jakenewmanbass

Oscar Peterson trio on Jazz 625, Hallelujah time just lifted me up by my chest.

[quote name='lowdown' post='1177517' date='Mar 26 2011, 06:52 PM']What ever fee you get, Further down the road other payments could/can come your way depending on what the session was for and what broadcasts etc. So PPL is worth joining, they collect any other performance money that may be due to you. [url="http://www.ppluk.com/"]http://www.ppluk.com/[/url] Good luck with it all. Garry[/quote] I was just going to say the same thing.... I'm quite enjoying hearing Eliza Doolittle everywhere I go.... shops, radio, TV, sports centre etc etc. The reason... I'm PPL registered and I'm on her album When it comes to fees, remember that union rates are generally regarded as minimums, budgets are tighter these days but if you are working for established producers and signed artists then you can push prices up a bit. I do anything from a speculation for points up to set rates above union minimums depending on the job.

[quote name='Doddy' post='1176117' date='Mar 25 2011, 04:20 PM']Try and place your thumb in the middle of the neck pretty much adjacent to your middle finger. You should almost be making a triangle between your thumb,index and ring fingers. You don't need to grip the neck with the thumb either. Instead you should use it more as a pivot/balance point. You should be able to lift your thumb off the neck and still be able to play.[/quote] Couldn't have put it any better than this so +1

[quote name='stingrayPete1977' post='1173825' date='Mar 23 2011, 08:27 PM']I dont think you need to be working Jake, If you just want to dep or jam along in theory (excuse the pun) if they give you a set list with the keys on and you know the songs (pop/rock songs etc) you could pretty much bang them out if you have your scales down. I agree with the have fun bit though [/quote] You're quite right, you can have a great knowledge base for fun too, I just think that to be a serious player there are circumstances under which the imperative to be knowledgeable is increased.

Ask any student of mine and they'll tell you that I am often heard to say, "there is no substitute for just doing it" scales are a great way to give your muscle memory processes access to areas that simply learning riffs by rote leaves to chance. Why leave something to chance when there are established ways of ensuring that in any given musical situation you are equipped with the tools to play something appropriate. More to the point, when I teach scales, alongside them, I show the student how they can be used to understand what it is you are playing... this without fail opens up possibilities as having an understanding leads to relating to different keys, chords and other scales. Further, a body of knowledge is easily built upon so stretching yourself a bit is quite easy,whereas trying to busk your way through things that are beyond your current understanding is painful for both you and your colleagues. Therefore there is no excuse for not being fully equipped for the job in hand, which in my book does include simply knowing what you have to play for a gig, it's just that the wider your knowledge the wider the brief you will be able to cover. Given how much competition there is in the business you'd be mad to sit on laurels of being able to busk a load of tunes you know and sod the rest... this analysis assumes you are trying to [b]work[/b] as a bass player, if not just have fun doing what you do.

My only knowledge of the place is an engineer I work with that went there... she got a work placement whilst studying, it was at AIR Lyndhurst and a few years on she now has a job at AIR. She speaks very highly of the course.

Great stuff Clarky remember to buy a couple of bottles of vintage Port it's the biz over there. Hope you're having a ball.

Great time too, thats the nicest thing about his playing for me he sits right in it, and really lovely ideas. Very melodic. Great player. Very Metheny influenced

Pah... not going to make it after all schedule too heavy As a pal said to me the other day... "how do you make a musician moan...? Give him a gig"

I like to refer to it as Bass x 2

[quote name='farmer61' post='1145666' date='Mar 1 2011, 01:11 PM']So for a DB newbie, what is the best way to store a DB? Stood up?[/quote] Interesting point you raise there friend.... I would say.... dun dun duuuuuunnnnn. On it's side.

On it's side BUT as others have said they are pretty much repairable from most injuries..... I really hope it's sorted for you. Oh and did I say... nah even I am not that annoying

On it's side

Oh man.... horse, stable door and all that... but NEVER leave a double bass standing unless it's in a corner. On it's side On it's side On it's side On it's side On it's side On it's side On it's side On it's side repeat after me On it's side Best of luck with it but, On it's side Jake (On it's side) Newman

I'd try Ronnies and a walk around that area on the fri night if I were you... go for Sushi or --- (insert your choice here) have a wander, like Jack says just drink in a bit of the atmosphere it's a buzzing place. I'd go for a walk down to the river near westminster bridge, the city looks great from there and you are a 5/10 min walk from Trafalgar square, Covent garden and Soho. It's definitely one of my favourite cities in the world, for me only New York and Berlin compare for sheer vibe.

