jakenewmanbass

I don't think talent is inherited, but then I'm not an expert so why would you ask me?

I think in most cases the fatigue is in the perception of the participant, the site offers (to my mind at least) the same as it ever did. Which is only good as far as I can see.

three cheers.. Hip Hip...

He's a nice player, but I find melodies like that on the bass a bit unpalatable (I think it's a register thing) where as this: [media]http://www.youtube.com/watch?v=JNxiE1edUNg[/media] This guy does a few Jackson things, and I think he really captures the vibe

Love it Phil...! great stuff.

I took delivery of a PJB Briefcase from Bob today, the transaction was as smooth as it could have been, and Bob seems like a really nice chap too, we had several conversations and I felt like I was talking to a colleague immediately.

Jon's a dude.

[quote name='flyfisher' timestamp='1320694620' post='1430214'] The wife of some friends of mine has plugged into the cruise ship lecture circuit. Her last trip was a two week cruise somewhere in south America. She was flown out & back business class, put up in a 5* hotel before boarding the ship, put up in an outside cabin and had to give two, yes just two, 45 minute illustrated talks. The rest of the time was hers! [/quote] This is the work I do on Cruise ships as an entertainment 'theatre act' it's nice work

I've worked with Pat Illingworth a lot over the years, he's just posted this clip on facebook, I'm sure he won't mind me sharing... [url="http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dxk-69XWzNSc&h=vAQElvC3VAQGi-Ws9OrSY2N1m1yky-hEBdi8roAEUlF6Crg"]http://www.youtube.com/watch?v=xk-69XWzNSc[/url] Good on ya Pat!

I saw them there (by accident, I was going to a record company party upstairs) a few years ago. It's simply outstanding to be up close to that groove, worth double the price in my eyes... but then I have been making a living from music for 20+ years so very much see the bands side of the picture.

Great tune! nicely played. I'd say this is a classic example of a 'written' line. It seems to me to come more from the sensibilities of an arranger than a bass player. It works very well nonetheless, and I could of course be talking crap... just seems that way to me.

sounds to me like you are struggling to understand where you fit, you must listen closely to what parts you should be playing, that would work with the rest of the music, let alone a drum track. If your teacher can't pin down exactly what you aren't playing that you should be then his or her analytical skills are wanting, any good teacher should be able to tell you exactly what is required and give you a range of ways in which to play it, all broken down into palatable chunks that you can digest, absorb and regurgitate, It's not rocket science it's simply knowing what you're doing. PM if you would like further details.

I had an interesting thought... the bass players that I really rate are the ones that when I hear their ideas I have to pick up my bass to see where they are coming from, there were a few lines in that that I just HAD to cop. Most importantly it reveals just how subjective it is!

[quote name='leschirons' timestamp='1320190687' post='1423710'] That's really nice. Yup, she plays that beatifully. Any idea who played guitar? [/quote] I think it's Jeff Beck.

not what you might expect. I've heard some people say here that Tal Wilkenfeld is not deserving of her recognition. I think her playing on this shows that she really is... especially the fill at 6.11 really lovely! [media]http://www.youtube.com/watch?v=uVQxSFG-ahk[/media] It's a lovely version although vocally Gabriel and Bush are a hard act to follow...

I hear good things about Ed's book and also the evolving bassist by Rufus Reid was very useful for me in getting used to the sounds of changes, the more the sound of the chord is fixed in your hearing (musical hearing I mean) the better chance you have of playing appropriate notes to accompany the chord.

I would try to aim for notes that work well with both chords and to give motion to the line I would particularly think about making connections that use passing tones, that way lines feel more natural and have a linear sense rather than from chord to chord in isolation eg Amin to D7 in one bar one line I would use would be A, C, D, F#. the A is first root the C is common to both chords (3rd and 7th respectively) D root F# 3rd but also leading tone for Gmaj (the likely destination of that sequence) most importantly realise that the example given is one in many many many possibles and to be cogent and make lines that don't repeat and become stilted you need to know lots, but use the principles behind my suggestion and you will have learning material for life.

Sounds really good Pete, is that Bryan? I see Tim on tenor... lovely player and a gent, he has a perfect sound for this gig!

[quote name='GarethFlatlands' timestamp='1318515892' post='1403186'] I don't know why I didn't see this coming but it's all in proper music which I'm terrible at reading. Best get practising! [/quote] So you get to learn to read at the same time.... BONUS!

[quote name='risingson' timestamp='1317421584' post='1390714'] I was indeed speaking from a musical perspective as opposed to a visual one, but I would certainly say that disengaging as a reader and being sunk into a band situation without having the dots there lends itself to a totally different kind of performance from the performer concerned in many situations. I happen to think all round that Steely Dan can often come across both live and on recording as a sterile band sometimes. I've listened to them from a very young age, and have enjoyed their music for many years but I think that they do lack a more real 'human' touch sometimes... the pitfalls of an imperfect performance perhaps, or a less than perfect approach to production would be have been interesting to hear from time to time. This is not a criticism, more a personal preference, and I feel not in any way spurious on my part. [/quote] Fair comment, and spurious was a poor turn of phrase on my part in relation to your view, it's just that I feel in general it certainly is the case that in music, far more often than should be the case, it is exactly what I said, a visual view of talent rather than musical excellence, especially where any form of commercialism is concerned, and to me that's a massive shame.

At the risk of sounding obvious, I think the best way to know these things is to learn the sounds, when it comes to fingerings if you are serious about being able to improvise using the associated harmony with these scales then you should have not one method but a myriad of ways of playing through these things, I totally understand you need to start somewhere so whichever 'system of getting started' works for you is fine, because soon enough you'll realise that to be adept with these things is a subject filled with possibility.

[quote name='risingson' timestamp='1317416900' post='1390651'] I think it takes a lot of energy out of the performance, although with the greatest of respect to both Walter and Donald, I do believe that this is something they do lack live anyway (don't kill me Pete! I love 'em all the same). I don't expect Tom Barney to be jumping around/pogo-ing or anything but I dunno... comes across as very sterile in a live environment, to me at least. [/quote] I couldn't disagree more... ! The "energy" you speak of in my view is what I think could possibly be construed as showmanship, as far as I'm concerned this music is cerebral, and I for one love it for that, it is the epitome of considered, crafted, and placed music, the idea that it is somehow sterile because there is a chart on stage is a highly spurious and visually driven adjudication as far as I'm concerned, so I would therefore suggest listening with ears and not eyes to [i]hear [/i]just how great these performances are. The Irony here is that when I played in Hgang (another SD tribute that Pete is aware of) I learned the entire pad

I can't see what the difference is?? If you can play as well from a chart as from memory then what on earth is wrong with having a chart there? [quote name='wombatboter' timestamp='1317049511' post='1385962'] I can understand that horn-players are reading charts but the fact that Barney is reading all of the time puzzles me a bit. I'm aware that SD-songs aren't easy but it's not impossible to learn these songs by heart. Perhaps a detail but it spoils the fun a bit when I see someone reading during every gig...after ten gigs you should be familiar enough with the songs to play them from scratch. I remain a huge SD-fan..just listened to Aja this weekend and it still sounds fresh. [/quote]