jakenewmanbass

[quote name='kennyrodg' post='175565' date='Apr 13 2008, 11:12 AM']I just listened to little ghetto child from donny hathaway live,awesome awesome track !! thanks jakesbass.[/quote] YW, theres plenty more, I'll keep thinking them up. Here's one for double bass: Pat Metheney 'Still Life Talking' Steve Rodby astoundingly solid and inventive at the same time

Alembic basses were designed with funny shapes at the end to stop people leaning them against things. This came about as the company was formed out of a repair and customisation shop, the most common repair being a snapped off headstock from people leaving their instruments standing up. It's a bit of a pain but as I can't stand mine up I always put it in the case even on gigs when swapping to upright.

When I lived in t'North one of the teaching jobs I had was at The Arts Centre in Liverpool. I taught bass at all levels and introductory theory to the foundation classes. The material was accredited by EDExel the body responsible for ensuring that what is taught in that type of establishment is up to par. So now I've qualified my opinion: That guide you have written is publishable, not only does it cover all that needs to be known in grasping foundation theory(which in some ways is the most important stage, hence the title foundation) But further and in my view more importantly its readable, engaging and really easy to understand. The reason, IMO is that, it's really well written. Clarity in such things is a rare gift and you my friend have it in spades. Brilliant thanks Jake

'Wait in Vain' Bob Marley, its such an infectious line, try to really get the rhythm accurate in your head, its very brave in its syncopation but works beautifully. A masterpiece played by a master.

[quote name='beerdragon' post='175509' date='Apr 13 2008, 01:51 AM']I don't think 80% of the whistle test was crap. far from it, how much crap can you pick from this. [url="http://www.youtube.com/results?search_query=the+old+grey+whistle+test&search_type="]http://www.youtube.com/results?search_quer...mp;search_type=[/url][/quote] One mans meat is another mans poison. Its subjective.

Donny Hathaway Live I think has been mentioned, but specifically from a bass playing point of view, track 2 'In the Ghetto' to appreciate the validity of playing the same ten notes for 12 minutes. Digging a trench, laying down a groove etc etc

[quote name='tauzero' post='175511' date='Apr 13 2008, 01:57 AM']Due to a decree absolute coming through, The Wife, a '52 short-scale with a heavy tobacco sunburst, is no more. This also means that The Mistress, a '60 full-body, has now been rebadged as The Fiancee. I'm very happy.[/quote] It appears from your joy that the reduction in vintage factor is overcome by the product 'bedding in' to market. It seems that you will definitely play the later model more. Increased satisfaction all round. Well done sir.

there are at least three basses there that you definitely don't need. I'll PM you my address.

[quote name='paul, the' post='174759' date='Apr 11 2008, 05:59 PM']How did they get this? [/quote] I was too spluttery with excitement to ask, sorry

[quote name='Crazykiwi' post='174368' date='Apr 11 2008, 09:42 AM']Alex, I've been told that Alembic pickups aren't active (at least according to John East who has had a play with my Activators). Apparently they're designed passive but very low impedance.[/quote] I've got an Alembic with signature electronics, it does take a battery, but I don't know whether that defines it as active? What I do know is that through a good valve pre it has a phenomenal guts and weight to the sound that I have not encountered on any other bass. I use my Jazz when a certain sound is required and thats great in its own right, I would like a Precision to cover the spectrum, the Alembic does everything else. So I think the Alembic is active and if so it's amazing. Jake

[quote name='chris_b' post='174400' date='Apr 11 2008, 10:50 AM']Isolated Jamerson bass tracks probably come from the www.ricksuchow.com web site. They used to be freely available but Motown complained. You now have to get some sort of sign in to access them. Unless you know someone who has them on CD already!! You get bass only and the whole rhythm tracks for ABC, Brick House, I Want You Back, Let's Get It On, Reach Out I'll Be There, Standing In The Shadows Of Love, What's Going On and Ain't Too Proud To Beg.[/quote] This was a multitrack of the whole song. [quote name='chris_b' post='174400' date='Apr 11 2008, 10:50 AM']Personally I prefer Jamerson in the mix.[/quote] Ultimately so do I, but as a matter of interest.....

