jakenewmanbass

[quote name='Linus27' post='144444' date='Feb 21 2008, 03:34 PM']Thats my weak spot also, the lack of strength in my left hand for fretting. I can't wait to get my vice like grip as time goes on. You mention that your back is aching. I am also finding this. I also find that my arm muscles are pounding after playing. Its a very physical instrument to play which I am loving. I really think the whole physical side of playing upright bass is under estimated. I would also appreciate any guides or tips on playing.[/quote] Vice like grip is NOT i repeat NOT something you need. vice like has a stiff and un yielding nature to it which can lead to over working muscles and reduced mobility. What you need is efficiency of pressure, using the physical attributes you posess and fluidity of movement, which can take a little getting used to. If you are serious about getting any good on the instrument then have at least a few lessons on left hand technique, the positions and movement. It really is nothing like Bass Guitar (I've been playing both for over 20yrs) You may well get some people responding to this post saying you can get by without training, this is true but who wants to just get by. You can save a whole heap of time by gettting some basic advice which will set good habits in place and immeasurably enhance your progress. also If you are getting pounding muscles and sweating, you may well be over working without need.

[quote name='Steve Lawson' post='144376' date='Feb 21 2008, 01:46 PM']not been there, but it does have a good reputation, has done for years. I've done masterclasses at Salford Uni, which looks to be a pretty good place to study too - as a side point, here's the story of my audition there when I applied in my teens to study there... [url="http://steve.anthropiccollective.org/archives/2008/02/bluffing.html"]http://steve.anthropiccollective.org/archi...2/bluffing.html[/url] Steve[/quote] I was the bass tutor at Salford from 1996-2004 Its a really good course and has some of the inspirational people I mentioned in my earlier post. The Bass tutor there now is Ollie Collins (who I taught there some years ago). He's a great player and from what I've heard is doing great as the tutor there. Another hidden gem of Salford is Robin Dewhurst head of music, again a great player, and a wonderful arranger. I still do the occasional gig with Robin he is a joy to play with. Lovely touch and immpeccable placement, IMO two essential qualites in a pianist. Jake

[quote name='timloudon' post='144352' date='Feb 21 2008, 01:25 PM']This is an interesting thread! I'm currently studying at Leeds College of Music, which I'm surprised to find hasn't been mentioned yet- maybe I chose the wrong institute. I'm studying what's called 'Popular Music Studies'. It's a combination of group and individual playing with modules on the industry, cultural theory, experimentation, journalism etc... I'm actually just about to start a case study on the 'validity' (a word used very loosely) of the study of popular music at HE. It's an interesting subject. I think the issue of whether they are worth your time is entirely down to the individual. I've found that the main benefit of being at an institute is meeting other musicians/producers with which to work. I know that these are the people who I will be conducting work with later on in life. I've met plenty of people who I know are going to be incredibly successful. It's also shown me many different pathways to follow in terms of career, giving me a glimpse of a world i didn't know was out there. Also, as has been mentioned before, it gives me many transferrable skills. However, there are of course downsides to this kind of education. It's costing a LOT of money, something that incidentally, can work as an incentive. I also know very well that having a degree in music will by no means secure a job within the industry. I agree that it's not a way to guarantee that you'll be a good musician. I think that it's all what you take from it. Lots of people have already made this point, and I totally agree. What's everybody else's thoughts on LCM? Has anyone else studied there?[/quote] Not studied or taught there but many of my colleagues from the North West scene (when I was up there) taught there. Notables like Tony Faulkner (arranging genius and drummer) Mike Walker (world class guitarist and improvisor) Les Chisnall (my favourite pianist) Nikki Iles (great pianist now a resident of the south) the history of the place speaks for itself and some really good players (some of whom are doing very well) have come out of there.

