jakenewmanbass

Sunday girl by Blondie was the point at which i decided for certain that I was a bass player, at the ripe old age of 11 I had been playing for 3 years but dabbled in piano, violin and guitar as well as bass.

[quote name='witterth' post='707813' date='Jan 10 2010, 04:23 PM']who plays on "walk between the rain drops"? cos that's Dahmn good, Pete. my only REAL copy is on vynil and consequently is in the loft!! (is it Will Lee?) Edit: Shara5string was right, it was allways going to get nasty was this....... ... no popcorn left?[/quote] It is indeed Will Lee and he is doubling a synth bass part, which is testament to his brilliance because he is so in the pocket with it. Great playing.

[quote name='BurritoBass' post='707751' date='Jan 10 2010, 03:17 PM']MU gives you much more than any insurance quote in my opinion[/quote] +1 for that too

[quote name='dabootsy' post='707740' date='Jan 10 2010, 03:06 PM']I have thought about this but the MU is about 3 times more expensive than my musicguard quote[/quote] Really??!! Does that include £10 million PLI?

[quote name='crez5150' post='707489' date='Jan 10 2010, 11:15 AM']Join the MU and get covered, albeit on a limited base but worth it[/quote] +1

[quote name='Adrenochrome' post='706513' date='Jan 9 2010, 01:17 PM']I find it interesting that opinions contrary to those held by the village elders, get a bashing. Is this a discussion forum or a 'protect the status quo' website? I notice that anyone who's not keen on Ps usually gets a thrashing as well.[/quote] If you consider me a village elder then I'll offer you this. What I want in any discussion is for people to distinguish between what they like and what is good, and similarly what they dislike and what is not good. Just because you don't like something does not render it bad. I'm afraid opinions don't come into that as certain elements of what is good are not debatable you can argue their relative merits or whether they are fit for purpose but that is a different conversation. If somebody decides to be condemning of something without recourse to reason, whether I'm considered a "village elder" (which is a childish definition) or not I will utilise my right which carries exactly proportionate weight to yours to try to bring a little balance to the debate. What you don't see the "Village Elders" doing is making sniping little remarks which achieve little more than to create a divided bad feeling in the thread. If you don't want to hear the views of people be they "Village Elders" or some such other imagined splinter group of basschatters then don't read on.

[quote name='J3ster' post='705709' date='Jan 8 2010, 04:46 PM']Very informative - thank you. Have a good gig[/quote] Whatever you think of Petes little rant, you surely can see that it's piss poor to sum up a persons output on a few vid clips and then publicly decry them in an open forum. Most importantly for you I think is the short shrift your opinions will be given in future if you are prepared to be so condemning of a guy that you don't know and have not really looked into. Vic has done some really lovely playing without the solo bass thing happening at all, he has a great feel and is very musical. I'm not really switched on by the lead bass thing, but I respect what the guys who do it have achieved.

[quote name='iconic' post='705199' date='Jan 8 2010, 10:04 AM']OK, I'm getting there I think... this vid has helped, I can hear the funk in this blues.....a little [/quote] Just take a look at the tiny shifts in the history of music (especially in America) in the last 120yrs and the strain of blues running through all of modern music is unmistakeable.

car wash IS a blues derived bassline.

I think Out to play Jazz and Teej have made the most important contributions here. Having a really solid grasp of the blues it's harmony, and form and many manifestations will stand you in good stead for the vast majority of music that is deemed popular, commercial etc but it also has a strong place in jazz and of course blues bands and in fact it is one of the unifying factors between them all. You can get a long way in lots of music by knowing your blues and maj and min pentatonic scales.

I've got no room to talk: [attachment=39598:cs2.jpg] I'll do just about anything if the pay is right

[quote name='Spoombung' post='703877' date='Jan 7 2010, 10:11 AM']This is just another one of those threads where people list their favourite music and slag off the music they don't like. I mean...y'know, I can't stand The Who and their music but I wouldn't call Entwistle an 'overated' bassist... because he plays [i]Who music[/i] rather well.[/quote] Amen to the prayer of sense

[quote name='Doddy' post='703635' date='Jan 6 2010, 11:02 PM']Guilty. I did it a few times with my Fender Jazz a few years ago. I don't do it anymore. [/quote] and this from the guy who thinks words for rhythms is childish. LMAO

John Taylor has done fine. Victor Wooten is a very good bass player in a band setting (when just playing bass lines) he just does the solo thing too, and very well, although lots of it does not keep my attention for long. As for my choices.... None, totally pointless sentiments contained in the idea.

[quote name='Doddy' post='701579' date='Jan 5 2010, 01:44 PM']I've worked with Joe aswell. Top Bloke.[/quote] He really is.

[quote name='tauzero' post='702564' date='Jan 6 2010, 10:41 AM']20%. You play the fifth once per bar and the root four times per bar. It can be a bit tricky fitting that properly to 4/4 time.[/quote] Nah it's simple five over four, thats five evenly spaced crotchets in the space of four... used all the time in contemporary music.

