jakenewmanbass

[quote name='BassBus' post='656056' date='Nov 16 2009, 04:17 PM']I'm not sure I'd agree with Jake about keeping the elbow up. That might work for you Jake but I found that just intruduces so much tension to the shoulder = problems. Drop the elbow down and be aware of any tension in any part of your body. If you feel tense anywhere try and work out some way of relaxing.[/quote] I would say that as long as your wrist is straight then whatever works for you, I would be a little stronger in my assertion if I saw that there was a big difference in the height of your hand/elbow/shoulder if that created an unnatural angle for the operation of your wrist. My thinking is to use the more robust muscles to lighten the load of the more dainty ones and the tendons in the hand wrist are much less in stature than the shoulder, Especially if like me you are a right lump...

Hey Bilbo, I would be bound to chime in. Having heard your electric playing on a few of the things you've posted it's clear that you have great harmonic facility and technical execution. You can transfer those skills onto DB very easily. Primarily if you are worried about injuries as has been said make sure you are warmed up before practise, a quick spell on electric first can be useful with that. Secondly work very carefully on the physical approach to the instrument in the left hand, and do very little until you are doing it right. Straight wrists, gently curled fingers, not to much 'gripping' more using the natural weight in your arm to get pressure on the stops and into your finger tips. Use the pads of your fingertips rather than curling too much and in fact with the right approach you can stop notes without having your thumb on the back of the neck at all (NB that is to see that applied pressure is correct and NOT a recommended way of playing per se) Keep your elbow up and your wrist as flat as planet earth (it is flat isn't it?) Later today I will post some pics of a good attitude for fingers wrist and arm... Most of all you have PM and posting here for a constant stream of help and advice so, really, I mean it, contact anytime. Enjoy, you will prosper spiritually on it as it is the natural home of your second love (assuming your significant other is 1st) Jake

Yo Jon... good to see you on here. Have a look around mate there are some really nice folk on here. Jake

He's dynamite on Rickie Lee Jones' 'Flying Cowboys' produced by Walter Becker

The last session I did for a label involved me giving what I would call a bunch of examples of lines that would fit the song, I played on five tracks and was basically asked by the producer to play it straight then with a bit more then like this then like that on one track he asked if I could mess around like a young kid that couldn't really play the (double) bass and then I did a bunch of takes where I really went mad (all at his request) Everything was first take there were no repairs and I'm fairly sure that they would have scanned all the work I did and chosen the bits that grooved the best and looped them. I've listened to the artist on myspace since and can barely tell it's me... Compare that with doing Roy Powells album with Mike Walker, Iain Dixon and Steve Gilbert some years before. It all went down to 2 inch tape and all takes were full tracks with a few repairs. you can hear those tracks in the last few on my myspace page if you wish, it's fusionish... some very challenging bass parts. I have also done a ton of tv and radio adverts where I worked closely with the producer to arrive at the right part and then he liked to get it all down in a take for continuity. He was one of the best producers I've worked with actually and I have no doubt that if you own a tv you'll have heard his (and possibly my) work. As a double bass player when doing album sesions I've always been complimented for my consistency so ultimately I think even in these times of cut and paste it still does count for something.

[quote name='Delberthot' post='651345' date='Nov 11 2009, 09:28 AM']I don't think any couriers will let you insure a guitar unless its in a hard case - that's a warning that normally pops up at some point when booking online. I've found that parcelmonkey are the cheapest, certainly for large, heavy items and insurance is relatively cheap as well but, again, no hard case = no insurance if it gets damaged. If I may get on my soap box for a minute, I personally disagree with insurance anyway - If I am paying someone for a service to deliver something to another part of the country/world, why do i have to pay extra to cover for one of their workers damaging my item? If I have an accident in my car and its my fault then insurance that I've paid for will cover it - surely it shoulld be the couriers that claim off their insurance if they break something? Answers on a postcard[/quote] In principal you're right, but as consumers we unendingly require everything cheaper than reality allows so the advertised price of a service might come without insurance added. If we collectively didn't try and undercut so ruthlessly without relent then I doubt pricing structures would be as they are. But every company wants to try to compete...

[quote name='bilbo230763' post='651507' date='Nov 11 2009, 12:27 PM']My favourite Dan CD is Katy Lied. I am not their no.1 fan by any means and only got into them a couple of years ago so don't think there is any nostalgia involved (I'm 46).[/quote] Lovely guitar solo on throw out your gold teeth

[quote name='niceguyhomer' post='651419' date='Nov 11 2009, 10:57 AM']I love the irony that The Funk Brothers were all jazz musicians [/quote] oh yes they were!! hence such an improvisational nature to the parts. And to keep it on topic the whole scene played a massive part in influencing SD, there are references strewn throughout their material musically and lyrically.