Beautifully put. [/quote] Thanks Dave

I have said this before so excuse me if you've read it already. I taught at a university and a few FE colleges. There are some good practices and some great inspirational people in some of those places. There is also some unmitigated sh*t being droned on by people who can't cut it in the professional world. And everything inbetween. None of which is the point. The point, in my view is this: Great players, performers, writers, engineers, producers etc etc will make it with or without music college. The reason they are singularly brilliant places is because it gives those individuals time to get their sh*t together, un-molested by the ravages of commerce, mortgage, bills etc and removes them from the distractions of "real job" needs and wants. Everybody else will be rewarded to the appropriate standard of their personal achievement, musically or otherwise. Jake

The band I regularly gig with has a drum hardware case made of a really tough nylon with heavy duty zips (protection racket I think) it easily holds 5 mike stands 2 speaker stands 1 guitar stand 1 trombone stand (although I think it would sound better if stood on) and a few small prop stands quite heavy though 2man lift really although I can just about manage it alone. But its a great bag and has been used for about 150 gigs a year for prob 4yrs now

[quote name='dougal' post='143492' date='Feb 20 2008, 12:38 AM']Hey, bassbloke. I've been having double bass lessons from Ian (http://www.ianbass.co.uk/) who's in Chessington (I'm down the road in Surbiton). He's a really nice guy & knows his stuff. I would suggest having a lesson, so you can at least have a crack. He'll point you in the right direction with basses too. He suggested:[/quote] +1 for Malcolm Healy he is indeed a nice guy and seems to always have a stock of decent instruments around.

[quote name='queenofthedepths' post='141754' date='Feb 16 2008, 11:02 PM']If you can set your metronome to 9:8, try this one: [font="Courier New"] G 4-3-----2-1-------|------------------|------------------|------------------|------------------|--------5-4-3-2---| D ----4-3-----2-1-4/|5-4-----3-2-------|------------------|------------------|--------6-5-4-3-6\|5-4-3-2-----------| A ------------------|----5-4-----3-2-5/|6-5-----4-3-------|--------7-6-5-4-7\|6-5-4-3-----------|------------------| E ------------------|------------------|----6-5-----4-3-6/|7-6-5-4-----------|------------------|------------------| [/font] And then repeat up one fret until your hand falls off... It's much better/worse on 5-strings and ERBs Sorry if the tab's not very easy to follow![/quote] you can't exactly [i]set[/i] a metronome to 9/8, you can count nine quavers to a click or you can count in three and subdivide triplets into each beat (or whichever configuration of groups you desire in 9/8)

Welcome Noel, you'll find a host of friendly, helpful and informative people here. And if you're interested in the bass you're going to hear lots about it. Enjoy Jake

Ray Browns Italian Bass

[quote name='hatori' post='143321' date='Feb 19 2008, 07:32 PM']Michael Manrings Zon Hyperbass because it is the ultimate fretless for me. Just listen to 'The enormous room'....beautiful.[/quote] Just listened to it..... It really is very beautiful!

I've earned a living from playing my bass since 1989 supporting a family of five for the last 12. At first I felt good if I earned 12k now I couldn't really manage with less than 35k (gross). I have taught at a university and a couple of colleges but the vast majority of my income has come from gigs and recording. I had one spell of working in IT when we moved south (from Manchester) but that was just until I (and now we, my wife is also a musician, just started back, kids all in school) got established to pick up freelance work in my new area. Thanks to my wife earning again I now don't have to take everything I'm offered and I can spend a bit more time on projects I really enjoy. I probably could have earned a lot more money had I got a conventional job (I will work very hard) but I have always valued my personal standard of happiness more than owning stuff like a flash car or the whole material trip. The one thing I feel really lucky to have had as a perk is travel. The only place left on my list of where to go is Australia. I've been to every other continent (not counting the really cold ones) and been to more than thirty countries mostly gigging. For me its all about balance, happiness with providing. Jake

