jakenewmanbass

This question comes up from time to time. Do you mean studio sessions? if you do the reading is essential. There are not many sessions and the ones that there are are done by some extremely capable players. One is not always expected to sight read on a session but if you are required to and you can't your chances of being called back are nil, and being called back is the single most important developmental step in any music career.

[quote name='algmusic' post='849415' date='May 27 2010, 02:07 PM']It's funny in my humble career.. the first thing people say about someone is: great guy, then great player.[/quote] In some of the circles I have worked in, the words 'he's a lovely guy' is one of the most damning condemnations of a persons' musical abilities that can be uttered.

[quote name='MacDaddy' post='846607' date='May 24 2010, 04:05 PM']the language we communicate with is music, if you can not read music you are musically illiterate. Illiteracy is not good.[/quote] While I am a general supporter of reading (and read regularly myself) I feel this observation is slightly over egging the pudding as there are plenty of great musicians who don't read. That being true does not make it a worthwhile cause to steadfastly not read, but it does mean that we should recognise the distinction between reading and playing. I feel that the final result is what should be judged in music and if the final result sounds good, then it sounds good, how you get there is irrelevant and we should not denigrate those that get there without reading. If a person finds a happy niche and is successful to whatever degree satisfies them then it is for no-one to judge otherwise. It's observable that any musician would add a bonus to their armoury by learning to read but it is not a deficit if they are a great musician without it, because the final judgement is what it sounds like. That said I would encourage anybody to learn to read, but only in positive terms.

A good bass player puts the music first, so to an extent will wear a producers hat. Good time, nice feel, musicality, a great sense of line. Most importantly no ego. There are bands and music where bass with ego works a bit, but for me playing a support role well is all the adulation I need, and it's me making that final judgement, so an ability to self police is also very important.

Welcome to the world Mike. Great link thanks for that. Jake

[quote name='casapete' post='844882' date='May 22 2010, 09:35 AM']+1 Always loved his playing and his attitude/approach. Seem to remember at one time James Taylor planning live dates/tours around when Leland was available. Then when people like Phil Collins started using him for their sessions , James seemed to start using Jimmy Johnson more - another great player too.[/quote] I once heard Jimmy Johnson say that he feels like he's been depping for Leland for 20 years

I'm watching it now... great player! And Russ Kunkel has a great sounding kit

[quote name='Bilbo' post='844324' date='May 21 2010, 04:21 PM']Nice avatar, Jake.[/quote] Thanks gorgeous!!

I've been lucky to do quite a few sessions over the years, from demos to radio/tv ads to albums and a few major label things. I love the studio environment and really just want to serve a piece of music as well as I'm able. To me it's more about what others think of a song than what it means to me... It takes all sorts to make a musical world and someone somewhere will derive enjoyment from something that I wouldn't listen to in a million years, but that they enjoy it is enough for me.

[quote name='ahpook' post='842621' date='May 19 2010, 10:28 PM']two, count them [i]two[/i] gas cookers [/quote] he he, I used the bottom one cos the top one was a bit too blue for me Phenomenal things they are though... made the Alembic sound massive. It's Al Stone engineering. He likes to hear the bass

Back in the studio, this Time Unity in Willesden. We were doing a live recording which was filmed and will be available on Spotify in the near future as part of a new thing they are doing. Everything was done live in straight takes, no overdubs... Bass and keys corner [attachment=50149:IMG_0114.JPG] Rear view of my bass and into the control room via Mike and Yamit (keys and vocals) [attachment=50150:IMG_0111.jpg] The Drummer with a lovely kit [attachment=50151:P1000573.JPG] And the kit... [attachment=50155:P1000567.jpg]

[quote name='stewartmusic' post='841369' date='May 18 2010, 08:48 PM']Hey, I understand that there are many teaching methods about and when it comes to Double Bass there's probably even more! I'm currently studying with Thomas Martin at the RSAMD and this is one thing that i would slightly disagree with, you need to make sure there is a good shape to your finger, especially not flat and I would say that you need to have a good curl so that you are using the round tip of your finger rather than your pad, it allows you to add more shape and make a really strong tonal centre, and its easier to move if your intonation is out! jakesbass, im not intending to detract from your ability as a player as I'm sure there is no question there, i just wanted to include my own bit of insight:) Dara[/quote] I'm not the only voice on DB Dara so I welcome the views of others. I think that we are actually closer in view than your 'slightly disagreeing' would suggest. I agree entirely about a good shape and getting energy into the finger, I was saying not curling too much rather than not at all, so I reckon we were saying roughly the same thing but from opposite directions. if you go back and look at the pics I have posted I have a reasonable curl, tell me what you think of them... Jake

