jakenewmanbass

Always worth pointing out that I travel about the country a fair old amount so I'm happy to give one offs as I did for Pete here: http://basschat.co.uk/topic/221723-just-had-my-first-lesson-with-jake/page__pid__2270370#entry2270370

[quote name='fatgoogle' timestamp='1383870130' post='2270370'] Great news. Just keep getting regular lessons now.[b] It takes a long time to become critical of your playing and practice[/b] and thats where a teacher becomes useful. Always be critical of everything you do and practice. [/quote] These are wise words, I guess it's adopting this idea that can prevent bad (or old) habits creeping in, and a teacher serves as a reminder. What's hard for Pete is there appears to be no one close enough to have a regular lesson, I just popped in as I am working up north for 4 days.

Fab stuff, I was listening to it just yesterday!

Thanks Pete (and guys) so glad it was useful.... I can't half go on tho

The storage of millions of tiny pencils within the body boundary is not recommended!

I'm pretty sure that whatever you bring in is taxed unless you can provide evidence that is has been deducted in the country in which it was earned. it's worth checking that this is right on your case because if the cruise line (likely american) has deducted tax then withe the appropriate paperwork you would not have to pay, I think it most likely though that tax will not have been paid.

Hard to describe without a demo Chris, think bow and arrow... put some tension into both bow and string, get the weight right and practice starting notes over and over until you get a clean ping to start the note. If you're too light it'll skid = harmonics if you're too heavy there will be a sort of grindy scratch. I'm also no expert on arco so hopefully someone who does orchestral stuff more often will drop a few words in.

I may be able to find someone for you. I'll ask around

do you mean to tell me that you've spent all this time here without full confirmation of your status as both stark and raving... I'm saddened, nay wounded. Get thee to the practice room and beg for forgiveness.

The muscle memory movements your hand, wrist, arm, shoulder neck and neural pathways have learned for BG are not likely to sustain you for the rigours of serious ability on the DB. Plenty get away with rubbish technique, a large number of them in my experience have a low skill level. Much worse is there are many people who've taken the 'have a go, but not really properly' that end up with injuries. It's a major undertaking for the muscles and some of the ones in use are quite delicate. I don't want to put you off at all, so I'd recommend having fun learning something new, rise to the challenge of the differences and realise what a help the elements of BG you have learned can be. Enjoy. [size=2](have a few lessons)[/size]

Playing along is the best practice you can do for feel and time... keep at it!

Sorry I didn't mean to confuse the two, I do understand. I'm just looking at the likely end game if it were a success. Believe me the last thing I want to be is a cynic, but at the same moment, I need to keep realism at the forefront of my thinking. It's a nice idea and I hope she gets it done, I just hope that the initial sentiment of yay lets do something together remains, and if there is a bank account full of IP money that the same approach is taken, 'yay lets all spend the money'

If you work in this industry, you realise that it's rife with people willing to take advantage of peoples input when you're all slumming it in some shithole rehearsal studio, but as soon as popularity arrives and your creative input is involved in a multi million selling album, when they slap a million quid on the table to be divvied up, you will suddenly become less important than the guy who supplied the record exec with coke... So forgive me for expecting this naive little number to turn bad if things go well for this album, but I'm afraid I've heard tell of the worst excesses of greed too many times to expect fairness to reign, The deal must be sorted before anything happens. I would never pay to play on an album unless I was given a guaranteed return, via royalties or some such mechanism, at which point I'd consider myself an investor not an artistic contributor. As a bass player, I would expect pay for my days work.

Indeed alleyway off Berners place, after a certain time you can leave it there too. (I'm saying that and its about 10 yrs since I played there

[quote name='chris_b' timestamp='1382660248' post='2255256'] Good musicianship and a lot of great ideas. These are talented players. I liked it, even if it did make me feel totally inadequate. [/quote] The most honest reply yet They're brilliant, and in my view are as musical as they are technically proficient. I wouldn't buy it but that takes nothing away from my first two thoughts, so I wish them great success, they deserve it.

