Bilbo

Pat Metheny Group

I do love a happy ending!!

The tosser is always busy when I call.

If there is a Hell, it has a window and a pending delivery. And a banjo player. It's probably got a banjo player.

An interesting perspective: When I published my Paul Chambers biography, I had some minor criticism along the lines of 'who does hie think he is, commenting on Paul Chambers's playing'. It is entirely legitimate to question the qualifications of an individual in terms of the veracity of their arguments in any given subject but it is equally legitimate for a 'critic' to dismiss the argument that they cannot comment because they are not a player. They are, in fact, a listener and it is in the listening to music that it's worth is found and not in the playing of it. A player can be a listener at the same time but there are circumstances where this is irrelevant e.g. a trombonist in an orchestra cannot hear what the whole orchestra sounds like because he is surrounded by brass players and cannot hear the strings properly. More importantly, there are many, MANY musicians who, as players, are unable to recognise their shortcomings until their attention is drawn to them. In order for this to be the case, the poor player must also, by definition, be poor listeners. Ergo, a good listener who cannot play is a better critic than a player who does not listen.

I would agree with the adjustable bridge idea. I didn't go with one and have regreted it ever since. Have to go to a luthier everytime I want it adjusted. It's not expensive, just a hassle.

I can't get started. I have nothing yet although something came to mind whilst I was walking the dogs this morning but I need to see where it goes. I hate the fact that I cannot get my tunes PLAYED. It is not the writing that I find difficult, it is the recording of parts that I cannot play myself. YOu know what I mean? 'Oh, a monster Cuban piano part would be great in here - oh, I can't play that so I will put on some s*** guitar instead'.

[quote name='pjb13.bass' timestamp='1436179862' post='2815572'] Rather another PF tribute than another Jazz band. [/quote] Are you 'avin' a go?

You know how it works, now all you have to do is do it. Lots. The more you do it, the better your reading will get. Do some every day. Half hour or so of reading will do wonders. And you will learn the fretboard backwards whilst you do it.

I use E-music. It requires membership subscription arrangement but I get 50 tune a month for £18. Great for jazz back catalogue but not so good on current stuff.

You could, of course, play G twice followed by Gb twice. It doesn't have to be complicated

OK, I'll do it.... Where do you want me and when?

[quote name='EBS_freak' timestamp='1435753012' post='2812089'] Cottle seems to do alright without playing upright... But then again, with skills like his, people can turn a blind eye [/quote] Cottle is a great bass player but he is not a first call Jazz guy. He is a guy with sufficient 'kudos' attached to his reputation that some people book him as a name for their albums etc and, if there is a 'fusion' element to it, he is number one. But the hardcore Jazz cats would only call him as a last resort. The discussions on who to call need to remember that there is a marked difference between who Fred call for his gig at the Dog and Duck (a lcoal guy he knows and can afford) and who Tony Kofi calls for his gigs at the London Jazz Festival (a 'celebrity' double bass player like Dave Green, Arnie Somogyi, Andy Cleyndert, Mick Hutton, Larry Bartley, Gary Crosby etc. If a Jazz cat is playing Jazz at a Jazz event, especially if it is a 'standards' band, it's 99% double bass. If a Jazz cat is moving towards some aspect of a fusion vibe, electric is a possibility and Cottle, Mike Mondesir, Dudley Phillips, Kevin Glasgow etc may get a call. Yes some of this depends on your definitons of Jazz but consensus suggests that the 'Jazz' professionals tend to distinguish acoustic Jazz and electric/fusion styles quite consciously. A lot of 'local' Jazz and Jazz performed at functions is a bit sad, if we are honest, and using it as a means of defining how an idiom is presented is problematic. Personally, I think there is nothing sadder than an electric bass player trying to 'approximate' a double bass. I should know; I did it for 25 years.

No idea whatsoever.

Do you mind? My composition was perfect! It's the public who are wrong.

PS Well done Paul. PPS I bear grudges PPPS Forever

Interestingly, my soundcloux listen count for each tune is in the region of 100-150 so people are listening, just not voting.

No-one thinks it can't be done, it's just that a lot of people think that it can't be done as well. Hence, given a free choice, most people book double

I think a lot of bands lose their creative spark because their writing is based on limited material and the well runs dry. Jon Anderson has always written astonishingly sophisticated music because his 'muse' is 'everything' not just a narrow stylistic field. Squire was a bit narrower but still good, as was Howe but, after those three, it gets REALLY formulaic. I think Yes have a chance if Anderson comes out to play. If not, it may be the beginning of the end. A Steve Howe solo project may be more credible.

No disagreement with anyone who wants to do it on electric. Just expect to be everyone's last call guy.

I have SO got the arse!!!

I saw them in Bristol on the Drama tour, at Wembley on the 90125 tour and last year with the current line-up. I saw Anderson on a solo gig with John Giblin on bass and Wakeman on a solo gig (piano only). I have seen Bruford loads of times in Jazz gigs so I think I have got most of them somewhere or other!!

JPJ made a much bigger contribution to Zep them merely bass playing. He is a very well educated musician.

I agree with whoever said that the relationship we all had with music and media in the 70s was very different to that which young people have today. Someone on here listed their fave bands a while back and I had never heard of ANY of them. The only 'rockstars' you see in the media today are lost in the miasma of mediocroty and famous merely for being famous. Even a lot of the talented people are 'of a kind' and there is nothing that could be considered edgy enough to warrant the status of rock star. I remember someone saying that rock music has become the voice of corporate America. I think it feels like there is some truth in that.

I don't disagree with anyone on here but I do think there is a certain preciousness about bands that belies the reality of them as a means of expression and a means of generating income. Imagine if Apple had called it a day after the death of Steve Jobs. Or Rush had knocked it on the head after John Rutsey left. The Stones without Brian Jones etc etc. I understand that some members are more central to the band that others but a band like Yes that has had many, many permutations, each resulting in subtle changes to the 'product' should surely be able to carry on making music with people who they have an established bond with. I still think of Alan White as the new guy in Yes but he has been there well over 30 years.I say let them continue and we can all like them or dislike them depending on the work they produce rather than who is involved and who is not.