Bilbo

21st is Saturday, Paul 😃

[quote name='spectoremg' timestamp='1423854990' post='2689837'] Dark Side... turgid tosh - really?! [/quote] Bores me rigid. Sorry. Not my fault. Liked The Wall and Ummagumma and quite liked Wish You Were Here but DSOTM? Piffle (PS its an opinion. Just ignore it) PPS there is a lot of turgid Jazz as well )half the ECM catalogue for a start!!)

[quote name='Norris' timestamp='1423754487' post='2688663'] One for you then... Marc Johnson's Bass Desires [/quote] Got that when it came out. Another established favourite.

That last but one post is wonderfully helpful, Paul. It makes perfect sense and I can now go back to the track and see what I can do to address these 'artefacts' (get me). My biggest problem with all of this isn't my computer (which remains astonshingly stable for a 12 year old PC using Windows XP), it is finding uninterrupted time to learn and retain all of this stuff I never seem to get more then an hour and a half to sit there knobbing about. Very frustrating!

Five string?

I think Glen Moore (Oregon) tunes his bass in fifths (a four-string). It's essentially cello tuning, isn't it?

It's all Bb Major. C Dorian minor D Phrygian minor G Aeolian minor

I got an hour in tonight trying to nail a few of the glitches that are screwing my final mix up. I spent ages trying to find out why the midi editors would not open. Finally realised that locking the tracks (on the advice of Skol, IIRC) meant exactly that. Still, I learned something more 😃

I started playing in 1980 but had already discovered the marvellous world of musicians magazines even before I got my first bass (I had a guitar in 1975 but it was a total piece of driftweod and of no real use). The magazines I remember were Beat Instrumental and, my favourite, Musicians Only!! MO was a newspaper stye publication, similar to the popular music (as opposed to musicians) mags like Melody Maker, NME and Sounds. It had news and articles and I remember them to be intelligent and a great read. Beat Instrumental was great though. I later got into the US Guitar Player which had plenty of bass related stuff and, when it finally appeared, Bass Player was stunningly good for a while. The best one (which I still have all the copies of) was the shortlived 'Double Bassist' magazine which had absolutely NO space for popular music and was primarily focussed on Jazz, Classical and Avant Garde musics (which explains why it died!!). It was published by Orpheus Publishing and was ultimately absorbed into snother string orientated publication that I cannot recall the name of. Double Bassist would be the one I would love to see return.

PS I have never heard a full Beatles LP, a Stones LP, a Bob Dylan LP or any LPs by Bowie, Elton John, Talking Heads, Lou Reed etc etc I do own Pet Sounds though

I haven't heard 90% of the above and will not be searching them out as I am an autodidact by nature and like to find my own way. It interests me that so many so called 'classics' are completely absent from the experiences of many of us. For instance, I only heard Dark Side of The Moon for the first time last year (or was it the year before that) and thought it a loud of turgid old tosh . Nevertheless, the LPS (yes, it is that far back) that I heard as a teenager that still find their way into my consciousness on a reasonably regular basis would be: Greenslade - Time and Tide (1975) (one of the very few Rock LPs on my ipod) Yes - Close To The Edge (1972) - I came to it later as I was only 9 then!! (not on the ipod) Jon Anderson - Animation (1982) - on the ipod. Honourable mentions to Seconds Out and the rest of the Yes catalogue I did spend a lot of time with ELO as a 10-12 year old and Rush later on but lost interest a long time ago and don't even go there for nostalgia reasons.

It's all gone to cock!! Here is my effort but there are a load of techno glitches in there that I need to deal with which were not on the original so must have been in the audio download. I will try and address it if I get time but, in the meantime, here is my Al Di Meola shredfest. [url="https://soundcloud.com/robert-palmer-1/turkey-three-ways"]https://soundcloud.c...rkey-three-ways[/url]

Agreed, Hector. I seem to be able to play all night on the side of my index finger without any problems but, if the lines are more involved (funk, some Latin, soloing etc), I find it near impossible not to move to a two fingertips approach and that is when the risk of a blister can increase exponentially.

[quote name='anaxcrosswords' timestamp='1423585334' post='2686660'] Aw. I thought I was telling a guitarist joke [/quote] Don't give up your day job, bro

I finished mine last night and will upload it later today (when I can get back to my music PC). It is a kind of faux Al Di Meola track; think Al without the flawless technique and production.

The notes above and below tend to be leading notes so you would play them on the off beats, leading into chord tones on the 'on' beats. The idea of strong beats and weak beats is another thing to think about but take you time and let things develop at a natural pace. Too much stuff too quickly means that stuff doesn't really get absorbed.

[quote name='chaypup' timestamp='1423573842' post='2686457'] Very very nice. Is the rest of the band the same at all the nights you put on or are you the only 'house' player? [/quote] Thanks for the feedback. It started with me and a drummer friend as the core sction but he had to leave and now there is a 'stable' of players that I use (3 guitarists, 3 or 4 pianists, a couple of saxophonists and a few drummers) depending on what is needed. One of our early strategic decisions was not to have the same rhythm section every week because I think that, if you are a rhythm section 'afficianado', you are going to get bored hearing the same people every week (as I do at other similar events). A bit of mixing and matching adds to the variety. I also set up occasional gigs with no drums or other variations (this week, for instance, we have Pete Oxley and Nicolas Meier as a guitar duo, we have had Organ Trios and singer/guitar duos etc) and sometimes I book a whole band which has it's own bass player. As I don't really pay myself, I am the only bass player as a rule but I don't always play. I did use someone else recently just to break it up a bit (I was there, just let someone else who wanted to play have a go for 'expenses').

It goes with the territory, I am afraid. I play regularly with a lot of great players and mostly I am ok but, occasionally, when a Simon Spillett or a Gilad Atzmon comes along, you are driven farther and faster than normal and, under these circumstances, soreness and blistering is a distinct possiblity. 6 weeks without playing is more than enough time for the skin on your fingers to soften. There are creams you can get to help but, overall, I think that maintaining your callouses through regular playing and practice is the only foolproof way of staying on top of it.

[quote name='Dad3353' timestamp='1423590640' post='2686758'] Write it into Guitar Pro 6..? It's very good for many styles (although maybe not [i]quite [/i]as sensitive in phrasing as Al Di Meola...). What format is it written in..? [/quote] Old fashioned recording - I didn't use my usual 'Sibelius/Cubase' route but wrote it on guitar and went straight to digital.

I have written mine but I need Al Di Meola to play it. Can anyone play gutiar like him? ('cos I sure as hell can't )

As a Jazzer, I play mostly standards but, to be blunt, if I see an album is a standards album, I avoid it and most of the standards I get on my ipod I fast forward to the next track. It's not that I think they are bad, it's just that I don't think I will die if I never hear another version of 'Yesterdays' or 'There Will Never Be Another You'.

https://m.soundcloud.com/robert-palmer-1/estate

http://en.wikipedia.org/wiki/Art_Themen

[quote name='Colonel36' timestamp='1423560104' post='2686194'] "I think [i]Buddy Rich[/i] is far and away the greatest drummer who ever lived". .... [i].......Joe Morello[/i]. [/quote] I know which one I would book if I had a gig

Nice two-page review of my book by Mark Gridley of Cleveland, Ohio in Notes: Quarterly Journal of the Music Library Association. 'This book should prove indispensable to students of jazz bass, historians of modern jazz, and fans who love hard bop. It constitutes a reference work that every music library should have'.