jakenewmanbass

you have a pm

[quote name='Icarus_147' timestamp='1332801747' post='1593470'] I feel bad for posting that now. :/ Hope he's alright! [/quote] Ah s'ok, you weren't to know and he'd be the first to want to have fun about funk as I remember him...

As I remember it he had a rather shocking close personal tragedy, about which he spoke briefly on here. I hope things are improving for him, he is one of the good guys!!

Pm'd

Self consciousness is the biggest barrier to most peoples vocal efforts. I sing BVs and have occasionally done lead, I don't rate my voice but can put on a 'proper singing voice' to get a job done. I'd give anything for a major set of pipes... and a great sound, would swap it for my bass playing abilities anyday. I sing flat often, so have that to work against, it helps to know where you're at in technical terms as it gives you something to aim for. PS a good teacher will help for sure, but [i]really[/i] good teachers in anything are hard to find....

Great news mate... break a leg on the first gig...!

[quote name='woodyratm' timestamp='1331589356' post='1575572'] OBBM? [/quote] That is OBBM...! and another ringing endorsement from me, I have several of Dave's cables and they are all superb and very competitively priced!

There is no doubt that there are attributes that the DB possess that make it sound swinging, I however, play both and feel that I can swing equally on either instrument. I believe it's a feel that comes from the player... and I'm going to offer it up to you guys to either agree or disagree by writing out a blues line and playing it on both basses, recording it and posting it in the recording section, I would invite anybody to do the same so we can all have a listen to the various notions of what swing is....! I'm busy for a few days but will get it up before the weekend hopefully.

ok now I know you're open, check out Bob Cranshaw... he is an upright player but did some really killing EB walking in the 80s with Sonny Rollins. Also many of the american guys in Jazz that play electric can swing hard, you just need to find the stuff they are doing it on, Victor Bailey, Anthony Jackson, Will Lee, Jimmy Johnson, Kermit Driscoll, Jimmy Haslip.... all great electric players that can swing really hard.

it's difficult to say 'pointless discussion' and stay out of it at the same time!!! Or should I say, not one I'm interested in... Bloody woolly liberal.... OI! PISS OFF FIGHT FIGHT FIGHT!!!! (fully internal dialogue)

just to be clear... you're not ruling out what upright players contribute to the genre right???

You had a contract, that it was verbal does not matter, you fulfilled it. They failed to fulfill it. Small claims court, join the union now and they will deal with it for you. Most importantly the manager should learn not to treat people in this way.

I'd have bitten your hand off, [i]and[/i] I'm in Chelsea... but the gig doesn't finish until 7.30 I saw them at Ronnies a few years ago, they were awesome!!!

I've done tours where your drinking capability was more important than your playing... I didn't last long on that gig

we often work in a social environment... so often yes. I can think of plenty of pro outfits where you'd be considered a bit odd if you didn't drink... horses for courses though. If you get pissed and screw up you won't get asked back.

At the point at which your parameters of analysis are sufficiently honed you may (I did) experience a coming together of your technical facility (practice is at the heart of that), and better intonation, in my experience, is something that emanated from that. In the first place I have pretty good ears, that helps enormously, then physical strength for the job in hand (not brute, but efficiency and finesse) plays a helpful part. Understanding the qualities of individual semi tones is something I find very useful on DB for tuning, both in isolation, eg 2 octave chromatic scales on each string, and in context, eg playing through a sequence such as II V I and paying particular attention to the 3rd and 7th resolutions for semitone accuracy. Then the same with modulating sequences to use semitone movement in 'making' the changes with guide tones. For me literally handling the guide tones is really good ear training for intonation as the sound and quality, nay the very existence of the chord relies on your accuracy. I would liken it to tenor and alto singers handling the guide tones, because in close harmony if the 3rd and 7th are out of tune the listener struggles to pin the movement, so not only does it being out of tune become painful, but also the music becomes nebulous and ill defined.

Are we talking fretless or DB? But in any case the first and most important thing is you need to be able to hear yourself...!

Only just revisited this thread, cheers Si.

Tracks don't move, people do. I don't really agree that drummer only is the best way, I've played lots of gigs and sessions to click and find that leaving the responsibility to one person means that if he goes the entire band has no chance of sticking with... if you are lucky and have a drummer that can stay with, fine, if not, if he struggles you will all struggle, at least if the whole band has a click then you can be helpful if things drift. Losing the sequence sounds dire so it really is important that all the members are on the ball. I did a theatre show with a drummer who swore for 6 months that the click slowed at a certain point YEAH RIGHT!!! I have done functions with a singer that was useless at remembering form and lyrics. In both cases the fact that the drummer had the click meant that if the rest of it was led astray by conditions it resulted in one thing, AWFUL. I have done gigs with symphony orchestras where the rhythm section, the conductor and the leader has the click all fine.. one reason... top players! make the choices based upon the individual capacity of the group, test it in a stage setting, if it works fine you're away

[quote name='Bilbo' timestamp='1330602008' post='1560030'] There is another aspect to it, Jake. Writing about living people means you can offend them and get sued. Its is harder to offend someone who is no longer with us and they tend to be less litigious !! [/quote] As someone who worked with Frank Zappa material and Alumni in the 2 years following his death I would say keep one eye on the owners of the estate!!!

I would be up for a DB bash not least because I would consider selling both mine if I found a better 'one' one of mine has an amazing sound for recording but is a little quiet for gigs, the other has a solid arco tone.

I don't know if I have what would be considered a strange view on it, but I think I would consider it less appropriate to write about a living player, in some odd sense I think it's because whilst living they can tell their own story. I'm willing to be the only one with this view and understand it's a little 'formal' thinking. Ps can't wait to see the Chambers tome!!