jakenewmanbass

[quote name='Crazykiwi' post='102893' date='Dec 11 2007, 08:50 PM']The Bedford is one of my fave venues. We can't play there now because we're not doing originals any more, but it was the first time I've played through a Markbass 121H combo (after their worn out Trace 80w 1x15" gave up on me).[/quote] I know the very one nice sound eh? Jake

Doing this gig on thurs at the Bedford Balham Its one of Tony Moores' nights This girl is a great singer and writes (I think) great songs. one of my favourite gigs [url="http://www.myspace.com/yamitmamomusic"]http://www.myspace.com/yamitmamomusic[/url] check it and if you like it, come down Jake ps on the second track I play Cahon as well as bass

I played in a trio with Bruce Forsyth!! He rocks Jake

the guy (Jeff) can play, doesn't mean everyone likes it but isn't that the same for everyone? I think Jaco overplayed in many scenarios but boy could he play and it was sometimes crushingly beautiful. Metronomes can be fun, I like what crazykiwi said about 'it doing for you'. See if you can make the metronome sound like its swinging or grooving, its fun! Time is a shared experience, the guys who feel it the same way you do are the guys you'll want to play with, of course really regular time is a standardised point and the worlds best players are all acutely aware of it and are pretty much reliable to set your watch by. As for playing a gig without kit I DO!!! 75% of the time and when it comes to regular time I'd like to think I do OK Victor Wooten has ridiculous time and it feels like your heart is going to burst to listen to it. Jimmy Johnson and Carlos Vega held grooves deeper than the mid Atlantic rift when playing with James Taylor, Steve Gadd should be re named Greenwich Gadd, Lenny White holds a groove that is funk heaven. To me they are all examples of great time and I reckon they could all make a metronome sound pretty groovy Jake

[quote name='bilbo230763' post='98155' date='Dec 3 2007, 02:25 PM']I think it was a joke in poor taste rather than romanticising, jakesbass. I guess s/he touched a nerve? Heroin is a nasty drug that makes most people who use it less than human. It has no place in society and those that peddle it are a disgrace, whatever their motivation.[/quote] I see what you're saying Bilbo, i was actually referring to the sentiment, which is a commonly held romantic notion about jazz, so fair enough it may have been a joke, but I feel it needed pointing out how crass and (to me at least) inappropriate it was. For the record, privately my humour extends to the very far reaches of human extremity, but here, I consider others. Jake

[quote name='littledeucemike' post='98085' date='Dec 3 2007, 01:10 PM']That's all I ever do (and transcribing) and it helps me with inspriation, something you need in bucket loads to play Jazz..............that and a heroin habit.[/quote] I'm no prude but I have to point out that the notion that having a heroin habit is a pre requisite to playing jazz is not only patently wrong (see the several million jazz players worldwide who don't have a habit) but it also attempts to uphold the idea that there is some romance in the fact that some of the great players did have habits. It is not romantic, or clever and all it ever did, to my knowledge, was bring to an early conclusion some lives that could have gone on to give us more of the great music that some (not all) of those that did use, gave us during their short and often pathetic lives. When Parker died at 34 the coroner thought he was issuing the death certificate of a 50-60 year old. Please take the responsibility that comes with an opportunity (this forum) to express your opinion so widely and don't peddle such atrociously foolish and mis-guided romanticism. (I had several friends finished off by heroin and its a tragic, wasteful and hideous end) Jake

[quote name='DarryllMGmanchester' post='97258' date='Dec 1 2007, 04:09 PM']Forgive me if I'm mistaken but you might just be the first bass player I ever saw play live in the flesh so to speak. I would have been about fifteen ish and it was at the witchwood (underage drinking!!). Muffin men show with Andy Treacey (sic) on kit. I hadn't been exposed to Zappa's music before that night. Had a big impact on me that did. Thanks. All the best Jake. Darryll[/quote] You sir are more than welcome, its very pleasing to know that it had a positive effect. It was a great band, we toured Europe later that year joined by Ike Willis (Zappa lead vocalist of 12 years) and myself and Andy went on to play with Robert (Bobby) Martin another of the Zappa Alumni. I have very fond memories of that time. Jake