[quote name='Thunderthumbs' post='142707' date='Feb 18 2008, 08:01 PM']Damn! :blush: Oh well, how about playing with Roy Wood being watched by Noddy Holder? Or an after show party with Fish singing with us, and "Uncle Peter" (as in Woof, Bark, Donkey) from The Smell of Reeves and Mortimer playing drums? Please let me win [/quote] Its a close one; How about playing for the McLaren racing team Ron Dennis' 50th birthday and one of the guests Mike Rutherford (genesis, Mike and the Mechanics) got up and played my bass obviously Mika Hakkinen and David Coulthard danced to my groove too I played in a trio with Brucey accompanied John Inman felt the draught of the tiller girls as they whizzed by ok so I'm scraping now... Damn

just remembered theres one pic of the flat back here: [url="http://www.michaelvineassociates.com/casablanca.htm"]http://www.michaelvineassociates.com/casablanca.htm[/url] if you look at the video on that page don't be put off by the sound it was a D.Id underwood (thank you tv engineers!*?!) it is actually 2 shows in edited into one so it has some footage of both basses

[quote name='Thunderthumbs' post='142446' date='Feb 18 2008, 01:35 PM']I played a charity gig on Saturday night for Kidney Research UK at Whitworth Hall in Manchester University. We had Nigel Pivaro ("Terry Duckworth", Jack & Vera's son in Coronation Street) on the dancefloor most of the night. Ooh if only Vera could've seen "arr Turry" and his moves.[/quote] Sorry Pete I just have to Corrie upstage you. I played at the 40th anniversay of the show so all cast past and present were there (shameless one upmanship) but it is corrie

Ok guys here's the 1880 [attachment=5713:HPIM0086.jpg][attachment=5709:HPIM0078.jpg] [attachment=5710:HPIM0080.jpg][attachment=5714:HPIM0087.jpg] [attachment=5711:HPIM0082.jpg][attachment=5712:HPIM0085.jpg] [attachment=5715:HPIM0088.jpg][attachment=5716:HPIM0089.jpg] the pics don't really show the dings there are what you would expect for this age, all cracks etc have been expertly repaired I will post some higher res pics when my missus brings the camera back from oop north EDIT: I don't know how to change the orientation of the images, sorry if its a pain. J

[quote name='Mr Bassman' post='142641' date='Feb 18 2008, 06:26 PM']Hi Jake, I would like to see some pic's please. cheers Keith[/quote] It will be a couple of days for the flat back as I'm waiting to get it back from a shop, sorry to have excited you and then make you wait, will take some asap. I'll take some of the swell back now, but also (limited) here [url="http://basschat.co.uk/index.php?showtopic=9308"]http://basschat.co.uk/index.php?showtopic=9308[/url] Jake

[quote name='warwickhunt' post='142449' date='Feb 18 2008, 01:39 PM']No you fool she said, [b]"Your bass player is a leg end"[/b][/quote] you mean a foot?

I'm in the process of trading two basses (valued at 3-4k each) for one better one. If anyone wanted to have a peek at either of them before they go off to the chap (Peter Tyler) for assessment I will happily post some pics if there are any interested parties. One is an 1880 swell back, ebony board, lovely dark tone the other is a turn of the century flat back stuttgart "factory" bass, also ebony board (factory means each part made by different makers and assembled in one workshop) Lighter tone bright and full Both have been expertly repaired/set-up by the genius luthier Roger Dawson Jake

[quote name='aj5string' post='142391' date='Feb 18 2008, 12:34 PM']I wrote that whilst drinking tea, and forgot to point something out... i'm currently writing my own dissertation, but mine is on the negative stigma surrounding the bass guitar in Jazz, so am kinda in the mindset of the bass guitar being a different instrument to the double bass. I totally agree with what your saying, and think with all dissertations etc. you have to put into place some of your own rules - 10k words (or whatever the OP is working to) is actually not a lot if your writing about something you are passionate about.[/quote] Perfectly reasonable answer and if the parameters of study are narrowed to the electric bass then you are absolutely right. Although it may still prove useful to the OP to contextualise it as jazz bass rather than electric bass in order to open the opportuniy to widen the historical scope (his choice of course) Jake In my mind the double and electric have equal validity in music and its history, and I think it a shame that there is a "stigma" to be discussed. as you can see from my sig, I play both professionally