I would add weight to what is being said about a solid chord tone knowledge being the right next step for you. I would also point out to anyone that is interested, the following: I have been a bass teacher on and off for over fifteen years and the number of people over those years that have approached me with a question like. "I'm bored of root and fifth, how do I play something more interesting?" almost all my students at some point utter something like this. What is critical to remember for anyone at that point is that the likelihood is, in fact you are simply bored of what [i]you[/i] do with root and fifth. Take a good listen to many bass players and analyse what they are doing and you'll find tons of root and fifth ideas that you probably don't have a grip on. I rattle on about this guy ad infinitum but check out what Jimmy Johnson does with James Taylor's songs and you will hear variety using root and fifth like you would never believe. What that says is it's the musician, not the music that can end up stale. Remember the importance of our role, revel in how good you can make it feel just plonking down a root and fifth. think of 9-5 by Dolly Parton rocking root and fifth....

Just want to add folks that I'm not in the game of simply winning arguments here. Bilbo and I are friends and have conversed many times via PM about many subjects including a love of Jazz which we both have. The post I wrote that seems to say it for a few people is just the other side of the argument, and is designed to show motown to have the integrity that, in my eyes, does reside within it. I certainly am not looking to change anyones mind in their likes and dislikes. Jake

[quote name='lowdown' post='651228' date='Nov 11 2009, 12:09 AM']That makes good read Jake. Garry[/quote] Cheers Garry. Sometimes think I'd make a better writer than bass player... and there's just as little money in that

[quote name='bilbo230763' post='650734' date='Nov 10 2009, 03:23 PM']Doesn't it? Tosh is tosh. Give it whatever label you like - you can't polish a turd Lighten up, guys!. I don't like Motown. Its not a crime.[/quote] Interesting, I think that what is lost on you in motown is very similar to what you try to point out to others in your various assertions regarding the artistry of many jazz performers. It seems to me that you possibly don't have a connection with what motown is for, eg it feels good, it's not taxing, it's light natured, it's for the lightness of spirit emanating from the need to shed the troubles of the working week and what it meant to be black in America at that time, it clings to Africa in that the players let down their hair and invite the listener in to a feel good half hour or so, and join in with a holler or a shuffle. I can see that compositionally some of the material is not substantially artistically challenging but would it fulfill the same role if it were? I doubt it... and surely any attempt for it to be that would miss the point. One of it's greatest attributes is that it's done by people who didn't have to think hard about what they are doing, because it's a very natural art form, or furrow their collective brow in trying to eke out the quintessential last drop of pained artistry from every note, they simply did what they did, and millions couldn't resist the urge to get to the dance floor and suspend the drudgery of the working week, the racism, the poverty. Some of history's great players went through the motown studios and their magic ingredient was how good it all felt. Thats what I reckon anyhow....

[quote name='YouMa' post='650009' date='Nov 9 2009, 07:54 PM']Can anyone show me how to play charlemagne right then?[/quote] well I could but I think you're a bit far away

[quote name='Pete Academy' post='650001' date='Nov 9 2009, 07:45 PM']The latest albums with Becker show him to be a great bassist. Jack Of Speed is incredible.[/quote] +1 also blues beach is a lovely line and quirkily uses the 4th of the scale but in totally palatable and very funky fashion. The fourth is one of the less consonant notes and in bass lines if used as a principal note rather than in passing can sound very unfinished (not least because it offers the notion of a suspension) but in that line Becker fits it in beautifully. As Pete says the notes are quite straightforward to cop but the feels are very important so the songs are lifeless without the right feel.

[quote name='farmer61' post='649744' date='Nov 9 2009, 03:17 PM']Well I am pleased to confirm that I've just had a cracking first session on the DB with Jake. Very laid back but well structured lesson, we seemed to cover an awful lot but the time just flew by.......can't wait to get hold of my DB to practice the stuff in prep for my next leson in Dec. Anyone thinking or dithering about having lessons, go speak with Jake and I'm sure that you'll be as impressed as I am. Loads of useful tips, not just on DB but music 'theory' as well. Well worth the effort of tackling the M4 on a Monday morning. Cheers Jake, see you in Dec!!!![/quote]

I think they should be done under the trades description act as they sell a lot more than fridges...