I've just got back from Cardiff (which is where I hail from originally) I was lucky enough to be doing a session with Arran Ahmun (drums) old time collaborator of Pino, and drummer with the legendary John Martyn. We managed to get 5 tracks done, no more than 2 takes for any of them as Arran is as solid as a rock and his groove a joy to play on. I got talking to the producer who plays keys with Van Morrison among others, we got onto the topic of old instruments and I told him I would like an old P bass to complete my collection, and I mentioned being a massive James Jamerson fan, to which her replied, "I have a multi track recording of Whats goin' on knocking about somewhere". Trying to supress my excitement I said.... ahem.... "any chance I could have a listen to the bass solo'd" he says "yeah sure". So I spent the last hour in the studio listening to the magnificent joy that is JJ playing one of [i]the[/i] seminal bass parts of an entire generation/movement/culmination of a ground breaking era in music. Someone will probably say "oh yea thats been around for ages" well I didn't know about it and it is a joy to hear, its the most groovy, sat back, down home, fat, funky, beautiful, joyous bass lines I've ever had the pleasure of getting that close to. So I had to share. Jake

[quote name='OldGit' post='172542' date='Apr 8 2008, 07:41 PM']Thanks Jake .. I think I'll be Ok should teh need ever arrive... I've asked the local guy for a date for a first lesson he does bowing as well (and doghouse slap) so I think I should be able to discover my limits with him [/quote] Thats great, it's better up close anyway. Although, I have a couple of jobs in Cardiff (1 gig, 1 session) over the coming weeks.

Ultimately learning is personal, so how you best remember it will be best known to you. I personally don't relate to memorising note names and diagrams and suchlike so knowing what they are by name (which I now do BTW) is secondary to how each note sounds, which I know intimately, and as Bilbo said how they relate to each other, which is critical if you are going to use them effectively. Great players will still, after many years of great knowledge, happen across note combination surprises by dint of the fact that there are so many permutations of combination which is then complicated by the context of a key, chord, alteration etc etc, which can appear daunting, but I regard as a delicious challenge that will hopefully keep me on my toes till I drop dead, hopefully with bass in hand. Jake

Absolutely use it, even usage with other three. I was (initially) classically trained on DB so in fact I had to learn to use my third finger as the weaker one, luckily though I had been playing bass guitar at the same time so it all just sort of happened for me.

If you look at the jazz listings for Edinburgh and Scotland, in various bands you will find Jim Whyte (drummer) and the Bancrofts (Phil and Tom, brothers) they will definitely be able to recommend a DB tutor in the area. I'm afraid I no longer have numbers for them. I will see if I can get a number for you from mutual colleagues and PM you. Best of luck Jake

Absolutely, If Mr Wellins or anybody for that matter treated me that way these days, I would be putting my bass back in the bag after the run through. Thing is they probably would see that confidence now and not behave so badly. As for serial killers my misses was a psychiatric nurse for a while so have to face down the one who can face down the serial killers... bring it on bad boy

[quote name='bilbo230763' post='172939' date='Apr 9 2008, 11:06 AM']I did a gig with Jim Mullen years ago - everything he called went like s*** off a stick and he didn't use charts, just expected you to know everything (I didn't). He was a nice enough guy but I felt that his perceived unwillingness to work WITH us as a trio resulted in a poorer experience for us and the audience alike. Jim looked good, tho'. [/quote] Thats a shame, my experience was nothing like that. He is a little gruff, battle worn, but a lovely guy and a great player. I had the experience you mention with Bobby Wellins, who is a good player but was nothing short of a c*** to us in the trio.

Thanks for taking my question into a thread Dougal I think it could be a useful reference point for EUBists. I think what you have both said is what I was getting at in the other thread, the purpose of a body of a bass is to amplify the vibration of the string and of course it is by it's nature a very woody tone that is produced, and the instrument has been developed on the basis of which materials produce the most pleasing tone. That is why I asked the original question, because I couldn't imagine a scenario where the lack of a body on the EUB could be compensated for. Interestingly, the same seems to be less of an issue with pizz.

[quote name='chardbass' post='171727' date='Apr 7 2008, 08:21 PM']Jim Jam- Jim Mullen (Pino on P bass- v tasty)[/quote] Shameless boast, I did a session with Jim (and I've gigged with him) a few months ago. The guy is a legend PS nice list above foal30

When I first came here back in mid '07 it was to sell my Thumb 5 which I sold on another forum, last week. The point being that I think I'm now regarded as a 'proper' community member (If you can stand my loud mouth) and I was able to wait to sell the bass as I'm a bass player before a seller. I reckon the 'sellers' before bass players would need quicker turn over than that situation allows for so in a way it seems (by my experience anyway) to sort of police itself. Most of the people I've conversed with either by thread or PM seem sensible enough to look after themselves, and those of us that are that little bit older (I am) and wiser (not sure) remind the less savvy of what to look out for often enough.

I'd be surprised if you were able to get a decent tone out of an EUB with a bow (I would be happy to be proved wrong) but so much arco tone is related to the vibration being transferred into and amplified by the wood that to amplify the strings beng scratched alone is a fairly frightening prospect to me. Anyone had a good experience with bow and EUB? Jake PS OG I'll be happy to give you a few pointers on holding a (French) bow if you get one. I don't do German.