[quote name='EBS_freak' post='142360' date='Feb 18 2008, 11:30 AM']Potentially... but things never quite work out like that... the personal gripes are bound to fly. If it were to happen, I would defo say it's a members forum. Not that it's difficult to get an account here... probably best to keep it from being cached in google though... Anyway, never did see the cash from the Oxford gig... but that didn't annoy me most. I'd paid for a ticket to see Eric Roche and of course, didn't get to see him or get a refund. Ah well.[/quote] Yes point taken. didn't think of it that way

[quote name='bassicinstinct' post='141941' date='Feb 17 2008, 03:39 PM']When our manager went to get paid after loadout, we were paid the princely sum of £140 (which, incidentally, didn't even equate to the door takings) on the basis that we had no written contract, so there was nothing we could do about it.[/quote] You [u]do not [/u]require a written contract, it is, however, helpful if you can prove to any degree that you are being truthful in the event of any claim being made (Iknow most wouldn't bother) in the small claims court. The most effective way of doing this is to use a diary as a day book to record what was agreed at the time of the bookng, just make a note of the main points when the deal is agreed. It is admissable. In my view we should all come down hard on these sheisters for that sake of all of us. Don't be messed around, it makes them think they can take the piss.

I think it would be a great idea to post a recrord of poor treament at the hands of sh*t bag promoters and dodgy Landlords. If the treatment is really bad The Musicians Union can get involved to recover unpaid fees or to ensure people live up to contracts, written or verbal. NB. to access that service from the MU you must be a member. I've had several cases taken on for me by the union and they have always got me my money by threatening legal action. The thread should IMO be limited to proper breach and NOT personal gripes. (no bad mouthing cos you're pissed off)

[quote name='aj5string' post='141934' date='Feb 17 2008, 03:26 PM']I guess you need to decide how he was unique and how he wasn't. He was doing things on the bass that no-one had done before, but arguably, also doing things that other musicians hadn't done before. He took the bass and really pushed it to the front of the music - i think he was probably the first 'jazz' player to do that. Also, you need to take into account the fact that he was playing about 30 years ago; sure his approach isn't unique now, but it was very different at the time...[/quote] I agreed with most of your post but the bit I have quoted above is a little off the mark. It's true that Jaco was the first really high profile bass player, who is still known today, to do the things you said (mainly because weather report were a stadium act, unheard of in the early jazz era) but there were many bass players playing solos and being more involved upfront before Jaco came to fame. The obvious examples, going way back, are Jimmy Blanton an amazing player who had a very prominent role in Duke Ellingtons orchestra, there are recordings of him playing a very 'up front' role. Scott LaFaro who played an almost telepathic joint front position with Bill Evans in the great trio recordings of the 50s and 60s. To a slightly lesser extent you could say that Ray Brown played more up front than many other predecessors but that was mainly due again to the almost telepathic relationship he had with Oscar Peterson, Ed Thigpen and Herb Ellis, which meant he flowed in and out of accompaniment and solo roles effortlessly. To refer to the OPs question the above are just three examples of many players pre Jaco who were significant and prominent in the music and its history, and I think it would add depth and integrity to your dissertation to explore the true beginings of the bass' solo role. FYI the recordings with Jimmy Blanton go back to the very early Ellington days, he played with him for 2 yrs from 1939 a full 37 yrs before Jaco really made an impact with his first solo album of 1976

[quote name='Thunderthumbs' post='139560' date='Feb 13 2008, 03:02 PM']I must admit, if I've got one [b]really[/b] bad habit, it's that I don't spend enough time doing it slowly (no Finbar Saunders jokes please). I build up my speed far too quickly, so therefore am not doing it as effeciently as I suppose I should. I think it comes down to having not a great deal of patience. I'm the same with DVD players, etc. I never read the instructions, I just plug it in and expect it to work. [/quote] slow is soooooo important (and my wife agrees ) your muscles/brain develop abilities by muscle memory (ever seen someone who is really good with Nunchakas) If bass playing were an equivalent martial art lots of us would be dead or at least concussed. Of course the real threat to playing is less likely to be injury than just not doing something very well. so slow is sooooooo important, give your muscles a chance