Take old school rock and roll and combine it with super fast drum beats, a wild shred and non stop action! Junkyard Shred is an instrumental taking you through an old school, yet modernised version of good classic rock and roll

Junkyard Shred

Think of a song that is kinda "...Blue Turtles-era" Sting, crossed with "Dummy-era" Portishead. Then throw in some jazz and some world music. And a film-noir-esque lyric. Which appears below:

Got a tip from a rich dame
Socialite with a bitch name
So now I’m staked out
In this autumn sleet

What a night for a gumshoe
What a coup if it comes through
Fame and fortune
Get me off the street (I told her)

This better be worth it
Better be worth it, you hear
This better be worth it
Better be worth it, my dear

An Arabian princess
Fled her family in distress
Tried to hide
But can’t outrun the press (I’m thinking)

This better be worth
It looks like a wash-out, I fear
This better be worth it
Better be worth it

Camera trained on a crime
Streaming to internet live
Not a reward for my time, but
Maybe the princess survives

This better be worth it
I’m perched on a tightrope, it’s clear
This better be worth it
Better be worth it

This better be worth it
There better be payment, no fear
This better be worth it
Better be worth it, my dear

Better be worth it

Just my solo here, over "How Deep Is The Ocean". However, the whole piece is included below; do check it out for some amazing playing by the other guys in the band.

Jamie Taylor - guitar
Nadim Teimoori - tenor saxophone
Sam Quintana - double bass
Sebastiaan DeKrom - drums

JT solo on How Deep Is The Ocean

Dancing on the ceiling

I do not own the copyright to this music. I am not profiting from it's dissemination. I encourage the listener to seek out versions of this tune on a streaming audio platform of their choosing. "Blue Bossa" is an instrumental jazz composition by Kenny Dorham. It was released in 1963.

Here, Bill and I are jamming with a percussion backing track on iReal Pro.

If you would like to hear more of Bill's awesome guitar playing, check out his soundcloud page:

https://soundcloud.com/baddmonk

Pitstop Jazz Jam - Blue Bossa - 4/21/25

Commissioned by the Tzlil Meudcan Festival. Premiered on July 4th, 2023.

Clouds of White is a political piece. It is based on the idea of extreme political parties that have no intention of compromising, even when their ideology becomes more important than the citizens who they are supposed to represent.
This one movement piece contains three sections. The beginning and end are messy and restless, while the middle part is the unattainable utopia. At that point, a well known song is quoted, enabling the instruments to feel at home, in a familiar setting derived from jazz music. At the very end of the piece, the pitch disappears completely, representing a world without compassion and kindness.

Clouds of White, for Saxophone and Double-Bass (2023)

How's About That

The story of fresh fruit dancing to filthy beats while still hanging at the tree. Becoming filthy only in its character. Deep and raw. It still looks and taste delicious & vibrant.. The fruit we all like to eat. 

Let's put it in a salad.. Bon appetite!

JITZ - FILTHY FRUIT SALAD @ LITTLE AMSTERDAM ( INDIE DANCE / MELODIC TECHNO)

Griffith

Fugue for 4 Basses

Words And Swords

The Killing Joke

A bit of a study following the previous Sax 3 in D track. This one features my double bass, Sabrina, in M3 tuning.

5/3/25 - Sax 3 in D Study with Double Bass

Instrumental power metal - fast and furious!

Fire Dome

Alone

Escapism

Outlaw

I started by recording a percussion track, played some double bass 'till I found a groove then played some piano.  added some Fender Rhodes keys with slide guitar played on my Peerless Renaissance guitar.

promenade one

Double Bass: John Huges
Violin/Program: Dong Zhou
recorded on 28.02.2025 in Hörbar, Hamburg
photo by Tangible Art

Etude for Somax2 II, for violin, double bass and Somax2 (feat. John Huges)

Real Warlock from the Shire
To Desire Is To Suffer

Dozem is a metal project, inviting vocalists and other musicians to participate. I create short instrumental tracks that can then be turned into songs in collaboration.

Hi. Welcome to my page.

I function primarily as a sideman on electric or double bass. I generally do not sing backup or lead. I am comfortable performing in many styles of music with the exception of Heavy Metal, Rap, and Worship music.

Currently, my rates are as follows:

$150+ for live performance.

$250 for recording sessions up to 5 hours.

For booking, please provide me with the pertinent information: Date, Time, Venue, Material w/ preferred keys, Attire, and Pay.

