jakenewmanbass

[quote name='Starvolt' post='368564' date='Jan 2 2009, 03:48 PM']Gah, my bad! Sounds (well looks) similar though! Sorry Jakesbass, I'm sure you are a top bloke ^^[/quote] No probs, an easy mistake to make given the similarity of our names

I'm not really nice, I'm just a good liar Seriously though, thanks Pookus for the kind words

[quote name='cytania' post='366615' date='Dec 30 2008, 09:04 PM']4) Never practise without something behind you be it a drum loop, a CD or a metronome.[/quote] For the most part really good notes in your post. Although I totally disagree with no 4 above. You should in my view be able to create a really solid feel and play free of any device or other player consistently and in time. If you never learn the sensation of doing that all by yourself you might always be the 'passenger' you are rightly fearful of being. A strong sense of beat, time whatever you want to call it should emanate from your playing at all times (obviously I would except freer and more fluid passages, but thats advanced anyway)

well the Jazz is ruined so why not finish it off by wrapping it around your wifes neck good one.... you had me for a while...

Don't really dig lists as they are subjective, although I can see the fun. Couple of players that deserve a mention: Dave Holland Lawrence Cottle. But Entwhistle as an also ran???? !![size=5]FFS[/size]!!

[quote name='Jase' post='365718' date='Dec 29 2008, 07:54 PM']Yeah, I can agree with that. Actually, I don't know much about him at all.... other than he's been on the scene forever.[/quote] Ironically I happen to know that he's from Cardiff (my home town) and is from a restaurant owning Italian family. In my last few years in Cardiff I was in a band with his brother Mark who is a very capable drummer. As a fellow bass player and Cardiffian I am totally thumbs up for all that Pino has achieved, he is a great player, and has worked with some really great artists and from the people I know in common with him he is also a top bloke.

[quote name='largo' post='365579' date='Dec 29 2008, 04:54 PM']Is highly visible the same as highly recognisable ? If so, I'd take half the players off your list jakesbass.[/quote] The straight answer is no. Does your question mean you assume that they are not known because they are not known to you? It's semantics. For the record I don't think Pino is 'highly recognisable' whatever that is, to many other than bass players.

[quote name='obi 2 kenobi' post='365523' date='Dec 29 2008, 03:26 PM']Perhaps I was exaggerating. What I meant is that is he is a highly visible first call session player across an incredibly wide range of music; D'angelo, mayer, etc. This is what sets him apart imo. There are few other visible guys out there that match him on this score. AJ is the only one I can think of, and thats going back in time to an extent.[/quote] Fair play and sure he's visible mainly due to his association with Paul Young and his CV has deservedly really grown, but.... Jimmy Johnson, Anthony Jackson, Darryll Jones, Neil Stubenhaus, Marcus Miller, Nathan East, John Patittucci, Jimmy Haslip, Will Lee, Tom Barney, Willie Weeks, Lee Sklar ... and that list is straight off the top, if I went through my record collection it would more than double.

[quote name='JohnSlade07' post='365310' date='Dec 29 2008, 09:18 AM']I notice that he "outlines" a new chord by using a 3rd or 5th in quite a few places e.g. Eb for Cm7. Is that quite a common device in jazz?[/quote] Very much so, you can, if you extend chords upwards from inversions, find much more distantly related harmonic pallette, the real craft lies in making use of those distantly related notes in a meaningful and melodic way, it's a movement fraught with fret w***ing nonsense when people learn the motor skills to do it but not the music to keep up.

[quote name='obi 2 kenobi' post='365463' date='Dec 29 2008, 01:48 PM'][url="http://www.arte.tv/fr/Videos-sur-ARTE-TV/2151166,CmC=2369496.html"]http://www.arte.tv/fr/Videos-sur-ARTE-TV/2...mC=2369496.html[/url] The range of skills and the complete range of music that Pino can play is probably without equal in the bass world. Truely multidimensional.[/quote] I think Pino is a really great musician but to say the 'range of music he can play is without equal in the bass world' is just wrong. There are tons of great players that are his equal and above. And I'm pretty sure it's not a stake he would lay caim to no matter how good he is (and he is very very good)

I think it's entirely subjective, there are people who would like to have me play in their outfit and others that would choose someone else, I am quite musical, but the only reason I would have a judgement on how good I am is for the purposes of identifying weak spots and therefore work areas. Other than that I will let others decide.

Thanks Bilbo, Steve Swallow is another of my favourites, so it's a real gem..... and merry Christmas mate Jake

[quote name='mcgraham' post='362574' date='Dec 24 2008, 09:42 AM']Again, my apologies I was mainly focusing on the physics rather than my own experiences for the purposes of discussion. Mark[/quote] No need to apologise mate, I'm just enjoying the information

[quote name='mcgraham' post='362564' date='Dec 24 2008, 09:34 AM']I do not deny that electric instruments sound different, and that this is (in part) due to the woods. I even submit to the fact that two basses with the same configuration (alder body, maple neck, rosewood board, both Fender American series configuration for example) can sound different. However I attribute significantly more of the sound to the construction of a bass and the electronics before the wood. Mark[/quote] TBH I had not garnered the above sentiment from your earlier posts so I find myself far more in agreement with you than I previously thought, probably through my dearth of proper knowledge on the subject...

