Rayman

Maybe this thread has run its course Or at least it [i]would have[/i], if I hadn't just replied to it.

The first track "Compassion" put me off, what a crap song, and the drum track sounds like it was done on a Casio Keyboard, shocking. However, by the time I'd got to "Act Of God" things were looking up, that sounded a bit more like the Prince of old. So, we'll see if it's a grower.

They're fantastic basses, although some still argue that the Pre is a bit harsh like on the Japanese 4 stringers. I've wanted one for years, and nearly got myself one once, but just missed out. The build quality on the one I've tried was superb, and to me it sounded totally sublime, and very similar to the also fantastic 4 stringers. Second hand, I guess I'd be expecting to pay just under a grand for one if it was in nice condition, but I've seen them go for a tad over that.

Agreed, that does nothing for me either. That's the kind of 'jazz improv' I don't like, and certainly not [i]my idea [/i]of bass playing. However, you can argue that stuff like that pushes a few boundries, and if that's what you like, brilliant.

Now [i]THAT[/i] sir, is a proper bass guitar. Beautiful. If only it could speak, I bet it could tell some stories.

I've owned an Epi T bird, and it was fantastic, I loved that bass, and I would argue that it's better value and just as playable as it's much more expensive relative. My mate has the Tokai bird, and once again, it's a fantastic bass, nice player, and loads of thump. I can't honestly say there's a massive difference between the two, even though the Tokai has a glued in neck, I couldn't say that made a massive difference to the tone [i]for me personally[/i]. In my experience I can highly recommend either bass.

One or two people have said that the O2 gigs weren't great sound wise, but where me and Mrs Rayman sat it sounded fantastic, but we were quite close I guess. He was an outstanding showman, and funny too, which surprised me, I thought he's be a bit moody and standoffish but he wasn't at all, he seemed to enjoy every minute of the show.

Just picked the paper and CD up, of course the tracks aren't listed in iTunes so it's difficult to save the album in there unless you do it manually. I'll give it a listen in the car later.

Yeah I agree, and I'm not overly impressed with some of Mr Summers' playing either to be honest.

I agree with [i]everybody[/i]. Everyone has an opinion and a point to make, that's why we're all here. Some of us like this kind of Jazz, some don't, and that's fine. Different opinions on here are what the site is all about, as long as people don't get too shirty with each other, and we're all friends at the end. We're all bass players and musicians with different tastes, and that's what makes BC a fun place to be. I love this kind of music, and one of my favourite things to do, is to plug into the Tascam at home, and jam along to stuff like Ronnie Jordan and Chris Standring, you can really get into a groove, and get into the "zone" as I'd put it with stuff like that, it's very relaxing and inspiring too. On the other hand, there's nothing I like more than (if I'm in the right mood) sticking on some Korn (yes [i]Korn[/i]) or some Sly and Robbie and playing to that too, horses for courses. I'm a big Janek fan as I've said, and I've seen him live a few times, and had the pleasure of bumbing in to him a few times (and his mum on one occasion?!?) and I find both he and his music a very inspiring and uplifting thing. If you listen to something like "Mana" from "Live At The 55 Bar", complete with the story of how the song was created, for me, you can't help but feel uplifted, I was humming the brass lines for weeks afterwards. That's what I like about him, he thinks of the melodys first, and the bass is always very much a supporting instrument, he's always very aware of where the bass should be within a song without having to show off his chops every 5 minutes, unlike some players I've heard, who just seem to be saying "look at me, and look how fast I can play". I don't [i]care[/i] how fast you can play, that's not bass playing to me. Andrew Levy once said that some of the best basslines ever written consist of maybe only two or three notes, and I couldn't agree more.

[quote name='ianSB' post='887905' date='Jul 6 2010, 11:00 PM']just bought myself a MIM Fender Classic 70s Jazz and its bloody ace. i love it. the moment i tried it in the shop i thought ive got to get this. its a lovely 3TS too looks awesome [/quote] Without pics, it doesn't exist, let's see it then .

Bernie Dresel, fabulous drummer, had the pleasure of meeting him a couple of times while he was playing for Brian Setzer, along side a superb DB player Mark Winchester.

I don't like compression at all. I've used it in the past, but it seemed to suck some of the dynamics out of my playing. I prefer to dig in or back off depending on what the song needs using my touch rather than with a compressor.

I tend to use a pen.

Just what I was going to say.

He was fantastic live @ the O2, and stuff like Sign 'o' The Times in it's entirity is a must have CD, but you're right Pete, that last one was a howler. I dare say I'll give the new one a go though, the Mirror will go straight in the bin though.

I watched some of that programme recently where an opera producer takes a load of kids from a pretty rough background, kids who had no interest in classical music at all, in fact very much the opposite, and he ended up getting them all to sing in front of a large audience at Glyndebourne with great success. So I concur with what you say to a large degree, but I still don't believe that you can be taught to be a quality solo singer if you're hopeless to start with. Maybe part of a choir yes absolutely.

I believe that just because you're an excellent musician doesn't always mean you can sing well too. I still believe that singing is a natural talent that some have and some don't, and it's hard to get it if you don't already have some talent in the first place. Singing perfectly in tune with the notes on the bass isn't vital, if you listen to many people who do it, they're not always perfectly in tune. Is it important to [i]be[/i] perfectly in tune when scatting along to the bassline? Don't know.

It apparently improves your knowledge of the notes on the fingerboard to be able to sing them as you play them. I've heard plenty of jazz piano, guitar and bass players do it, but I must confess, it annoys me a bit. Never heard Steve Harris do it.

Thoroughly enjoying listening to the album, downloaded it this morning. Some blistering but tastefully done playing, the album certainly doesn't strike me as pure bass jamming for the sake of it, I think the tunes stand up as a whole with some nice hooks to pull you in. Outstanding drum tracks, always good for a bass players album, and some nice brass too, including on my favourite track "Hinterlands". It's always good to get the kids involved, and on "Mr Ben" it sounds like a little Urb is getting in on the action, which made me smile. Highly recommended by me.

I did a masterclass with Adam @ Bassday last year. I started off just being totally blown away to be stting there watching him, but ended up totally lost in a big steaming pile of theory that just went right over my head. Still love the guy though.

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Adam's my favourite player, period.

I'm jealous, it looks fabulous.