I'm available for auditions and rehearsals on Sundays.

You can reach me via text at 410-490-5199.

** I have limited availability to provide private instruction in beginner ukelele, beginner guitar, beginner to intermediate electric bass, beginner to intermediate double bass ( no bowing ), ear training, music theory, live performance prep, and audition prep. If I cannot teach it, I will try to find someone who can help you. Rates depend on lesson duration and location. There will be homework. All children must be accompanied by parent or legal guardian.


*** 5/12/21 - Vaccinated.

JITZ - Amsterdam based DJ

The best mixed Downtempo, Indie Dance, Organic, melodic and deep house tunes. A  cosmic trip with deep beats and an ecstatic touch combined with funky and deep sounds in spacey worlds!! Burning. Always telling a story with my sets!
Close your eyes.. Listen... and come home again!

Batya Frenklakh (b. 1992) is an Israeli composer. The most striking aspect of her music is that it cannot be categorized under a single genre. Her style is primarily influenced by modern and contemporary classical music, but equally by pop, indie, and electronic music, as well as by Baroque and Classical music. She is interested in a certain degree of minimalism, in flowing energy and rhythm that draws listeners in, and in using scales and chords as timbres rather than within traditional harmonic contexts. Her compositions are often driven by extra-musical ideas that shape both the structure and the sounds she uses, often touching on social themes.

Batya has completed a second master's degree in composition at the Anton Bruckner Private University under the direction of Prof. Carola Bauckholt ('19-'21). Previously she studied with Mr. Dan Yuhas ('14-'17) and Mr. Reuben Seroussi ('17-'19) at The Buchmann-Mehta School of Music at Tel Aviv University.

Her works have been performed by notable ensembles, orchestras and soloists, such as the Israel Contemporary Players, Meitar Ensemble, Neue Vocalsolisten Stuttgart, Schallfeld Ensemble, Divertimento Ensemble, The Israel Chamber Orchestra, The Israel NK Orchestra, Sharon Kam, Saar Berger, among many others. She has attended masterclasses with Francesco Filidei, Franck Bedrossian, Clara Iannotta, Fabien Levy, Mauro Lanza and Manuela Kerer, and took part in several projects, such as composing in collaboration at Labor Beethoven 2020 and constructing musical representations at the Biennale Urbana (Venice).

She won the 3rd prize of the Klon Competition Scholarship and received a master's degree scholarship from The Colton Foundation, a scholarship for excellence in a memory of lawyer Dan Ben-Basat, the Rotary Club Wels Stipendium 2019/20, and a scholarship for composing after the Israeli poet Aviva Or-Shalom.

My music is mostly jazz  I am a multi instrumentalist. Guitar, piano, double bass, drums and all the variants. I played all the instruments on my tracks. I have played many times at the Jazz Cafe in Camden Town. I have supported many acts there including; Los Lobos, Bo Diddley, Robben Ford, Kelly Jo Phelps, KT Tunstall, The Fabulous Thunderbirds, Eric Burden and the Animals, Charlie Musselwhite and many more.

I am a former South African, now a dutchman living in the Netherlands. I am a former session musician, song writer, guitarist and drummer having played in a variety of rock and metal bands over the years. I compose music for documentaries in my part time and enjoy being creative. haven't quite found the fame yet... 😉

Started out as a drummer shortly after the last ice age. 

With the advent of electricity, I grew sick of being the guy who hung around with the real musicians, so decided to teach myself to write songs. 

Years later, and studio hours too numerous to mention, I've reached the point where I don't suck at it.

I do what I can with the engineering side, but due to some industrial deafness, there's bound to be things I miss. 4kHz? What the fuck is 4kHz? Ohhhh, right....that's the area that's buried in all that tinnitus!

This is the point where most bios will pad the writer's ego, inflating self importance...which I hate, but I'm human, so here's just a bit. Spent years playing sessions, mostly for bands you've never heard of but also for a heap of adverts you probably have. Learned lots of studio craft from some very talented people. Studied production with a Grammy Award-winning producer/engineer for seven years. 

And none of it means a hill of beans in respect to the following question: is the music good? If you think so, then little else really matters, does it?

I have three studio assistants. All are feline, and none of them like asparagus.

Trashy artist from Planet Keron. No pronouns, for grammatical reasons "she" is acceptable.

New tracks tagged #Double bass