jakenewmanbass

[quote name='kennyrodg' post='406567' date='Feb 11 2009, 04:25 PM']Check out some of Alison Krauss and union station's stuff,then listen to Jerry Douglas on dobro and then tell me it sounds like a cat giving birth. Sorry but i love my Bluegrass :ph34r:[/quote] +++++++++++++++10000000000000000000000000000000000000000000000000000 Alison Krauss is one of the worlds gratest living songstresses and she is a mean fiddle player too. When she sings it's like a prayer, such purity such beauty. If you can't hear it I'm very sad for you.

[quote name='bilbo230763' post='402066' date='Feb 6 2009, 03:12 PM']What do I think of that GRP All-Stars trumpet section video? Load of horses***. I know where the one is and I can hear the changes - I know the tune and have played it although, like bassace, I am not a lover of the tune. As someone said, the performance doesn't swing, it is emotionally empty and exists only to show that these 4 trumpters can play very fast and very high. Its a malaise that has existed in jazzsince its exception and this kind of showboating is a renowned failing in trumpet players (the jazz version of lead guitarists. All I can say in excusing this excess is that someone must have thought that, in the context of a full evenings performance, this might be a bit of fun. But, as an advert for jazz, it is a gift to tBBC and those others who seek to ridicule it. And I have heard Randy Brecker play SOOOO much better...[/quote] +1 (except I quite like Cherokee in the right hands)

[quote name='BigBeefChief' post='401920' date='Feb 6 2009, 12:14 PM']Playing Jazz trumpet looks like a piece of piss. As far as I can tell, you just blow into it and move your fingers randomly as quickly as possible. Then, when someone says its noodling, you tell them that they don't "get it" and should f*** off back to listening to Bucks Fizz.[/quote] I think Bucks Fizz is a bit high brow for you BBC, I think you'd fare rather better to the sound of skulls being clubbed by knuckle dragging Mancunians.

[quote name='BigBeatNut' post='400594' date='Feb 5 2009, 12:52 AM']Bilbo (or anyone really, but particularly Bilbo, because I think we're more akin than I first thought) ... what do you think of this ? [url="http://www.youtube.com/watch?v=SSzWPNFX7sc"]http://www.youtube.com/watch?v=SSzWPNFX7sc[/url] Hesitated a bit about posting it, but I genuinely want to know (suddenly remembered that our drummer emailed me the link some time ago). Andy[/quote] Not my cup of tea, it's a great tune, one I've enjoyed playing many times and it's a good tempo solidity challenge as most people take it at a quick pace so it really tests your stamina and how relaxed your technique is. It's not a good example really as it's probably just the 'fast bit' in a gig that will have contained a variety of feels and tempos. They are very capable players, the bass player is holding one hell of a tempo without breaking sweat and the (chord) changes are very clearly audible. Arturo Sandoval is a great player of the instrument but to my mind always over blows little room is left for taste and choice, but then I haven't seen or heard everything he's done. He can really play, though his taste does not line up with mine. Somebody mentioned Wayne Shorter..... Now [i][b]there's[/b][/i] a man who can choose notes!!!!!!

[quote name='bilbo230763' post='400036' date='Feb 4 2009, 03:01 PM']Besides, like most Welsh people, I like good argument! [/quote] No you don't!! (shouts another Welsh bassist)

Best wishes for a speedy recovery to new and improved hearing, after all they are our tools. Jake

I am totally aware of what's happening, but then in one band I am MD so I have to and it sticks.

[quote name='ryanzepp' post='392361' date='Jan 27 2009, 02:01 AM']I'm thinking of getting it and just wondered would I have to get the train down to pick it up or does anyone know of any good courrier services that would bring it to me at all.[/quote] Go get it, couriers are not careful enough to trust with a thing so delicate.

Bit late to post this but in case any of you guys are nearby, I'm playing with this fantastic singer songwriter at the bedford in Balham.... Tonight, it's free entry and we're on at 8.30ish. Eight piece band 40 min set. we rehearsed last night and it sounded pretty damn good (well it should cos I'm the whip cracker)

[quote name='tombboy' post='391762' date='Jan 26 2009, 01:58 PM']In order to do my job to the best of my ability, I went to university for four years. I learned the core skills and adapted my practice, using those core skills. I like to think I am at the top of my game in my career. Good experience, knowledge base to back it up and solid reputation. People seek my services which is a good indication that the theory works. I can't see how learning theory would have a negative effect as long as you utilise the positive aspects in your role as a musician and make it work for you. BTW, I'm a 'play by ear and feel' bassist. Tried to learn musical notation as a teen but discovered that I'm 'dotslexic'!![/quote] Go away at once.... with your reasoning and everything.... there is only room for ill defined subjectivism here... d'you hear me. GOD anybody would think this was a SENSIBLE discussion.... PS. Not answering the OP as it's been said before

Wow, fast and fruitful guys... Cheers

[quote name='bremen' post='391515' date='Jan 26 2009, 11:02 AM']I got some from Thomann. I think it was made (or packaged) by Dunlop. Haven't used it yet though. I could send you a sample if you like.[/quote] Well that would be extremely generous of you sir... I shall PM you

I'm sure this question has been asked and answered before but not being savvy enough I am not minded to go searching. I want some Lemon oil for my fingerboard. I believe we should use the pure stuff? Essential oil I guess? Can anyone shed light and suggest a source Please TA Jake

[quote name='BigBeefChief' post='391495' date='Jan 26 2009, 10:47 AM']Please point me in the direction of a formally trained musician who is currently producing great music.[/quote] Barry Manilow

I practice between 2-5 hrs a day, less when I'm gigging lots as a certain amount of the chops work is taken care of by the gig. I have been practising more recently than ever before and I can really feel the difference. The main reason is that my wife has started work after being at home with the kids for 10 years so I have a lot more time to myself and I spend about 75% of that time with a bass on my lap, including the time I'm on here, I often have headphones on and practise between posts and reading.