Hi Mark, I'm all for skeptical examination of assertions and agree that un-tested guff is spouted all the time, but it strikes me that the possibilities of property you allude to in you description of what affects tone serve the 'wood has an effect' argument quite well even if it is a questioning (of which I approve) service. There are times were received wisdom should be given a nod and I would return to my earlier point, it will take a large amount of evidence to convince me that when I had my DB neck refinished in ebony that there was no scientifically discernible, favourable difference to the lighter less hard wood (whatever it was) that was on there before. I heard it with my own ears. My Alembic has an ebony fingerboard on a thru neck, and I can feel the entire body literally bristling with vibrations. While I think it useful to have an open mind when examining the real effects properties have on an instrument I feel it a little under serving of common sense to count as spurious the experiences of mans interaction with organic matter. That said I understand your frustration at the tendency displayed by some to eschew proper examination in favour of voodoo like belief in mis-information. Btw, fascinating stuff here guys (you can tell I am entirely lay in this regard) And a merry Christmas to you all. Jake

[quote name='urb' post='362341' date='Dec 23 2008, 08:51 PM']have to. Secondly I was at the recent Manchester Bass Day and sitting with my good buddy Jon Thorne (ex-Lamb bassist, now solo artist and all round top muso and lovely bloke). He and I were talking to another chap sitting in front of us in the theatre waiting for Richard Bona's masterclass to start. The other chap - who we'd struck up conversation with was talking about nice basses, and lots of technical playing, I was chipping in with some enthusiastic comments on both subjects - when Jon stopped us both and said something rather profound - pointing at my chest - saying: "this is the real instrument here, you the individual, the bass is just a piece of wood, I want to listen to the musician, not just the instrument..."[/quote] Hi Mike, interesting post, I would like to point out that while Jon was making a very astute observation, he is himself in search of tone through woods and electronics, I've known Jon since he started out as a player on the Manchester scene and just yesterday I had a facebook message from him recommending some double bass gear he'd come across. I don't seek to reduce the validity of the point you were making, more to expand on it as, of all the bass players I know, Jon is certainly one of the ones who has swapped lots of gear and basses in search of the perfect set up, and I mean LOTS. To respond to Mark, I really feel you are underestimating the effect that woods have on the sound an instrument makes, why do luthiers use ebony for fingerboards on string instruments? well, it's very hard and it carries fundamentals very well. The same principles apply to electric instruments, ask Mica Wickersham at Alembic.... Jake

[quote name='BigBeefChief' post='358589' date='Dec 19 2008, 09:46 AM']But I lack the maturity to just say "not my cap of tea". When I heard that clip I honestly thought it was one of those comedy vids where its overdubbed by someone making random noise. It's so self-indulgent it makes me want to climb a bell tower with a high-powered rifle.[/quote] Yes I realise this but equally mate I'm too curmudgeonly to jst 'put it down to BBCs ways' you're a little gobsh*te and I will always say so

[quote name='mcgraham' post='358566' date='Dec 19 2008, 09:14 AM']Does anyone else feel this way? Mark[/quote] Not really, Jaco is overlooked as a composer IMO due to the stellar nature of his playing, but if you listen to the playing he put in on some of the Weather Report albums not only was he ahead of the ability of some of todays top players he was also breaking ground in gargantuan leaps, even if the likes of Victor Wooten and Hadrien Feraud can outdo him for speed and fluidity they in my view don't come anywhere near him as an all round artist composer and musician (just my view) Check out Port of Entry and Havona for just magical music making. People that don't like it have that within their right, but to my mind it is so utterly pointless to think about it to the point of being insulting about others' taste. I don't really listen to him a great deal as overall I find it a bit too much but there is some awesome stuff in there. I would also point out that they were superstars in their day doing stadium gigs around the world so it was incumbent on them to be entertainers in whatever style fitted the time i.e high waisted white flares (no different to Slade!!)

[quote name='chris_b' post='355886' date='Dec 16 2008, 01:01 PM']It's not good to have to concentrate so much on the basics after so long!!![/quote] I totally disagree with this thought, not criticising you Chris, as I said earlier it's horses for courses, but I want to improve the simple stuff more and more...

Just feel I should point out that a five is a four..... with another string..... You can use it if needed and not if not. Is that too too simple? My five will do for any situation but some producers will not see past the badge so I always have a jazz in reserve. and it's rather nice.

I have one so don't need the offer, but a very generous offer it is good sir. Jake

Playing with a 20's band in one of Londons finest art deco hotels The Park Lane hotel on Piccadilly. It really is a lovely ballroom and very fitting for the band I was with, Oscar Bernhardts Charleston Charlies, good fun band. Nicest thing of all was it was my fourth gig in a row that finished before 9.30pm NICE.

I haven't got much to add as it's been put very well by others, the one thing that I don't think has been mentioned as a benfit to readers is the enormous amount of music that can be accessed and instantly re-created by good readers that if relying on the aural tradition entirely would never be 'got round to'. I do however believe the aural tradition has as much integrity as any method of learning and re-creating.

[quote name='budget bassist' post='349975' date='Dec 9 2008, 05:32 PM']I wouldn't say he did it in a non-reccommended way at all! He made use of everything at his disposal, worked hard and took advantage of his free studio time at his college. Of course finding the right band is luck, be he still had to work hard to get where he is today and i know that i'll utilise all the studio time i can get my hands on once my college allows me to do so come easter.[/quote] I think you miss CDS' point. What he's saying is that trumpeting examples of people who are successful outside the conventional wisdom suggested path is not a particularly helpful observation to someone who is trying to make a decision in the way that Tim is, and in a sense is 'porage for one'. We all know of examples of people making it against the grain but the probable reality is that if we used those examples as templates for our actions there would be a huge amount more failure and disappointment. (usually with people throwing their hands in the air and saying "I don't know what happened") This is not an argument for not finding one's own path btw, it's more semantics, but nevertheless important IMO to the OP