jakenewmanbass

[quote name='TKenrick' post='244343' date='Jul 21 2008, 11:40 AM']Nice find Jake, thanks for posting this, I love Holdsworth's approach to voicings. I think he's doing a gig at the jazz cafe in september. Does anyone have any recommendations for essential Holdsworth records to check out?[/quote] 'Sand' is a good one as is 'Metal Fatigue' which is the Album of the tour in the video, there are laods I haven't heard though. Jake

[quote name='rhino' post='56526' date='Sep 6 2007, 02:08 PM']Favourite rhythm section(s) Rocco Prestia & David Garibaldi: Jerry Jemmott & Earl Palmer: Chuck Rainey & Bernard Purdie: Gordon Edwards & Steve Gadd: James Jameson & Benny Benjamin: Carl Radle & Jim Gordon / Jim Keltner: Bootsy Collins & Clyde Stubblefield / Jabbo Marks: I could go on............ Rhino[/quote] thats a good list

I haven't seen many keys or guitar players in this list and I consider them to be part of the rhythm section. So: Don Grolnick, Michael Landau, Jimmy Johnson and Carlos Vega of James Taylors' Band. Absolutely awesome song playing. Great arrangements and very giving sectional playing. Rare.

I think Jimmy's fill at 2 mins 22 in Road Games (the second one) is the absolute pinnacle of technique and taste. Glad you like it guys Jake

And while I'm at it you might as well have a look at this too: [url="http://www.youtube.com/watch?v=6MqzFN5-5jk&feature=related"]http://www.youtube.com/watch?v=6MqzFN5-5jk...feature=related[/url]

Just found this, it's a live version of Allan Holdsworths' Panic Station from the album 'Metal Fatigue'. Love him or hate him Allan can really play and it's quite rock orientated despite the enormous improvisational ability of the band. If you don't like it at first glance do listen on, Jimmy Johnson does a killer short (12 bars) solo at the end. [url="http://www.youtube.com/watch?v=Ro26GZlg52A"]http://www.youtube.com/watch?v=Ro26GZlg52A[/url] The album version has a really nice bass solo on too which I have transcribed I will try and post it soon, I will also transcribe this at some point. There have been some solo offerings put up on here before, I think what sets this apart is the phenomenal sense of placement and time keeping that Jimmy displays, he is a world master IMO. Enjoy Jake

Strings last much longer on DB, I used one set of Thomastiks for 4 years and they were fine. Innovation make low tension strings, honeys and silverslap, but anything gut or nylon in general will have lower tension than steel, but are usually fatter which you can get used to quite quickly. Keep the questions coming, there are a few really helpful and knowledgeable upright playing chaps on here that seem very willing to help. Jake

If you are a good teacher giving lessons will expose to you your own areas of weakness as they will be most difficult to get across, this is good if you cope with it in the right way and it will firm areas where your info is sketchy. In Germany doing a music degree in some places involves teaching the students in the years below you. It's a great way to really establish your knowledge, which in turn makes you a better teacher. Some good advice in here, one thing that I think has been missed; don't be afraid to say you don't know about something if that is the case, humility is a great leveler and an honest and open, trust based relationship with a student will bring much quicker results. There's a great saying: It's better to keep your mouth shut and be thought a fool than to open it and remove all doubt.

[quote name='TKenrick' post='240654' date='Jul 16 2008, 09:59 AM']Thanks for the feedback Jake, nobody else picked up the deliberate mistake The first note of bar 72 is dotted, which has been obscured by the sharp sign of the next note, i'll change it asap![/quote] Ahh all becomes clear. Thanks. I see you've just taken up double, do you have a tutor? If not forgive the plug but I'm 8 miles from Guildford and here: [url="http://basschat.co.uk/index.php?showtopic=20577"]http://basschat.co.uk/index.php?showtopic=20577[/url] Take a look at what my others say

What an interesting read this thread is, and could save us hundreds trying strings we don't like. I have used spiros for years and always thought they stood up well for pizz and arco (more for pizz) I then got a set of rope core 'Ray Brown' strings they were good but a little lacking in thump. Upon recommendation of a fellow player I am now trying Innovation silver slap and find them a good, pleasing percussive and full sounding string, up to a point. I find that If I really dig in they can choke a little, but I suppose it's no bad thing to have need to stay within certain parameters of effort where technique is concerned. They are also a relatively large diameter, although I got used to that quite quickly. Thanks guys very informative. Jake

[quote name='silverfoxnik' post='241254' date='Jul 16 2008, 09:13 PM']Hi Lizzie, I think jakesbass could be the person you're looking for: [url="http://basschat.co.uk/index.php?showuser=1348"]http://basschat.co.uk/index.php?showuser=1348[/url] Nik[/quote] Many thanks Nik. Indeed Lizzie I have one chap that comes from Maidenhead 30-40 mins from me I think. Closer if you're on the Bracknell side. PM me if you want to know more. Jake

How many simultaneous tracks do you want to record?