I think wanting to be heard and playing bass are not always the best of bed fellows, there are times where I find even the great players are just a bit too in your face, it's entirely personal, I would never denigrate because I can see the value. I don't care about being heard so much as felt... my big kick is getting folk on to the floor. Because I know they find the bass irresistible and I know that (mostly) they are not really aware of why. I dig that.

Glad to hear it went well

I've rarely played a bass that I [b]really[/b] didn't like... if ever tbh! That suggests to me that Bilbo is close to the right line on this. An instrument is a tool, don't get me wrong I want good tools but what I'm happy with is more about what I can do with them than what they can do for me. Although I have been heard to say my Alembic is the closest I have ever got to sounding like [i]me[/i]

[quote name='spongebob' post='1132465' date='Feb 18 2011, 05:15 PM']Thanks everybody. I must say I am pretty intimidated by the idea......but I'll obviously do my best and see how we go. It started as as a 'yeah, or course...' and has ended up in 'oh ****'!!![/quote] If you do it you will get an immense sense of satisfaction... it's so great to swing away playing lines as they come into your head... Go for it!

[quote name='petere963' post='1132463' date='Feb 18 2011, 05:14 PM']Can anyone recommend a good double bass teacherin the Leeds/West Yorkshire area? I am playing mainly bluegrass at the moment, but keen to move into Jazz/classical etc.[/quote] Zoltan Dekany works at the college in Leeds, he has a very good rep. I don't think he lives there but you might be able to sort something A little further afield you have Steve Berry in Blackburn, a fabulous player of the instrument and one of the most inspirational educators you could wish to meet. Failing that I would think you'd need to head over to Manchester. Let me know how you get on cos I know most of the guys up there.

I don't use drop tuning myself but would think it's simply a question of learning the note relationships as they appear with the new tuning ie if you want to play diatonically (scale wise) then find the fingerings that make that possible and learn them.

Now for some practical advice.... Learn the chord sequence off by heart, learn to mark it out with a strong feel by playing simply, understand what the changes do all by themselves (ie just playing the root) Once you are adept at that then start to think about playing other chord and scale based notes, with chord tones make a strong sense of what the chord is, with scale tones think about the way in which they can be used to get you from one chord in the sequence to the next.... Those bits of advice really really really are just the most basic elements, but will get you a long way if you take the advice to heart and spend time on learning sequences properly... eg you should be able to sing the changes from memory! Take good stock of what the 3rd and 5th and 7th do in any given scale whether that be major minor or dominant... learn all those chord qualities and be able to reproduce them at will.

It's difficult to appreciate, when you don't know what constitutes a good walking bass line, just how much knowledge goes into it, it [i]can[/i] be done by ear, but you will need to absorb a lot of reference material, for god's sake put enough time in to avoid sounding like the unmitigated drivel fest that is the 'walking bass line'* on that great insult to jazz bass which is moondance, I prefer to call it moonflatulence as it is a travesty and a well known one at that. Listen to Ray Brown, or any of the bass players with Billy May, Nelson Riddle orchestras. You have your work cut out to do a really good job and the obvious thing to say is have a few lessons with a proper jazzer in your area, someone who not only knows what they are doing themselves but who also can describe the mechanics clearly and effectively. Anything below that level will be awful cos to do it well you really need to know your stuff... * in fact it's not a walking bass line, it's a poor unsuspecting bass player who said yes to the session when he was way out of his depth.

[quote name='lojo' post='1130224' date='Feb 16 2011, 08:40 PM']And there's me having to listen to 80s pop songs 5 times over, just so I don't get lost, I feel very small[/quote] A nicer way of saying you 'feel small' is to say 'humbled'. To me that you see that in that piece indicates that you have what it takes to improve (which is a great attribute) those that dismiss it as rubbish because they don't understand it display a tendency to refuse to accept growth, this, in my experience, is often reflected across attitudes and in other aspects of life, and it's therefore no surprise to me that artists and people dealing in the arts are often thinking people and often open minded people, in fact it surprises me when I come across people in the business who are not!

[quote name='phil.i.stein' post='1130161' date='Feb 16 2011, 08:06 PM']sorry dude, paranoia. [/quote] LMAO a veritable comedy of misunderstood text