jakenewmanbass

[quote name='Longmayyourun' post='999887' date='Oct 25 2010, 12:07 PM']Hi - did you get this sorted? If not I have what you're looking for (actually 2 pianos worth) Fell free to drop me a PM All the best, Andi[/quote] Hmm... sorry to hijack but does that mean you have some ivories too? I have a few missing off an old bechstein and I'd love to replace them. Cheers Jake

And here is a link to the version: [url="http://www.youtube.com/watch?v=HVudFsFYyzE&feature=related"]http://www.youtube.com/watch?v=HVudFsFYyzE...feature=related[/url]

[quote name='silddx' post='999087' date='Oct 24 2010, 05:58 PM']No No No! I didn't say that! I just have good ears, I trust them and the music I play and the bands I play with do not require that level of knowledge, only my personal music judgement. I like my musical choices and the only thing I was implying was that a musician can get to a point where they can only fulfil themselves by playing the sort of sh*t in that video. There is no outlet for their talent. [b]There is no James Brown, no Frank Zappa, no great composer to challenge them[/b] and utilise their technical talent. That video demonstrated such a lack of integrity in those musicians, such immaturity, that anyone who has true musical values and immense knowledge of theory would probably be ashamed. If I had that level of talent, I know I would need to do something with it, but I wouldn't want to end up like that and I know it's possible I might and I would have to kill myself Edited for some clarity and so I don't sound like quite as much of an arsehole.[/quote] Despite messing with some of this stuff from time to time but still on the banstand just wanting to be a bass player, the bit I have highlighted is something I've been saying since the first MM solo album. (Bass solo that is 'the sun don't lie, he did a vocal soul album prior to that) These guys are great players but lack the compositional ability of the guys they are usually sidemen for, but worse the bile swilling music industry could not resist trying to capitalise on their popularity because they are KNOWN players. Jaco I think is an exception some of his tunes are great, and bass players per se don't need to be excluded from compositional greatness, it's just that like many other aspects of the industry a market has been discovered and ruthlessly milked. Don't blame any of them for accepting the work tho.

Their whole catalogue is sensational to my ears. Filled with vocal gems, clever lyrics, great tongue in cheek humour, wry observation, not to mention stonking grooves by some of the best players on earth over the last forty odd years. Glittering harmonies, achingly beautiful song form structures and harmonic progressions.... I could go on all day. Bathe in everything they've done, it can only infect you with goodness Intelligent and accessible at once, not often bedfellows in modern music. MODS, Somebody block my account will you, I am going to keep on and on and on and etc

Hi Rob, I've just PM'd you with this message, I'm repeating it here because it may be useful to others: Yikes... I hope the sound post is in position. If it is (look through the f holes and you should be able to see it a round wooden pole going from front to back) then lay the bass on its back to stop it dropping out (it's held in with friction only), position the bridge between the notches in the f holes (that's what they're for) lay the untensioned strings over the bridge and gradually introduce tension evenly and across all the strings a little at a time, doing this will cause the bridge to tilt so adjust it back to upright every few turns of the machine heads. If the sound post is not visible DON'T DO ANYTHING. Putting tension on the front table without the sound post in place could put the bridge right through the bass (slightly alarmist ), so it's time to either find the post and re-position it or get your ass to a luthier, I would not try to re-position a sound post myself simply because I have never done it before, i'd be happy to do it once I'd had proper guidance from an experienced person, but to me the risk of damage is not worth the experiment. Jake

This happened to me when I sold a bass to a guy in Romania, the difference was 21 quid, I said nothing to the buyer as even though we had agreed a sterling price it seemed pointless to chase a small percentage of the sale price which was 1100 quid. The seller checked the transaction his end once the conversion had taken place and noticing the shortfall took it upon himself to pay me the difference. In your shoes I would agree with Chris, just leave it as is to make the sale go through.

[quote name='risingson' post='994594' date='Oct 20 2010, 11:36 AM']He used to teach me at Uni, inspired me every time I went to a lecture, which is more than can be said for most of my other lecturers. Same with Mike Walker as well should you know him too?[/quote] I have recorded and gigged with Mike a fair bit. Another great educator and I'm lucky to call him a good friend. Mike has given me pearls of wisdom that have pushed me forward immeasurably more than hours of pointless noodling I have done ever could.