It's already been said but I'll say it again, if it sounds good..... Lines should flow, be musical and interesting. Once you have the basic kit of line building under your fingers, note choice becomes musically decided rather than technically decided which is where the "you can play anything" idea comes from. The shame is that many players who take that bit of advice to heart don't do the work and play any old sh*te and then call it jazz when it's not. FWIW and IMO Ray Brown is one of THE line builders on the history of the instrument, he played with all the greats as he had amazing swing and phenomenal musicality, the harmonic vocabulary of his time has been superceded but the playing he did going back to the late forties still stands up amongst the worlds greatest players of today. So if HE decides it's ok to play the same note twice, it's OK play the same note twice. I do it a lot, I also employ a two feel a lot. Provides great dynamic variation. Edit: I do realise I'm preaching to the converted here!

Hi Andrew. Remember this ugly mug. <---- Hope you're well mate. Jake [quote name='62P-Bass' post='388360' date='Jan 22 2009, 11:40 AM']Hi there, A friend sent me a link to this discussion so thought I'd sign up. Thanks for the kind words - we had a blast in York. We played the Sage in Gateshead the next night and that too was awesome. Great audiences at both. And yes, that was me at Bass Day UK. There's a video here: [url="http://uk.youtube.com/watch?v=XjXM6OITNok"]http://uk.youtube.com/watch?v=XjXM6OITNok[/url] It's John Wheatcroft on guitar, and Adam Betts (also in JTQ) on drums. Andrew[/quote]

[quote name='woodster' post='382473' date='Jan 16 2009, 03:01 PM']Gig is now shedulled for Monday 30th and tues 31st March 2009!! Awesome!!![/quote] OH yes I will be there....

Mikey D who used to be a regular poster here (not seen any posts for a while) was attending the Birmingham conservatoire so may be able to advise of some tutors in the area. Drop him a PM. Jake

[quote name='TKenrick' post='382359' date='Jan 16 2009, 01:35 PM']I found that this helped me when I was trying to work out the names of the other modes. If you take a C melodic minor scale and start on D you get D Eb F G A B C D, which gives you a scale that resembles the dorian mode, but with a b9 (Eb), so you could call the mode D dorian b9, and play it over a Dm7(b9) chord. Hopefully this is more helpful than it is confusing! Tom[/quote] Thanks for the +1 Tom (and Mark) yours and Mark's are both other interesting analyses and I should add that when I described my method I was describing what works for me as a both student and teacher of the subject, but in general I am an advocate of the idea of discovering via whatever means works for the individual (and that differs from person to person) In other words to the OP: [b]Its All Valid[/b]

[quote name='spiltmilk_2000' post='382250' date='Jan 16 2009, 12:19 PM']Aha! obvious really! just exactly the same but starting on the 6th degree of the scale (relative minor) yeah? So what about melodic and harmonic minor? I guess that would only change the 2nd degree chord (Bdim in this case)???[/quote] I was just about to point this out from Nicks analysis. It [i][b]is[/b][/i] B half dim. I does not change as its minor, just a small error on Nicks part. Diminished and half diminished chords are entirely different animals and perform seperate functions. Jake

[quote name='spiltmilk_2000' post='382189' date='Jan 16 2009, 11:51 AM']OK, so with all the discussion of modes, it's got me thinking about minor scales and their relative modes and i realised I'm unclear how these work! In the major scale i understand that by harmonising the notes of the major scale you end up with the following pattern (example in key of C): Cmaj7, Dm, Em, F, G7, Am, Bhalfdim, C I know each of the modes that relate to each interval of the scale but how does it work in a minor key? What pattern of major / minor chords does it create and what extensions are there for each (ie. maj/minor 6ths or 7ths etc) How is it affected if we harmonise the melodic or harmonic minor scales instead of the natural minor?? I have a feeling responses are going to be pretty complicated! Any help, in idiot proof terms where possible, greatly appreciated! [/quote] To my mind the easiest way to do this is the physical way, there [i]are[/i] modes for harmonic and melodic minor and the way to find them is: Establish what notes are within the mother scale. Then play from each note of the scale to the same note an octave higher. Make sure you conform to the notes of the mother scale (but with your newly found order) Slowly and carefully learn the patterns of finger movement and then analyse what it is you have played for each scale. you will find that there are some interesting sounds especially the modes of the melodic minor, which is the doorway to most altered harmony which is staple for jazz. I would write them out but it's detailed and I think it would put some folk off. Far better IMO to simply work with a principle that accesses all.

Yup I got it yonks ago, a cracking good read. Jake