jakenewmanbass

I was browsing the Factory to Customer section over at the Alembic club (the other forum I am a member of) and I came across this rather lovely bass and was interested to see it in the various stages of construction, and then I went on Alembics main page to find it's this months featured custom. So for anyone who is interested in seeing the build process here are the links. Enjoy! Jake Featured custom from Alembic site [url="http://www.alembic.com/info/featured_custom.html"]http://www.alembic.com/info/featured_custom.html[/url] Factory to Customer thread from the Alembic club [url="http://alembic.com/club/messages/631/40196.html?1213247442"]http://alembic.com/club/messages/631/40196.html?1213247442[/url]

[quote name='Linus27' post='209903' date='May 30 2008, 11:23 PM']Have to say, I totally agree with everything Terry says. I think I am on my 4th or 5th lesson with Jake next week and I have enjoyed every one of them.[/quote] Thanks also to you Linus, I enjoy them too.

Loads of stuff, but really into Rickie Lee Jones 1st album and Kenny Wheeler 'Angel Song' Willie weeks and Dave Holland respectively.

owwwwwwwwwww! I remember those days well. Probably 10 yrs since I had a blister now. there is hope.

alternatively just use the back button

[quote name='Bassworm' post='218187' date='Jun 13 2008, 11:29 AM']By the end of the night, I had a blister the size of a 10p piece on my plucking finger, and my left wrist had turned to jelly.[/quote] Jeeezus how big are your f***in' fingers

don't jump in with assuming it was edited. I'm sure there's a rational explanation. Where did you post? did you start a thread? were you contributing to one that had started? if so what was the subject? Did you definitely click on 'add reply?'

[quote name='bilbo230763' post='218114' date='Jun 13 2008, 09:32 AM']Sean's point about old music is fair but I also fear that we are fast approaching the point where rock music, in all its various forms, is becoming just another nostalgia thing. Its vibrancy was always its currency, its relevance. If we aren't careful, its going to turn into a dead art form like classical music and much of the jazz industry (what are Diana Krall and Stacy Kent if not nostalgia masquerading as art?)[/quote] While your latter points are arguable from individual perspsectives my only slight issue with your side of the lobby is that it looks down upon it's nemesis more aggressively than is warranted, it's arguable that the same happens in the opposite direction but that was covered in the "I hate Jazz" thread. My perspective is one of live and let live, which allows me to hop into any camp I please, and play literally anything that anyone thinks I'm good enough for, which thankfully thus far has been enough people to feed me and my family. We are in danger with your last points of denying our audience with what they enjoy. Surely the logical conclusion of that positioning is the death of any music that is played for the audience in favour of what the musician wants to play? A far more horrible prospect in my view than the status quo (no, not the band) Jake Oh and there are no points thus far that have made me question my own integrity.

[quote name='Rainbass' post='217592' date='Jun 12 2008, 01:40 PM']+1 for Jake (really must get round to booking the next lesson!)[/quote] Thank you kind sir, only when you are ready, there's no rush

sure thing mate

[quote name='bilbo230763' post='217684' date='Jun 12 2008, 03:32 PM']I'd rather boil my head.[/quote] please video and post on here

[quote name='bilbo230763' post='217528' date='Jun 12 2008, 12:27 PM']Is Steve Berry still up that way?[/quote] Steve's in Blackburn. If you can manage the journey he is one of the best music educators I know. I taught Ollie Collins, he's now the bass tutor at Salford I don't know if he does upright but I definitely gave him some lessons on it. I also taught Matt Owens who is doing well, don't know if he teaches. There is a BBC Phil guy called Mike Escreet he gave me some classical lessons If you try to contact any of those guys and fail let me know as I could find details for all of them. Sorry for the punt but I work in Manchester regularly and would happily come to give you a lesson or two. check here: [url="http://basschat.co.uk/index.php?showtopic=20577"]http://basschat.co.uk/index.php?showtopic=20577[/url] for my teaching feedback from fellow BCrs

+1 to Bilbos list. I have played every one of those numerous times and some of them hundreds of times.

Very solid advice from an obviously very good and pleasingly generous guy. I wonder could you send a collective vote of thanks from BassChatters, might encourage him to pop in from time to time. Great to have input from that calibre of musician.

[quote name='bilbo230763' post='216789' date='Jun 11 2008, 12:41 PM']But surely the effort required to create something of artistic merit is worth more than that required to simply recreate something someone else has already done.[/quote] Definitely not IMO, the number of people who move the music forward are very limited, everyone else is a pretender, I pretend with the idea of sometimes doing something more arts based and sometimes for the pure fun of it. I really don't think it's right for the tortured artist to look down upon and denigrate the efforts of those who seek to entertain no matter what material they use to do it.

Get a real book and learn about 1000 (exaggerating slightly) tunes, if you consider that Cole Porter alone wrote 1500 that gives you an idea of the wide range of standards that people play. I've played in trios backing visiting soloists in amongst others Alexanders in your very own Chester including Dick Morrisey, Bobby Wellins, Don Weller, Snake Davis, Jim Mullen and many others, they all do different tunes and sometimes expect you to know them. So learning a load of them is useful in many ways.

