Dad3353

In all my years of playing this, I'm still on the 'vanilla' chords, which wouldn't conjure up Beelzebub I'm sure. (Well, not the way I play 'em, anyway..! ).

No, not just the dots; if fact, hardly the dots at all, for some geniuses (genuii..? ). +1 for Joni Mitchell as one of the Right Up There At The Top elite, although there are one or two pieces that I pass on (or let slide...). Nobody's perfect, but she comes so darned close..! Miles Davis is a bit more quirky, hit'n'miss, depending also on my mood when listening. One of my all-time favourites of all time is Schubert's Ninth; I listened to it (again...) the other evening, and found it less inspirational than usual. In a few week's time, I'll listen again and it'll shine again (I hope and trust..!). Our state of mind is as important as that of the artist, and evolves, as does theirs.

... and sparse. Another example of 'less is more'. Tasty drums (or rather, percussion'...)

Do you really need 'that' tone for practising (or even some rehearsals...)..? Maybe a second bass with a set of, say, Elixirs (good, long-lasting strings...) for home use, and the 'real' bass with the freshest strings for gigs..? The 'gig' strings might last quite a bit longer..? I too, would be reticent in the use of Fast Fret, or any other product of the sort. Clean hands (of course...), and a thorough wipe-down after use would be my routine. Just my tuppence-worth.

Wow..! Thanks for that; that 'EST' piece is wonderful. An eye (ear..?)-opener. I'll look 'em up further. Erroll Garner is a firm favourite of mine, too; I'm still working on playing 'Misty', after more decades than I wish to relate here..!

Snap..! Almost word for word, even up to the 4 x 12 Baker speakers and Linear amp..! A short-scale Vox Clubman bass, though, then on the better things (drums..!). And there were very few drummers in the UK playing Ludwig drums in the early '60s, as I remember.

I've no problems with Mingus, just this particular piece, which, to me, is well under par for release. Here's a better rendering, in my view (different title, but it's the same, really, but played and recorded much better...). Compare and contrast...

Understood, but, as the bass is not available in isolation, one has to listen to the whole in order to hear it. I'm just not that strong-willed, s'all.

Having received this by PM this afternoon, may I congratulate OH and his collaborators for having created a splendid little 'Real Book', even as far as adopting some of the typographic aspects. I've not played through all of the pieces, but they are very well laid out, clear to read, even with my duff eyes, and well chosen as fine pieces to listen to and/or play. Warm thanks for making this, and the mp3's, available at such a bargain price. An enthusiastic 'Thumb's up' from me, then. , followed by a hearty 'Thank you'.

Well, I thought it only fair to give it another go, so I gave it another 1'40 before deciding that, to me, this comes under the category of 'Bof' (sorry, that's the French term; I've forgotten what it translates to...). Never mind. Edit: I found this, which is close enough, maybe... English translation of 'bof' ...

You're right in saying they didn't sound so good..! Any hard hitters would have to be quite rich, though, as drumsticks were of inferior quality, too, and a rim-shot, although impressively loud, would be difficult to repeat, as the stick would likely shatter..! Many drummers used brushes, too (skiffle..? jazz..? no punk yet, so...). The famous quote from the Mo Foster book 'What are we going to need all these 17 watts for..?' is quite telling. Things did get loud quickly enough, I'll grant, but I wouldn't put all the blame on having to match the drum volume. But then, I would say that, wouldn't I..?

I'd agree if it were simply the playing that's 'sloppy'; in my opinion the whole concept lacks clarity of purpose and depth. The arrangement, the composition (What composition..? It's a simple, badly executed 12-bar, s'all..!), the sounds captured... Possibly (probably..?) fun for the participants at the time, and maybe (but only 'maybe'...) worthwhile as a record of that, but as a third-person listening experience, I'd not wish to repeat it, which, to me, has not a little importance. No regrets for having given it a go (well, just a few...), and not a showcase piece for his/their potential; I think there's better stuff to listen to, even from them. Still, different folks, 'n all that.

Maybe not ideal, but a work-around would be to have a space in between... A : B : C : D : E : ... or use a 'bulleted' list ... First Second Third Fourth Etc... Hope this helps.

Drum kits were very different 'back then', too, and, as you mention, there was no micing up of the drums, either (so no over-loud foldback for the drummer to try to drown out...). Look up 'Edgware' drums, for instance, or look at the typical ride cymbals used at the time. Few drummers had money for those 'washy' Swiss cymbals; even less the American ones. No, loud wasn't the 'norme' then for drummers, I'd say.

What..? Not a polyglot..? Oh dear... Maybe best appreciated 'live', in any case. As with much opera, the lyrics pass over my head, but the overall poesy, musicality, feeling comes across just the same. I imagine that much of the planet are foxed by the actual words sung in much modern music (and would maybe not be so keen on a lot of it if all was plain..!). The power of purely instrumental stuff is its universal appeal, but if one treats the human voice as an instrument, independently from the words themselves, there's a lot to be garnered, often enough, whatever the language. (That being said, it doesn't work for me with Kylie Minogue..! )

I'm not sure that it works like that. There's no genealogical tree; things evolve with different folks, at different times, in different places. There are fuzzy lines between some, and maybe a bit more distinct with others, but it's a bit like looking for a connection between the kangaroo and the chimpanzee. Both, probably, distant cousins as being land animals, with common ancestry back to fishes and protozoa, but without a traceable path that one could map on the wall, I think. Does it make a huge difference, anyway..? Why those particular folks (giants in their own field and time, maybe...), and not Berlioz or Mozart, for instance..? There is more to modern music than even those players, and more still than simply bass. Some may well come up with suggestions, but I reckon they'd be tenuous at best. Just my tuppence-worth.

On the 'plus' side... The unusual bass tones, the hypnotic riff, the melodic solo lines, the 'space' fade-away... On the 'minus' side... The unusual bass tones, the hypnotic riff, the melodic solo lines, the 'space' fade-away... Quite the thing for a Tuesday night, so well done on the timing front. Most of the mix comes across cleanly, except for those effects where, apparently, a bit less 'clean' is what was wanted; it works. The development over the span of the piece is about right, it 'moves' gently from mood to mood just as one would want it to. To be perfectly honest (sorry, it's my style...), the 'peeking from behind the curtain' counter-lick started to grate a touch, but, thankfully, the lead stuff came in and diverted attention from it. Borderline, though. Not much to criticise there without seeming harsh (it's not my style...), so congratulations. I would listen through again with no qualms (except for that little 'ear-worm' after-lick...), and look forward to more of the same quality. Thanks for sharing; well done all round.

For those supposedly 'allergic' to 'jazz', maybe there's hope of a remedy here..? Compare and contrast with the Mingus stuff posted elsewhere here (but not far enough away, in my view. ..). Good Stuff happening there, from all concerned. Nice; very nice. Slightly rougher around the edges, but this gets me harking back to Meh Teh Cho, with the pumping off-rhythm persistent bass riffs, deceptively simple. I think that bassist was Polish, if memory doesn't betray me. Found him; it's Boris Kulenovic

That makes sense, thanks for that.

I've seen reviews of their guitars that were more than enthusiastic, so I'd imagine the basses to be just as good for the price. Not much to lose, really.

There are only so many things to be done with 12-bar... ... ... and that's not one of them. Well titled, though; sloppy as heck. Not a fan, I'm afraid.

I tried to watch it, but rapidly had to skip through, hoping to stumble across the Good Bits. I got to the end first, though; no luck there. I'm just glad I didn't waste the whole length of it in 'real time'. Oh well; never mind.

You shouldn't be doing that with your foot. Next time use the club; that's what fan clubs are for.