Bilbo

Yaaay!!!

It is only letting us vote for one, Paul. Something is wrong with the whatnot.

These genres are frustrating. If I am honest, I prefer Latin American genres to a lot of Jazz but trying to play them in the UK is difficult depending on where you are. Finding idiomatically informed percussionists is the biggest problem but other instrumentalists are equally hard to come by. I was with a band called Albino Cubana for a while which was great but it petered out as getting gigs for a seven piece is always difficult.

The single problem I have with loopers is a deal breaker. It all operates on the basis of repetition, endless repetition of two or three chords, repeated rhythms etc. This guy has really worked hard on a creative use of the tools he has but, if what you look for is interesting harmony, it's not going to work. Hats off to him, though. It's noble stuff.

If you sit in any working men's club in the country, you will hear guys in their 80s and 90s talking about the war for no reason than it was the most significant and interesting thing that they were ever involved in. Why would the musicians in a successful band like the Bay City Rollers be any different? Nostalgia? Money? Probably both. I see no reason why not, if they can sell tickets they have as much right as any one of us.

I do wonder why people 'burn out' creatively as they move forward. I guess some of it is that they get bored of doing the 'same' thing all of the time. I always have cursory listen to new Iron Maiden LPs as I was into them when Paul Diannio was the singer and I always find myself thinking 'isn't Steve Harris bored by now'? I have similar thoughts about Rush and others. When you look at bands like Yes and Genesis who moved from long forms to shorter 'song' orientated material, you can see why they decide to try and look at things from new angles. Same with people like Joni Mitchell, Paul Simon, Peter Gabriel... You have to keep changing to remain relevant and to keep yourself interested. The fact is, if you move away from that which made you succesfful, you are inevitably taking a risk. But doing something different doesn't mean it has to be bad and some people just do bad stuff as their mojo is compromised.

[quote name='Rich' timestamp='1443001318' post='2871244'] Hippy. [/quote] I just love the tension created by that opening drone. The words are 'spoken' in almost a monotone. They mean nothing and they mean everything. And, yes, I am.

Dawn of light lying between a silence and sold sources, Chased amid fusions of wonder In moments hardly seen forgotten, Coloured in pastures of chance Dancing leaves cast spells of Challenge, Amused but real in thought, We fled from the sea whole. Dawn of thought transferred through moments of days undersearching Earth Revelaing corridors of time, provoking memories, Disjointed but with purpose, Craving penetrations offer links with the self-instructors sharp And tender love As we took to the air, a picture of distance. Dawn of our power we amuse redescending as fast as misused Expression, As only to teach love as to reveal passion chasing Late into corners, And we danced from the ocean. Dawn of love sent within us colours of awakening among the many Won't to follow, Only tunes of a different age. As the links span our endless caresses for the freedom of life Everlasting.

I doubt that. I think it's just him. And I appreciate that kind of creativity more than flawless execution.

Oh - and someone tell Joe Lovano to stop Judy Silvano ruining his recordings.

I have to add Jeff Berlin into this mix. He is undoubtedly one of the most accomplished players on the scene in terms of advanced chordal technique, soloing etc etc. Nevertheless, he has the worst, thinnest, ickiest sound imaginable and chooses the worst tuines (Imagine, Tears In Heaven) to perform with some sort of pseudo-commercial intentions, his concepts are cringeworthy (Low Standards - a trio with a pianist who can also play bass so JB can do a 'lead' bass thing over the top of a walking double bass. I LOVED him with Bruford and Allan Holdsworth and Champions and Pump It were great (a couple of turkies in there but otherwise ok) but now and for the last couple of decades he is, for me, the 'cleverest bass player who I can't listen' to in the world. He needs a producer that can stand up to his 'I have this concept' b******.

[quote name='toneknob' timestamp='1442866321' post='2870154'] When you say "clean" do you mean acoustic btw? [/quote] No - clean note execution. If Al Di Meola plays sixteenth notes, you can hear every one. If Howe plays anything 'fast', it generally sounds scrappy as f***. It has it's own personality, though, whereas Al Di Meola can sound overly clinical.

Do you remember where you were when you heaard? I was in a flat in London having just moved in. I spoke to a friend who was working for Harvey Goldsmith and he had just heard the news through a roadie friend. At that time, I hadn't even heard that JP was in trouble in terms of his mental health etc.

Love his work. Wish him well.

Never. Repairs, yes. Service, no.

[quote name='toneknob' timestamp='1442841835' post='2869899'] Got any examples of this? [/quote] Siberian Khatru, parts of Relayer. He always sounds like he is playing one notch faster than he can and that it is all about to fall apart. Makes it edgy. Don't misinterpret me. I love most of his work and I think he is a highly underrated composer. But, compared to a clean player like, say Al Di Meola, he is all over the place. Hackett has some really clunky moments across the Genesis era and beyond but, again, I like his stuff (saw him at Reading in 1981 and somewhere else I can't remember).

Sometimes I think he's crap. Other times I love what he does (Firth of Fifth). Odd that. Same with Steve Howe. Brilliant and crap at the same time.

[quote name='KevB' timestamp='1442586980' post='2868035'] It was the Trace gear with 'eyebrows' EQ that did it for me, top marks sir (though I assume for that sort of gig it was provided?) [/quote] Yes, it was what was provided. I had GK/Swr back home but travelled to Vienne with just the Wal. The eq was my work. Always scooped it like that on my own Trace Eliot.

I have spent 30 years trying to play Parker's 'Passport' 😃

Sounds like a second Ten 2 ex may be worth trying.

That did occur to me. May be worth exploring!!

[quote name='GrammeFriday' timestamp='1442572375' post='2867867'] Très cool! Like the arty B&W - very [i]nouvelle vague, [/i]especially with the shades - but it's pity we can't see what shade of purple your shoes are! I'm guessing blackcurrant Chewits, maybe? [/quote] More a fetching lilac.

Simple question. I have a double bass set up I am very happy with: Acoustic Image Clarus and Ten2 Ex cab. I am not particularly happy with what it does for electric and I am about to start working in trio with a monster blues guitarist so need something with a little poke. I have gigged with this guy with the AI set up but I am not at all convinced Part of me thinks, do I just get another Ten2 Ex but another part of me says that won't work and that I should get a little Markbass combo. The questions are: Would the extra speaker do the job? If I went for a Markbass combo, which is the smallest one that would still cut it? Any thoughts, peeps?

'Solid' is an acceptable epithet that, to my ears, means 'competent', 'reliable' but not exceptional. There are many stages above 'solid' (virtuoso, monster etc) but, if you achieve 'solid' you are on the first 'proper' rung of the ladder and will work. If you haven't yet acheived 'solid', you are probably a lightweight

I use a Clarus with a Ten2 Ex with double bass and the Wal and it is loud enough for anything I do although I accept it's not brilliant for really loud Rock gigs (even then it is not a massive compromise). I heard Sam Vicary play his 5-string Roscoe through my set-up as well on a gig with the Dominic Marshall Trio and it sounded huge. I got rid of my Eden Metro as I was not doing enough commercial electric gigs to justify holding onto it but the AI set-up means I have rarely regretted the fact. I have to say I found the MB150S and E wholly inadequate (have had both with and without extension cabs). They are not loud enough and I hate the 'boxy' sound of them. Can't speak about the AER stuff, though. I have never seen or heard it.