[quote name='silverfoxnik' post='642931' date='Nov 1 2009, 10:38 PM']Had the pleasure of seeing and hearing Jake's Alembic at the SE Bass Bash last month.. I think it's one of the most stunning instruments I've ever seen; almost like looking at the bass equivalent of a Rolls Royce or a Bentley! And the sound? Well, it was awesome (mind you Jake's playing was a huge part of that too)..[/quote] Kind words Nik... many thanks mate

[quote name='Mickeyboro' post='649698' date='Nov 9 2009, 02:04 PM']I think my original post was wondering if the camps divide between those like me who prefer the commercially appealing stuff my non-musician fans like and those (some on here) who go weak at the knees for a complex bassline regardless of song quality. I'm also aware some of us play Dan material for a living, so am interested in their take. Also, as a side issue, was Becker a limited bassist? Or did he just play what suited the song?[/quote] Fair point, and a little more info makes your thinking come across more clearly. Becker? Limited yes, but right for the material? Definitely. I think part of Dan's greatness is that they made more complex and substantial material acceptable to a very large audience. What is nice is that there's something for everyone... A catchy tune like Peg, great to whistle to, but for the more detailed among us... ever noticed it's a 13 bar sequence....? AJA sold a LOT of copies...

[quote name='Mickeyboro' post='649507' date='Nov 9 2009, 11:13 AM']What's more they have bass lines I can actually attempt to play, as opposed to the complex finger-twisters of later years. Was it when Becker stopped playing bass that this happened? Or am I alone... [/quote] Hmm this is just an observation so don't take it the wrong way but... one way of interpreting what you seem to be saying is... 'it's too difficult for me therefore I won't like it' I think there are some dynamite bass parts throughout the Dan catalogue and there is literally nothing they do that I couldn't play. So, it's just subjective, isn't it?

[quote name='BB3000S' post='649313' date='Nov 9 2009, 12:43 AM']...my prince will come? Do it! Thanks alot guys! It's a seriously nice instrument soundwise as well - it has a crisp and airy single coil sound that's increadibly transparent and true to the acoustic sound of the bass. And the electronics - instead of a traditional Eq each pickup has a lowpass filter with a cutoff (6db/octave) that's sweepable from 350 Hz to 6kHz. Then there's the two Q-switches that add in an extra boost of +9dB where the cutoff starts. All in all, this opens up a wealth of different voicings that still maintain the underlying clarity and focus of the pickups. Sorry if I rant about the obvious, but this being my first ever Alembic to play I'm just utterly amazed. Weeee!! Would be nice to test drive a Series II Alembic one day... cheers / Matt[/quote] I have a sig deluxe 5 string very like yours.. the electronics just keep offering possibilities and I've had it for over 2 yrs. Yours has a lovely top too... congrats and enjoy. Jake PS if you haven't already go and register at the Alembic club (part of alembics own website) there are some great guys over there including regular poster Jimmy Johnson, one of my favourite Alembic players. There's also lots of info regarding setups pickup settings care and repair.... and lots of other lovely Alembics to look at.

He's been in that room for his entire life.... and it stinks of sh*t incredible though.. really

I had a drummer friend round yesterday who played with Mark, I didn't know him but by all accounts he was a very well respected bass player and a much loved human being. In his late forties a very sad loss for his family and friends.

[quote name='XB26354' post='646731' date='Nov 5 2009, 09:43 PM']Rule 5 - TAKE YOUR EYES OF THE DANCING GIRLS IN FRONT OF YOU [/quote] Professional bass players.... looking at dancing girls....? You don't know what you're talking about

[quote name='Feelgood' post='645087' date='Nov 4 2009, 11:29 AM']Not that I want to keep this thread going just for the sake of it (!), but let's just have that one more time ... [url="http://www.youtube.com/watch?v=_I2jUdNGqIo&feature=related"]Peg - instrumental[/url][/quote] But it's so worth keeping it going. BERNARD PURDIE. what a feel got a good purdie story. A friend of mine who drums for a well known band was in New York with Elliott Randall (with whom he is friends) They were attending some big shot music do and Bernard Purdie was there Elliott took my mate up to Bernard and said "hey Bernard I want you to meet my friend, he's one of the best drummers in the world" my mate nearly fainted... some may not know that Elliott Randall was with Dan in the early years and I think played the gtr solo on 'reeling in the years'