[quote name='JTUK' post='994514' date='Oct 20 2010, 10:13 AM']Define a no-hoper..its all relative[/quote] I think that could be attributed to poor choice of terminology is all

[quote name='JimBobTTD' post='994376' date='Oct 20 2010, 05:27 AM']If you genuinely think that someone will never learn, you have no business being a teacher.[/quote] Strictly speaking that is not what he said, your cutting the sentence short changes the meaning. It's conceivable that one could identify a likelihood that an individual does not have an aptitude for a certain endeavour, in exactly the same proportions (but inversely) as one could identify that they do, have an aptitude. That one would state it should not be shied from, and is in my view the correct and decent course of action. Further, it would not suggest that their ability to learn per se is compromised. I would, like others have said, be perfectly happy to indulge a students sheer enjoyment of the process, but would never think it right to mislead them as to where their possibilities of achievement lie. Edit for afterthought: The principle behind my point sounds so dry when read back like this, so I would add that while that is at the core of my belief as a tutor, it does not detract one Iota from the enthusiasm and encouragement I apply to the process, ask anyone I've taught from here.... they will all probably have had the experience of me rattling on for ages after the time is up

[quote name='risingson' post='994339' date='Oct 20 2010, 12:52 AM']Got taught music by Steve Berry for a long while. It's difficult to comprehend a musician so finely in tune with rhythmic, harmonic and melodic ideas as Steve until you've spoken to him, but he is flat out one of the most brilliant musicians I will ever encounter. I'd consider him very advanced as a teacher indeed.[/quote] Steve is one of the most inspirational music educators in the UK IMV and for me it stems from the fact that he's a diamond guy. Being a fellow bass player I have not had much to do with him musically but I have had lunch at his house a few times (I used to hire his DB flight case) and know lots of people that work with him.

[quote name='XB26354' post='994205' date='Oct 19 2010, 10:41 PM']Having taught for over 15 years, my experience leads me to believe that great teachers (i.e., ones that are capable of teaching advanced students) posess, in order of importance: The desire to teach, not just for the money but because they genuinely enjoy helping other people to develop new skills and abilities. The ability to understand and communicate well to a wide variety of people from different backgrounds. A sound knowledge of their instrument at a fundamental level - unless you're a genius this usually takes a long time (which is why I didn't start teaching until I had been playing for 10 years, 7 as a working pro). I'm a better teacher now than I was at the start, too. The technical and theoretical knowledge to be able to relay such fundamental knowledge. If a teacher doesn't know their theory and cannot read music I wouldn't expect them to advertise as a teacher for advanced students. Practical experience as a musician - learning to play is much more than notes and rhythms. I learned a lot about playing, gigging, locking in with a band and managing professional situations from my teachers. The ability to gauge a student's strengths and weaknesses, and also how to best improve their overall ability Prior teaching experience! Burying one's ego and avoiding the temptation to show off helps, too.[/quote] Lots of truth in this... The only thing I would add is my feeling that as a teacher one should work very hard to discover the elements of learning that engage and excite students, because when that is achieved the rest follows easily. My concept of advanced really revolves around having a strong, demonstrable grasp of all that is required to operate professionally up to and including reading, improvising, and having creative input abilities.

Yes and as straightforwardly as possible.

This is (as far as I know) a less well known Jamerson track sung by Marvin Gaye it's called Loving you is sweeter than ever. It's really worth getting hold of a copy of the song because there is so much untold in the writing of it regarding emphasis and dynamics, to hear it is a must. It's a gem of a bass line, very diverse in the verse but a reall swinging fat groove in the choruses. Again enjoy: [attachment=61723:Loving_y...han_ever.pdf]

Here is a really nice Dave Holland bass solo on the track 'A Weaver of Dreams' from the Album of the same name by Don Grolnick (fabulous pianist) It's a standard and has very unremarkable harmonic devices, absolutely standard fare so a real treat to hear what a total master can do with it. Enjoy: [attachment=61721:Weaver_of_dreams.pdf] BTW it's heavily swung!! Ps I've got a transcribing head on at the mo so there might be more to come if I can find the time. Jake

Glad the rehearsal went well Clarky, hope it all starts to feel better asap. Jake Pm or phone for any tips should the need arise

I'm sure I know the drummer too, his name is Steve something, I did a bluesy gig with him somewhere in Barnes with a band called sugar T and the Swells. Yep I thought they sounded great!!

Have a look [url="http://basschat.co.uk/index.php?showtopic=41208"]HERE[/url], lots of experiences and good advice from those that have done it...