[quote name='valentine' post='216442' date='Jun 10 2008, 09:32 PM']ent 30 quid for 1 hour quite expensive? like the going rate is 15/20 quid as far as i know per hour id want flea or victer wooten teaching me for 30 quid an hour haha[/quote] You get what you pay for. Steve is a respected educator. There's a saying: Buy cheap, buy twice. you'll learn more in one lesson from people of Steves calibre than you will in five years of lessons from someone who is cheap because they can't hold on to students.

I really think that while there is a healthy discussion to be had on the merits of artistic endeavour (and I personally really enjoy that discussion) we have to be careful not to award by default a feeling of greater worth to those that strive for "integrity" (in quote marks because no single individual has the answer as to what it is) Playing music for other peoples enjoyment is a singularly good thing to do, and no-one here should feel any less a musician because they play what large sectors of the public want to hear. The idea that musicians who play with riven angst through squeezing the last drops of "art" from their perfect being have any more claim to worth is total sh*t. They are just trying to do the same as anyone else, usually to fewer people, (I have played at many modern jazz festivals in the UK and Europe) and if they need to tell somebody else they have less worth then they are seriously missing the point. Genius will always be recognised in whatever field. And rarely, in my experience, do geniuses feel the need to put their fellow musicians down. [i]That[/i] is integrity by my reckoning.

[quote name='Jobiebass' post='216274' date='Jun 10 2008, 04:03 PM']I just learn the shape, find it easyer then saying Pentatonic blah blah, to me its just the minor scale with some missing, just the root, 3rd, 4th, 5th, 7th, 8th. or how I like to see it is how my fingers would be using one finger per fret.[/quote] As a tutor I am a strong advocate of discovering which means individual students use best to absorb things, so your way of working it out for yourself, the way you see it, is very good in my opinion and I would encourage others to do the same. From that perspective you can achieve good usage of the material and in time you will absorb the terminology too.

[quote name='Zach' post='215634' date='Jun 9 2008, 07:16 PM']there's a slight problem there due to my complete lack of singing ability. think i'll have to stick to reading it..[/quote] I don't mean singing with any degree of superstardom I just mean a quiet representation of what the pitch is, and as Bilbo said add in the rhythm aspect and you will improve your reading no end.

[quote name='thisnameistaken' post='215849' date='Jun 10 2008, 12:03 AM']Well, if you believe that the musical output of Take That and Boyzone have artistic merit, we are unlikely to ever reach a concensus. The fact that Paul Turner is now playing for Jamiroquai is of no consequence whatsoever, regardless of what a good gig that probably was 15 years ago.[/quote] It's fair to say that there is a substantial difference between artistry and craft. I think most of us are craftsmen. This in my view does not undermine our integrity. Purely out of interest thisnameistaken, do you consider yourself to have artistic integrity? If so why? Do you accept the art/craft point?

[quote name='thisnameistaken' post='215260' date='Jun 9 2008, 10:11 AM']Then you have missed the point entirely. When you decide that you're going to pick one gig over another for financial reasons, despite the other being more artistically satisfying, then you cannot claim to have artistic integrity.[/quote] I think definition should come into the fray here as the tone suggests that the artist with integrity somehow has more dignity and worth than all the others. It's difficult to see that you mean anything other than to gently condescend to the people with whom you are holding this discussion and that is where it arrives at a problem for me. I find it hard to accept you as the sole arbiter of human integrity which sucks a little of the value out of your assertions. I agree with many of the principals that you raise for discussion but I find it hard to get beyond your slightly high minded tone. If you are talking straight principals with no value judgement then my error, if not I think you should possibly widen the possibilities of your defined terms.

[quote name='misrule' post='215610' date='Jun 9 2008, 06:36 PM']So he'd add the grit and manipulate the tone at his end? But presumably I'd get a much cleaner tone FOH than is coming out of my amp. Forgive my naive questions but I've never come across this before. Cheers Mark[/quote] Well I think the main concern for good soundmen is to be able to eliminate the problem frequencies that sometimes dog a good mix. If you have control over the cut and boost of various frequencies and you set it so it sounds good where you are that does not necessarily translate into a good room/PA sound. If he has control from the bass he can manipulate the room sound while you get what you want onstage. Saves the pair of you getting into a push/pull battle I am speaking primarily of good soundmen, you can discuss what attributes of your own sound you want FOH and he will (if he's good) get you those in balance with a good overall sound.

I think it's an easy answer, he wants control of the sound, and if he's good and in front of the P.A there's a pretty good chance he will control your sound better than you can, not always the case of course, which is why when people find engineers they trust they use them again and again.

Agreed the no 3rd description is what I would go for. It has an almost suspended quality, used a lot by Kenny Wheeler and other modern composers for drama and freedom of movement. I would expect it to state "no 3rd" in the chord spelling, otherwise an Amaj9 [i]would[/i] include a 3rd.