It's an interesting question for what it exposes. I have a complete knowledge of what is going on in the band and can ask any member to play a specific rhythmic figure, or chord voicing and such. What I find is that very few people have enough specific knowledge of what the bass does to be able to make a specific request. I am MD for one project that i'm in and can be very specific about what parts I want the guys to play but it works like this: Me and drums will generally work out what the basic groove and tempo a song is, what hits we make together, or seperate when and where gear changes (dynamics) take place, and intensity levels are decided. With Keys and guitar, same with rhythm figures, and then specifically what chords contain (I will always defer to their greater knowledge) how dense chords are and how they complement the melody. With the vocals we really tend to just discuss how they sit in the frame the band has built. Although I will be more specific about how bv's sit with the lead vocal and treat them like a harmony instrument and so listen for the overall texture with the other harmony instruments. That is the original project of which I am the band leader, I will ask peoples opinion of my parts and take suggestions gladly. When it comes to working for others I literally will do what they ask. If it's fully written I just play the pad, if it's sketched with chord charts I will improvise the best song serving line I can muster and if I'm busking... well there isn't time other than a quick it's this or that type of feel before we're off. When you come across band leaders arrangers or score writers that have a real innate sense of appropriate parts for the bass it's a joy because it just drips off the page. Last year I played for violinist David Garrett and the arrangements were done by a guitarist/conductor who really knows his stuff and his parts (because he understands the way strings work) were idiomatically nothing short of brilliant. Sometimes you come across parts that are so badly written that you have to read ahead as much as you can take the basic sequence movement from the root notes of the chord and rearrange the part whilst playing it... this is called ahem 'interpretation'

[quote name='bubinga5' post='702086' date='Jan 5 2010, 08:35 PM']i still think as a bassist its much more important to be able to groove and have a good ear, than have great musical theory[/quote] I think the major point here is that they are not mutually exclusive. Of course groove and good ear are important whether you have a good grasp of theory or not.

Also, Jennifer made a very astute point earlier about the point at which a tutor is required. Theory books are not manuals, the reason being that music has many variables in it's expression and therefore in it's written form too. At the point you hit a crossroads is when you need someone at your side that can do 2 things 1. Know their stuff well enough to explain it clearly 2. Find the explanations that suit the student best. If I have tried to achieve anything as a teacher it is to attempt to develop an innate sense of which things mean something to the person I'm teaching. I can usually tell when it's not going through (I don't always get it right of course) Also theory should not be exclusive of sound because that is the main reference point, which is why I'm cautious about trying to explain things in general conversation here. I will answer specific queries in the theory and technique thread, but even as I write this I am conscious of the total inadequacy of words on a page to convey (however well put) the details that are required to explain something in sound without a bass in my hands.

[quote name='Doddy' post='701886' date='Jan 5 2010, 05:15 PM']Totally. If you are playing stuff you are already familiar with,you are rehearsing. Practising,I feel, is working on new things that you cannot already play.[/quote] I agree, my spin on that when teaching at Salford was to say to students if your head feels fuzzy and you're struggling to concentrate then you are learning. Get used to it it's a good feeling.

[quote name='SteveK' post='701484' date='Jan 5 2010, 12:32 PM']As I did at the beginning of this thread... However, I realise now that I was wrong. Repeat after me: [b][size=4]Theory is bad - very bad![/size] [/b] There's far too much competition for the decent gigs as it is. [/quote] Love this angle Steve. STEVES RIGHT EVERBODY.... PLEASE DON"T PAY ATTENTION TO MY EARLIER POSTS

[quote name='Rayman' post='701248' date='Jan 5 2010, 08:24 AM']A mate of mine is a professional guitarist who can read anything you put in front of him instantly. Try and get him to write a great song though..........he's clueless, no creative tendancies whatsoever. [/quote] Not Steve Willingham is it?

[quote name='wateroftyne' post='701247' date='Jan 5 2010, 08:22 AM']Where do I sign up for the Joe Pasquale gig?[/quote] Lol, I was actually on that gig, I played in a show with Joe for 6 months, he's a diamond of a bloke. And I honestly was still laughing at the show til the last night.

I have a diary full of colleagues that have toured and recorded with.... Faithless, Robbie Williams, Corrinne Baily Raye, The Sugababes, James Bourne, Duran Duran, David Bowie, George Russell, Dave Holland, The Hours, Black Grape, Peter Gabriel, Del Amitri, David Garrett, Ike Willis, Bryan Ferry, Bobby Martin, Peter Erskine, Joni Mitchell, Shirley Bassey, Bruce Forsyth, Joe Pasquale... actually the list is endless and some of those gigs I've done too. The sole reason the guys in question were in the frame is due to their complete musicianship. Which takes nothing away from your mates' achievements but the numbers are stacked massively in favour of the guys who really know their stuff.

I think the chances are that these guys are pretty set on getting a guy local to them, I replied to their last thread, and got no reply, so when I sent one asking for at least a 'thanks but no thanks', the member here responded saying he had been busy and my details had been passed on. I got no reply from the email.