[quote name='markstuk' post='990175' date='Oct 16 2010, 01:29 PM']Playing in the same register does not automatically make something muscial or unmusical... I think we actually agree on this.. Playing unmusically is the real crime.. Cheers Mark[/quote] Indeed agreed

[quote name='markstuk' post='990156' date='Oct 16 2010, 01:15 PM']And what leads you to think I'm suggesting keyboard players should "get in the way" or clash harmonically with the other instruments in the band? If you're playing from a written arrangement then that's what ALL of you play.. If it's looser then you improvise in a musical way.. Again keyboard players have no monopoly on unmusicality.. But if we play with our left hands we're treading on the bass and play with our right hands we're treading on the guitars :-) bit of a no-win.. Of course we can be the special effects division triggering loops and so on... :-) Look how you lot moan on here when you get told off for going above the 8th fret... It's all the same deal.. You either leave the space (John Cage 4.33 anyone?) play the same thing as someone or play something different. In the end it has to add to the overall picture rather than get in the way... As bass players we don't have a special critical position - but then again no-one else does either... Mark[/quote] I meant the thread was suggesting the 'getting in the way' thing, and I have not suggested any of the other things you said, neither do I moan about being asked to play specific parts (after all it is my living) read my posts again and have look at the link i posted. I have a roundly positive attitude towards the vast majority of my colleagues, but have encountered the problem mentioned here. Don't take it so personally Mark.

[quote name='markstuk' post='990138' date='Oct 16 2010, 12:58 PM']Then we'll agree to disagree.. Unless you have a image of a keyboard player desperate to use all of his/her finger all of the time at the maximum possible speed.. There is no formula of notes per instrument per bar that guarantees musicality. However I suspect that you misunderstood my statement that the keyboard player should think about doing something else interesting. Interesting in this context means musical.[/quote] I think it just depends on the extent to which the music is organised, if the players are improvising and embellishing without arrangement then it really is important for harmonic clashing to be avoided on the hoof. I play with lots of guys who are capable of this (most good jazz pianists are adept at it) what is being pointed out here is that there are keys players that get in the way. I'm talking about how to eradicate this. If the piano player in an orchestra started busking bass notes into his part because it was 'instinctive' he'd be sacked. Also occurs to me that you don't refer to my notion of left hand and two handed voicings that don't contain roots...? Is this something that you are familiar with? I mean this in the friendliest possible way because if you aren't then there is a world of wonderfulness out there for you

[quote name='markstuk' post='990106' date='Oct 16 2010, 12:26 PM']I play bass in one band and keyboards in another.. To offer an explanation it's almost instinctive for keyboard players to want to play a bass line with their left hand, indeed it feels odd only to use my right hand.[/quote] Instinctive or not it's not good for the overall sound to have closely related bass notes being played simultaneously unless they are in unison or carefully arranged (both are rare) [quote name='markstuk' post='990106' date='Oct 16 2010, 12:26 PM']The answer is for the keyboard to play something different - usually lighter, usually more syncopated or at a different interval - from the core bass line.. Just point out to the keyboard player they could be doing something more interesting than just doubling the bass, and that they're likely not to be as tight as the bass player anyway...[/quote] Completely disagree with this analysis, it just makes for muddiness and a total lack of clarity, as I said before any Keys player worth his salt will have an armoury of voicings that don't include the root of a chord so that his input into the band becomes a piece of the jigsaw rather than covering all of it harmonically. Space is critical in making the difference between music that is messy and music that has clarity and discipline. I am the MD of [url="http://basschat.co.uk/index.php?showtopic=101421"]this[/url] band. Mike Gorman (the keys player) is a master at coming up with just the right part to enhance the song. Incidentally, I am a great lover of really well played unisons between (especially piano) LH and bass parts, done well and in the right proportion to the whole arrangement it is a great sound

It is a common problem and is as bad as bass players who play all over the instrument all the time The particular problem for keys players is that they often self accompany whilst playing solo gigs so the need for bass notes is at that time present, what those players need to learn is a strong repertoire of left hand and 2 handed voicings that don't include bass notes. I have got the the point of giving a keyboard player a Mark Levine piano book and pointing out what I mean. It really is about musicianship and hearing the whole band sound, luckily for me the vast majority of keys players I work with are extremely fluent in the appropriate techniques for slotting into a full band.

I've said all I'm going to say on the issue, the way you come across is very poor on the evidence of these couple of threads, my feeling is that if you carry that kind of prejudice onto the professional bandstand it won't be very long before you have a limited diary.