[quote name='BassBod' post='97148' date='Dec 1 2007, 11:15 AM']I think you easily win the poshest gig award, and probably the tastiest gear - but tell me, how does the Polytone stand up in all this? I haven't seen one in years. I liked them (years ago, before GK combos arrived) but its so long since I saw or heard one...its got me thinking? BB[/quote] It does lack a little in medium to large spaces, but it has a nice tone, especially for the Double with the Alembic pre amp. otherwise I go pre amp into the PA and use wedges for monitoring. although I'm after a QSC to power the Goliath and a 15 cab I have Jake

My 1880 and '78 jazz having a rest at Air studios [attachment=3854:Mobile_204.jpg] the control room [attachment=3855:Mobile_208.jpg] another rest for the bass, the desk in the background was used by the beatles at Abbey road, then me! [attachment=3856:Mobile_223.jpg] My Alembic (and a corner of the polytone) [attachment=3857:Mobile_239.jpg]

If i don't need a passport then I consider it to be local. furthest singe journey so far for a one off gig Taiwan. but then there was the time we got stranded in Africa and the company flew us home via New York! the worst bit was we had to stay there all day and night!!! What a beatch.

[quote name='lee4' post='92375' date='Nov 21 2007, 09:15 PM']Listen to the song without playing.That way you can assess where to lay back and where to rip it up!Ask the other band members for there opinion.Sometimes other musicians will come up with a great bass part that fits better than your own.[/quote] sorry off topic!! Hey Lee4 looking at your sig you must be a devotee of the Hogs Back Brewery Jake

IMO if you are going to speak up, its better to say something that counts rather than waffle and make no point. Likewise with playing, grooving is a solid statement, it can be interspersed with something more decorative at times but it will have much more impact if it really counts. "Its better to keep your mouth shut and be thought a fool than to open it and remove all doubt" Taste Taste Taste and again Taste be tasteful say little but make it count Jake

hmmmm!! I didn't expect to find a pembrokeshire corner here!!! I went to school in Haverfordwest and lived there and Broad Haven and Little Haven and Hasguards cross and Johnston and Whitland (out a little bit) try to get near the sea there at least once a year cheers butties Jake Oh and welcome

I think what is at the heart of this debate is not really how it sounds but more the physical presence that the sound, and feel, and air movement a double bass creates, don't forget the acoustic element of the classic jazz trio, qtet etc (I'm lucky enough to have played both since I was under 13) It's inimitable, there is a place for whatever low register instrument (tuba don't forget) is around as long as its in the right hands. and bass guitar sounds great when played by someone who really swings (BTW if you can, check out Gary Culshaw from Preston he swings like a donkeys d*ck on electric) its like this, tenor sax, piano, little drums... upright is a winner in most cases but there are always exceptions to the rule. Jake

[quote name='P-T-P' post='84833' date='Nov 7 2007, 11:24 AM']At what point do you stop being a hobbyist and start being a semi-pro? Our house insurance is due up in a month or two and this seems very attractive but I gig and get paid for it once or twice a week?[/quote] If you earn money from playing, a keen assessor will see this as professional conduct whether you are pro, semi or anywhere between. Jake

[quote name='nig' post='84837' date='Nov 7 2007, 11:31 AM']+1 there... however, didnt joining the M.U. give you insurance cover automatically, I was a member for years and public liability too. anyone confirm this.[/quote] Yes indeed, there is a free (i think??? £1000) of gear cover which can be extended to the appropriate value, and the Public Liability insurance (invaluable if you are pro) is £10,000,000. The premium for that I think would be up to £600-£800 a year if bought in the open market. Jake

[quote name='Kirky' post='82567' date='Nov 1 2007, 11:17 PM']I think the best way to create a good walking bassline is to sing it first. That will give you the musical feel you want, without being constrained by any technical limitations. Then play what you sing. Knowing the theory - particularly the right notes to use to modulate between keys etc - makes it quicker and easier to play it. But whether you know the theory or not, by singing it you'll find those correct notes naturally. Well, that's my humble opinion.[/quote] Humble it may be, but accurate. what you feel and hear are the best Jake