Roger is a fantastic player, really lovely feel. He is also a very good upright player.

[quote name='TheRev' post='240995' date='Jul 16 2008, 03:57 PM']Girl from Ipanema.[/quote] Can't agree, it's got the best middle section in the real book. If you can make a really good improvisation in that section you can really play.

Great line thanks, nicely done in Sibelius (i guess) too. I think it's really important to get the proportions right for ease on the eye and you have. One observation, in bar 72 I'm guessing the F# (2nd note beat 1) should be a quaver not as it is, a semi quaver as the bar is a semi quaver short, unless there is a dot hidden by the sharp sign on beat 4, but then that would imply very specific length of previous notes. Now I know it's Jackson but even he..... you get the picture.

I turned down my last foreign job offer to Tahiti for exactly that reason, sounds exotic... not with a 7 foot 52 kilo hard case it's not, airlines are just making it impossible these days.

[quote name='MacDaddy' post='240256' date='Jul 15 2008, 05:57 PM']but does this work the other way round? For example, do Jazzers occasionally realise it could be beneficial to look outside their genre and take influences from elsewhere, and so listen to a bit of rock/metal/thrash etc?[/quote] In my experience (which is worldwide and vast where musicians are concerned) most Jazz players listen to all sorts of music and are less likely to hold the same prejudices as their detractors.

[quote name='dave_bass5' post='239289' date='Jul 14 2008, 04:49 PM']I can confirm this because ive been to all my gigs.[/quote] I just can't bring myself to believe this

Not so much last night as last week! I played 32 sets between tuesday and sunday, Harrogate, Maidstone and Oxford My chops feel good

Seriously though folks, thanks for the kind comments.

[quote name='BigBeefChief' post='239392' date='Jul 14 2008, 06:31 PM']Jakebass isn't a pro. He just likes to claim he is. I've seem him down Tonbridge Market flogging lighters: 3 for a pound. I wouldn't mind but their faulty and leak as soon as you get them home.[/quote] Um er no er that was er my um er twin brother er.... yeah that was it it was him, not me, no guv not me. er er er yeah *[size=1]sh*t[/size]*

I can understand the thinking of 'music being de-valued' and having been a pro for a shade under 20 yrs I've been party to plenty of "bloody semi-pros" conversations with colleagues. My own take on it is that people moan in their workplace whether or not there is an actual issue of whatever nature. I don't think that semi pro outfits do any harm to the scene, as pros can expect to be judged by the standards of their output, this will keep them in work, semi pro outfits rarely can compete for quality and commercial expedience and on that basis pros who are good enough will have whatever work is out there. The notion that there is an erosion of work opportunities specifically for pro players by semi pro players says more about the standard of players that call themselves pro, and about the plethora of colleges churning out "arts" grads who don't stand a chance in the high skill, high demand workplace of the professional musician, than it does about some idea that semi pros are "lowering the bar" It can be tough to make a living from playing (although really good bass players always seem to work) There are other factors in the industry that have eroded work opportunities for players and this will put a squeeze on the margins for pros who now have to consider work they would have sniffed at 20 yrs ago. Finally, I feel the atmosphere of the original question is a little mean spirited and while I feel for young guys trying to make a start as a pro I feel compelled to say that in my mind music is not the exclusive preserve of pro players, it's for people of all shapes, sizes, colours and standards to enjoy. That is what is so great about music and I think if anything the question in hand is in danger of eroding just that, the joy in music. Do yourself a favour, keep the joy don't give in to the grumbling, quality of life is much more important than the difference between 50 and 100 quid for a little gig.

'Oh Brother Where Art Thou'

Hi, my name is Jake and I'm a know it all! *Jake sits down to subdued applause*