jakenewmanbass

[quote name='Eight' post='521070' date='Jun 22 2009, 07:49 PM']Finding an isolated internet forum post about a concept that is far more advanced than what you've managed to learn so far is always going to be confusing. It'd be like me talking about programming with recursive functions before you've even learned what a function is. To an extent I can try and explain but then instead of a post about recursive functions I have to explain a much wider concept and you'd have to take in a lot more information in one go.[/quote] I don't think it should be incumbent on us all to start every topic from the bottom up to include and cater for the newbies, It's entirely legitimate for specialists to hold an advanced conversation in a forum of this sort and may well serve as a spur to the less initiated to find out what on earth is being said. If things are confusing then I'm sure they'll be left alone until such a time as they are understood. Keep it coming MM

[quote name='Dan_Nailed' post='408888' date='Feb 13 2009, 07:29 PM']2. Buy a case with a lock, and use it. Padlocks are OK, combination padlocks better.[/quote] I think your thread is very good Dan. Except the point above. If customs want to get into your case, [u]they will[/u]. So take heed of this story: Double bassist Steve Berry was travelling with his bass and had it stored inside a Stevenson fibre glass case, I've borrowed his case many times and it is enormous, it attracts attention wherever you go, from security especially... Steve put a lock on the case thinking he would be safe not letting anyone open it. Customes took a dim view of this and smashed a hole through the front of the case and inserted a camera to find that it did indeed carry only a double bass, luckily they missed the bass by milimetres but given that Steve has a gorgeous old instrument well in excess of 10K you can imagine his anguish when the case came out with a big hole in it.. My advice, don't lock your case...

[quote name='hubrad' post='520718' date='Jun 22 2009, 01:35 PM']Nemmind the gig.. the Weissbier, man, the Weissbier.. how was it? (Glad to hear the gig went well, honest!)[/quote] Lol.. the weissbier as always went down a treat... There was a 45 piece Orchestra on with us in the second gig, (Frankfurt Philharmonie) three lovely bass players... was great fun. Click track, in ear monitors and rhythm section. And to open an old debate, If I couldn't read I wouldn't have been able to do it...

[quote name='molan' post='520595' date='Jun 22 2009, 11:11 AM']Looks amazing Jake - pleased to hear it went well [/quote] I must admit it was quite alot of fun, reckon there were over 7000 at the second gig.

I haven't read these posts in depth as I'm a little road weary from a trip to Germany but will give them my full attention when the fuzz lifts. Just wanted to say how fascinating it is now that we have some more (and very knowledgeable) voices in the room, it's a wide subject and can come from many perspectives so the more the merrier. Great stuff guys...

I've put a bit of info about my last gig here: [url="http://basschat.co.uk/index.php?showtopic=51288&pid=520478&st=0&#entry520478"]http://basschat.co.uk/index.php?showtopic=...mp;#entry520478[/url]

Well the Fender Jazz was fine, the B was ok but the tone was not as consistent across the range as I would have liked. It was a Mexican Jazz 5 with a rosewood neck and had a tone to die for, really honky and fat. Here's the gig (in soundcheck) and me with the bass: [attachment=27505:5185_110...278335_n.jpg] [attachment=27506:5185_110...926319_n.jpg] And here is the other gig at the bundespresident palace in Berlin, where they provided a Musicman SR5, which was better made but I hated the way it choked if I dug in. We played for the Federal President of Germany and his guests at his summer party. [attachment=27507:5185_110...065408_n.jpg] [attachment=27508:5185_110...802703_n.jpg]

I agree with DLloyd Bilbo, great post. I would only add that as well as the feel and sound creating swing, the flow of the lines also have a deeper swing to them, checking out the Ray Brown lines shows you that his note choice is geared towards takng you to specific points in the harmony that give you a release and he uses many many ways to get you there, it's all subconcious I'm sure as for myself I really have to think if I want to write a line down for a student, but on a gig it just flows. Lines should be melodic and have a natural inner sense of phrasing to rise and fall through the changes small variations of not choices make a huge difference.

[quote name='alexclaber' post='515944' date='Jun 16 2009, 11:48 PM']Not that I'm some sound obsessed speaker designing audiophile weirdo or anything...[/quote] Yes you are

Funnily enough of all the great bass players they have (both Becker and Fagen) employed over the years, the one that I always think does the utmost perfect job for the track is Walter becker himself eg Hey Nineteen, Blues Beach lots on Kamakiriad. He is a great bass player in my view.

It's in my top ten, it was my way into jazz harmony I developed my hunger from listening to that album, I can play every track note for note. GENIUS

They're cracking Garry. I just read through both of them and had a whale of a time... now let me see... if I couldn't read.?.?.?.? naughty me Seriously though, Brown was an undoubted bass genius in my mind, there is not a spare or un-meaning note in either of them, not much repitition and they just sing the blues to you all alone, then add Ed Thigpen and Oscar and OMG!! He is far and away my biggest inlfuence on double

I can't believe that my heart is in my mouth over this one. I've even crossed my bollox for you

[quote name='Major-Minor' post='514495' date='Jun 15 2009, 05:10 PM']Wow I see what you mean !! I've just speed read through this lot and it just about covers every possible point of view. Good to see that there are so many players who agree with my stance on this. BTW If anybody wants more sight reading practice, there are several books available of "Orchestral Excerpts for Double Bass". These are essentially the "difficult bits" taken from often played orchestral repertoire. I've often used these as sight reading tests for my bass guitar students. In fact any bass parts (continuo) from the Baroque repertoire makes good reading practice. The Major[/quote] Thanks for that Major, always looking for sight reading material. Jake