Swing (walking bass) leans towards the front of the beat and creates a very driving feel (listen to anything by Ray Brown), Rock 8ths can also be played on top and driving, especially at the punkier end of the spectrum. Anthony Jackson himself can be heard playing 'on' the beat in IGY on Donald Fagens Nightfly. It's very accurate and very 'with' the kit. I think that really good 'on' playing is the most technically challenging and is more the preserve of the very accomplished player. Swing or funk feels can be played by good imitators, but sometimes those people can do little else. Behind the beat is funkier and lazy, a really fabulous example of which is Will Lee playing 'take you Higher' on D'Angelo's Brown Sugar. Lots of funk bass is played behind creating a very deep groove, or fat pocket. Think 'Thats the way' by KC and the sunshine band or James Jamerson on '90 day cycle people' or all of the Whats going on grooves. Happy to answer further questions on this if needed Chris, it's an interesting subject and should be paid attention by aspiring players. I would be interested to hear some of AJs comments, he is in my view one of the worlds most accomplished players. As for what to practice, I would say listen hard to some of the things that have one of the 3 attributes and learn to copy them very very very exactly. If necessary record yourself to see how close you can get it....

It's certainly true that the cheaper basses these days are better than ever, and if someone is wanting to try then no need to spend a fortune. However if you're serious then I'd say spend whatever it takes to get a bass you're happy with be it £50 or £50,000 (30 years ago basses really were to be found for 50 quid) The reason I am inclined away from the cheaper ones is because they are not really instruments. They are approximations. A really good bass will feel like nothing else and make sound that just drags you forward as a player. If you find you can't leave it alone because of the way it sounds and feels then you've found a good un. The nasty tones that sometimes come out of newer cheap instruments will make you recoil if it produces a sound that you don't mentally expect, and lets face it us jazzers have been listening to recordings of guys playing instruments up to and including £60k (I'm thinking of Charlie Haden) and there is a history of lovely old basses littering the recordings of the last hundred years. That's the sound in our heads and that's what we want from our basses....

I've never used software. I just listen to a bar at a time and write it down, If a passage escapes my ear I will work it out on the bass. I'm blessed with very sharp ears and can hear everything, all instruments, which is great for me, but sometimes a little intimidating for others if I'm band leader

[quote name='Pete Academy' post='833952' date='May 11 2010, 09:17 AM']It's Sunday 22 August, Jake. I think Bryan's drumming.[/quote] ahh sh*te, I'm in Hamburg. Although I am happy about that. Cheers anyway Pete.

[quote name='silddx' post='832968' date='May 10 2010, 12:25 PM']I'll be at the Jazz Café gig in August, anyone else coming?[/quote] Hmmm tempted to join you Nig, not least because I know a couple of the players. What's the date...?

[quote name='Fitzy73' post='820092' date='Apr 26 2010, 10:57 PM']have been looking out for a used one for a while ,but dont see them much . love the white one[/quote] chrkelly had one for sale a while back...

[quote name='ashevans09' post='807103' date='Apr 15 2010, 01:24 PM']There's also this old technique - 1) Put superglue on the finger tips of one hand 2) Place them on your forearm and hold them there 3) Let glue dry 4) Rip fingers off forearm, taking skin from forearm with them 5) Repeat for other hand = extra thick fingers! [/quote] Wah no exaggeration honest...

Good Man, Good Man *puffs on pipe* And thank you sir...

[quote name='Bilbo' post='806357' date='Apr 14 2010, 06:28 PM']Jakesbass (Jake Newman) is in Aldershot - look for his feedback. He is a natural teacher and will get you to where you want to be.... He has taught many on here (including me) with great results.[/quote] Thanks Bilbo, it's much appreciated...

My advice is don't pop... the liquid that is contained in a blister has properties that harden the skin underneath so the longer the blister is there the better. Whatever happens it's not a long term problem but I would suggest trying to be a bit more consistent in amount of time played in future (ie not a huge amount all of a sudden) obviously, if it's possible. And as an upright player I'm going to pull rank on the two answers above... where skin toughness is concerned bass guitar is for sissies

Fascinating stuff this, I'll post a link on the Alembic site as many of the guys over there will be interested in this as it is quite significant in the early Alembic sense.