellor clang, to Timmy C overdrive, to Royal Blood bi-amped madness, by just turning pedals on and off.