You should recognise 2 things in my opinion. 1. you can't play you're best when not relaxed 2. you can (to a certain extent) control how relaxed you are. You need enough tension to excite you but enough relaxation so that you can control your movements well. Think calmly about what you are going to play before you do it, prepare yourself mentally with slow and deliberate movements when setting up, plugging in etc Also a huge +1 on what Bilbo said, you are there to show a contribution to a band so do that... Make it feel good, groove, groove and groove again. Best of luck with it. Jake

[quote name='chrkelly' post='512030' date='Jun 12 2009, 12:27 PM']Now sorted with a bargain £700 old german ply 5 string. Plays amazingly and vibrates very well for what it cost. Usual tightness for a 5 but the solo gauge spiros are in the post. [/quote] Nice find Chris, I hope it serves you well mate. If you hear of anyone looking remember my german flatback Jake

[quote name='james_guitar' post='509123' date='Jun 9 2009, 03:18 PM']I know that using a plectrum on a bass is generally a taboo amoungst pro bassists[/quote] Been a pro bassist for 20 yrs, think picks are great in the right place, [u]never[/u] encountered another pro bass playing colleague who would consider it wrong (and I know loads). Scott Thunes plays dynamite bass with a pick. as does (on ocassion) Anthony Jackson... I'm sure there are others.

[quote name='lowdown' post='509995' date='Jun 10 2009, 11:01 AM']Jake... Personally i would be more worried about the German beer hangover than a 5 stg Fender Jazz. They can really hurt. Garry[/quote] Garry, you seem to have a knack of getting to the heart of the matter I am a huge weisen beer fan so I expect to be wearing 2 pairs of sunglasses on the way home.... After the gig of course

If you don't have it already I would recommend Rufus Reid's book, 'The Evolving Bassist' it has a really good combination of technical exercises and ideas on how to construct walking lines, for intermediate to advanced. A damn good book IMO. Jake

[quote name='liamcapleton' post='509797' date='Jun 10 2009, 01:14 AM']Hope that isn't too much of a downer for you, and I hope the gig goes well! I'm off to Hamburg in two weeks or so to play as well, I can't wait! [/quote] Not too much of a downer mate... so thanks Have a great time in Hamburg I've played there quite a few times, it's a great city,full of life and great food, beer, culture etc etc

[quote name='XB26354' post='509902' date='Jun 10 2009, 09:19 AM']Then again, as you're only playing it for a gig or two you'd hardly notice I expect [/quote] Your whole post was very illuminating, but your last line is what bears most relevance to the situation so thanks for that . I really would like to take the Alembic because the tone across the range is awesome and the low B as tight as a tight thing. As it is a just a couple of dates I'm sure it will be fine, but it does make me think I need some sort of solution for flying the Alembic which I have yet to do. Having flown loads with a double and in recent times EUB (because the double has become a nigtmare in the recent travel climate) I am all to familiar with the diabolical service that is given to even the most fragile gear. I once stuck my head through the plastic curtains of the carousel at Manchester airport to see a handler (read c***) pull one end of my double bass case off a trolly allowing the other end to smash down really hard on the floor. Needless to say I ripped his head off verbally and all he said was... "sorry mate I didn't see the fragile stickers" well I suppose he can be forgiven there were only about 250 on the case

Hi Marti, I would think there is no particular reason as from what I know of Ray Brown he was very much a 'be able to do it all' kind of guy, he and Herb Ellis were famous for rehearsing "the possibles" all afternoon before a show, and then jamming into the night after shows hence getting as tight as they did. So my guess would be that the method is simply to get the material down on paper... and remember that when you have worked through that book and all the others, that you have walked the first mile of a 100,000 mile journey. Jake

[quote name='thisnameistaken' post='509785' date='Jun 10 2009, 12:28 AM']I suppose the biggest risk is not so much a flabby low B[/quote] I had a feeling I'd heard these words before which is where my question was coming from but I wanted to hear others views before I gave my own [quote name='thisnameistaken' post='509785' date='Jun 10 2009, 12:28 AM']as the reasonably high chance the particular Fender in question is a Friday afternoon special.[/quote] I would expect a decent instrument so hope that it's not too high a risk... Thanks

[quote name='wal4string' post='509614' date='Jun 9 2009, 09:59 PM']Bought a Fender Jazz 5 10 weeks ago and have played it every night since. A 5 string is a bit of an animal and does take some getting use to but well worth the effort. If like me you normally play a 4 string your first problem will be to be sure you are playing the correct string, more often in my case playing the higher string in some cases you may get away with this as a 4th higher may not sound too bad. The surrest way to overcome this is to move your picking hand and rest your thumb on the string below the one you want to play, takes a bit of getting the hang of this method but this can be practiced on your 4 string before flying off to Germany. As far as reading the lower notes I found no problem as was use to reading the out of range 5 notes up an octace. And as far as playing the higher notes on the B string, it is often better to stay clear of these until you are familier with having the fifth string. Finally having lived in Germany for several years I am sure you will find that all you hear about the locals is untrue for the majority, good women, good food and good beer, what more could a muso want.[/quote] Thanks Mate, as Molan pointed out I've been playing a 5er since 1987 and it's more about what a Fender 5 plays like. I have played a few Five strings and have what I consider to be the worlds best in the shape of an Alembic five. When it comes to playing in Germany I was lucky enough to tour Germany (and the rest of Europe) with Ike Willis (from Frank Zappas band) in the early nineties and have played there on many occasions since, I like the beer, food and people very much and am looking forward to another visit. So still inviting thoughts on the Fender 5 although tbh honest I'm not that concerned as I have the pad already and there are only about fifteen bars in the whole show below E. Thanks Jake

I realise it's late to be advertising this: Tomorrow night (weds 10th) Doing 5 songs at the Cobden in Kensal rise PM you name if you want to come as it's a members club. £5 guest list Jake