I doubt the investment will be recognised in royalties

I'm a bass player and my wife is a jazz singer... she's better than both of us Think she's a major talent!

[quote name='lowdown' timestamp='1382529213' post='2253203'] [size=4]I believe something of the same vane was said by UK session Drummer Clem Cattini.[/size] He was asked what he would like [size=4]to hear in his cans (on a session)[/size] His reply...... "The Strings a bit earlier......please" [size=4] [/size] [/quote] Brilliant!

[quote name='Leonard Smalls' timestamp='1382527759' post='2253166'] All musical innovation over the last hundred or so years has come from jazz. Unless it's come from somewhere else. [/quote] this is my favourite post in a while

sorry guys I kind of forget that the miles I regularly cover appear a lot to most people. I get around the whole country a fair bit so 50 miles seems like a breeze to my obviously slightly skewed sense of distance

[quote name='peteb' timestamp='1382483469' post='2252845'] Hi Jake I don't suppose that you can recommend anyone in the West Yorkshire area? About three years ago I started playing the blues circuit after 30 years of playing predominantly rock music. I have done OK getting gigs, etc and have been lucky to play all over the country in that time, but I do find that I come across a few guys on the circuit that have that little bit extra in their locker. It’s not so much playing blues lines, which I’m quite comfortable doing, more being able to incorporate a bit more of a (finger) funk type feel when the mood takes them. Also, I find that for the first time in my life that I am occasionally asked to play short solos, with varying results! I don’t want to re-evaluate my playing or start a programme of studying with a teacher, more a lesson or two with someone to give me a few new ideas and open up a new direction rather than getting stuck playing the same stuff that I have been doing for years. Also, I would want it to be genre specific, i.e. stuff that I can use in a blues rock band. I am never going to need to play solos using chord tones over a II V I turnaround, so I would need someone who does understand the blues genre. Any suggestions would be very much appreciated… [/quote] Hi Pete, It's a bit of a trek but if you could get over to Manchester, I would recommend Neil Fairclough. He's a dynamite player, a very well experienced teacher and an all round great guy/music enthusiast. He currently plays with Queen when they're doing stuff as well as a host of other pro jobs. He is extremely knowledgeable in all genres of music and can play in most styles really authentically. He's also a mate so I can put you in touch if this looks interesting to you. Cheers Jake

[quote name='AntLockyer' timestamp='1382523774' post='2253093'] Dragging blues is where its at. [/quote] I agree, but there's a major difference between a slow relaxed feel and sagging energy in a song...

A major part of the drive of the sound of DB comes from the development of the note, so the thud of striking the string has to be up front to get the developed note into position in the beat as it were. Sounds technical but actually it just comes naturally if you want to lock in with the cymbals. Well it comes naturally to some Nothing worse than a saggy draggy feel

try a skype lesson? I do em

[quote name='wateroftyne' timestamp='1382429451' post='2251907'] I've been thinking about this a bit more, and I suppose it's down to one's definition of 'knowing theory'. If need to write down the chords of a tune I'm playing, I could (but I generally don't have to). But mxylixololdioans and all that? I know nowt. When I'm playing a line, I'm playing it because it sounds right. Which, by happy coincidence, must also mean the theory behind it is solid. [/quote] Another interesting point Your ears and musical sensibility will show you the way admirably because you're programmed with the stuff you've listened to/played over the years. A time where being more immediately aware of the theoretical make up of the music you're asked to play is when it doesn't follow conventions and puts you out of a comfort zone. Having an expansive knowledge of how chords are made and what notes will fit in more unusual progressions can mean the difference between making a coherent sound and ruining the tune. prime example would be playing walking lines over changes, something I really enjoy doing... we've arrived at Jazz gentlemen. Get the flame throwers out..