Learn to read for sure, but also if you have an inkling of an interest, learning to create walking basslines over standard changes is the most rewarding thing I ever did. The possibilities are endless and will stretch your ears (not literally, although I think I might have just invented a cool new spectator sport) into harmonic areas you didn't know existed. Jake P.S Hi from a fellow Cardiffian

[quote name='jacko' post='62630' date='Sep 19 2007, 11:49 AM']Jimmy Johnson when he's playing with james taylor - there's usually alot going on - couple of guitars, keys, drums,percussion, horns and god knows how many backing vocals.[/quote] +1 on Jimmy Johnson, for me the worlds current master of tasteful and supremely musical/interesting bass playing

remember Peg by Steely Dan? that was a lovely cheeky slap chorus by Chuck Rainey and it sounds like a P bass to me Jake

[quote name='51m0n' post='80871' date='Oct 29 2007, 05:10 PM']That's precisely why I'm bothering. realistically I'm never going to be playing jazz, cos it just doesn't float my boat. However I do really appreciate the harmonic knowledge involved in walking well, and want to learn to be able to dip into those sounds compared to the more straight ahead funk/rock/blues type of thing that I would normally play. I use a fair amount of chromatic walk ups in the funk stuff I do as its such a generic part of the style, I just want to find some other note choices though, and be able to run through chord changes in any particular style without always resorting to the root note on the one.[/quote] Funk came right out of jazz so its a good idea to learn the harmonic language, [i]and[/i] it will add depth and integrity to your groove playing. Remember that James Jamerson started out as a club double bass player doing jazz in the late fifties which was the source for that wonderful chromatic approach that he used to great effect on all the Motown stuff. He was the original upright player that took up the electric when it appeared Jake

If you can get hold of one GT67 by Groove Tubes have always done a good job for me Jake

[quote name='subaudio' post='76334' date='Oct 19 2007, 08:56 AM']Hi Jake, great post, I think I need to adopt your standard reply, even playing electric bass in bands there is always an issue with the drummer or guitarist or both trying to drown out the singer, never could get my head around why a musician would want to do this. Thinking back to the rehearsal, the vocalists were also struggling to be heard, the culprit i feel is again the electric guitarist (no drummer at the mo), I'll have a word with him at the next rehearsal.[/quote] Hi Sub, the reason in my view musicians would want to do this is primarily one of ego which really good bass players, by their giving gesture of support cannot afford to have. That is also why so many bass players are producers because through said lack of ego, they have the ability to listen to the music for the [i]sake [/i]of the music. In my experience we have good ears too. Ultimately though its about the individual and when you get a band full of people with a good perspective on the music its to die for (I've been lucky and have been in some) I'll give another quote which happens to be the best compliment I was ever given, Picture the scene.... I was in a dingy little pub in deepest darkest Kent working really just as a stop off to go across the channel for a couple of weeks in Germany, playing a mixture of Jazz and blues with a great Piano Man TJ Johnson (now hot on the London and European circuit) we were playing for beer and food and somewhere to sleep but nevertheless the audience were up for a party and we had a rocking good time (Pete Cotterill on drums, now sadly departed, one of the finest musicians I ever encountered, such a character he even had a Radio Four programme dedicated to his life) At the end of the gig this odd looking guy comes up and starts wittering on to us about being a local composer (we thought he was going to be a boring punter but he turned out to be really nice) he made little comments to all the band which they all seemed to appreciate, then he turned to me and said, "and you, what makes you a good bass player is, you play great lines and you've got no ego" I was dumbstruck, his sincerity was obvious and never before or since has anyone said something so positive and insightful to me. I will remember it forever. Hope you're still awake Jake

I'm going to try to remember a quote i read by Billy Higgins (Jazz Drummer) it went something like this. "You're supposed to make love to the drums not rape them, all the best horn players listen really hard to the bass, so you're not supposed to drown it out" If more drummers took this simple bit of advice then the bass players down the generations since these type of drummers were around (although to be fair some still are, especially Americans) would have had less ball ache about being heard. And the dynamic range of the music being played would have been wider (LOUD [i][/i]and [i][/i] quiet) which in turn is more interesting, exciting for the listener etc etc..... I've been told to turn up all my working life. I always reply "No, you turn down" Jake