Bilbo

Saddos!!

I didn't look at this thread for two days and my vote tally has doubled!!! I'd like to thank my agent, my production team but most of all, my wife.

9 members voted, 25 votes cast. Someone can't count

Incompatibilidade De Genios by Joao Bosco https://youtu.be/Tk_CghlLAr4

Like A Lover by Dori Caymmi https://youtu.be/glh0A5WgqEU?list=PLvqzvV4PVkHs_bnatX6gO2MdyYimlnKj7 Danca Da Solidao by Marissa Monte https://youtu.be/Xzxgjhi2eNU

Steve Swallow at 2.53 but it helps to listen to it all to all of it for context. A beautiful bass solo without the histrionics. [url="https://www.youtube.com/watch?v=UluZphPIyIY"]https://www.youtube....h?v=UluZphPIyIY[/url]

Can I vote for Lowdown three times? Wonderfully put together as always but I think you have surpassed yourself this time, Garry..

Bass solos at clinics are about gear and chops not about music. Some of the nicest bass solos I have ever heard are actually quite easy to play and require no significant chops (listen to Steve Swallow's solo on John SCofield's version of 'Alfie' on their EnRoute cd). Bass guitars are particularly lousy at making nice music in isolation. They just don't make a particulary musical noise, especially when playing chords. Not a total non-starter but a lot of ways of screwing it up

I don't 'know' the answer but I woudl approach it with the view that the purpose of the key signature is to reduce the need for cluttering up the stave with accidentals so, using the principle of enabling reading as opposed to being 'correct', if you are in Em as you say, then a key signature of C would mean the only accidentals would be the G#. I would therefore use C sa the key signature. Jazz musicians often transcribe solos with a C signature because the nature of the lines means that every bar has as many accidentals as notes in the key signature so it becomes all but academic. It always surprises me how rarely I see a key signature on a chart.

[quote name='louisthebass' timestamp='1429808644' post='2755221'] I'm confused (which isn't difficult for me really) but having looked at some of the people you've played with in your initial post, you must be good at playing DB? [/quote] I pay them. They HAVE to play with me Seriously, my budget pays for one of these guys and two sidemen. I run the events and do it for next to nothing (sometimes, if it is a trio, I do ok). None of them would book me if they had a choice. I can hold my own and it's mostly ok (train wrecks are few) but I am more often than not the weakest link by a country mile.

I think about soloing a lot, not because I am egotistical but because I am not very good at playing the double bass!! As an electric player, I can play bebop lines and some other very interesting things when soloing, some quite creative and rarely used with electric bass. When I play double bass (which is almost always now), I cannot execute complex, fast runs in thumb position and have had to find a way to get [i]deeper[/i] into the bass. Occasionally, if the thing feels right, I jsut do what is called a 'walking solo' in which I play some really radical bass lines that are basically straight quarter-notes. What works well is doing that but instead of sticking in extra grace notes, I just leave notes out i.e. straight quarter note walking lines with gaps in. What can happen then is that the 'cliche' lines can become really interesting because you have effectively moved things one notch to the left. Other things I try include the occasional use of, say, the G on the D string followed by the G on the G string, using the subtle difference in intonation to create a interesting tension. In short, it's all Charlie Haden and Jimmy Garrison instead of NHOP and Paul Chambers. I am all rhythm and gaps now, not lightening speed!! That slowing down has allowed me to find depth in my soloing. I did a recent trio gig with a pianist and guitarist which opened my eyes to the potential of working with a more intimate ensemble - think Jimmy Guiffre's Trios. I trio gig with Phil Robson and Christine Tobin was another eye opener. Lots of space without a loss in impetus. It always has the potential to be better (a LOT better ) but I like the direction of travel at the moment. It feels like something is happening.

I have been doing these great gigs for a couple of years now with some of the UK's top Jazzers; John Etheridge, Tony Kofi, Jim Mullen, Art Themen, Steve Waterman, Jason Robello, Ivo Neame, Clark Tracey - the list is long and exciting. When I do these gigs, I am regularly offered the opportunity to solo; no surprsies there, it's a Jazz gig after all. I recorded a lot of these gigs in the early days for reference purposes (I stopped doing so a long time ago as it was becoming unhelpful) and several of them are on my ipod so they pop up occasionally What is troubling me is that, when everyone else is soloing, there is a massive bed of harmony and rhythm on which they can draw and against which the gaps in their lines can sit. When the bass solos, more often tthan not, this whole tapestry disappears and you are left with a hi-hat and air. Obviously, sometimes there are subtle chords and rhythms and, In some ways, it is lovely to have the space but, when I listen back to the performances, I wish other musicians wouldn't drop like a stone every time a bass solo comes by!! I remember one gig 1000 years ago (in Cardiff) where I was playing in a piano trio and, when the bass solo came along, for reasons which were not altogether clear at the time, it took off and went up a notch instead of the whole backdrop disappearing. I know the double bass doesn't carry that well but it still feels like I have been abandoned!! Any thought?

It's Paul Chambers' 80th birthday today. It is also the birthday of Charles Mingus and Barry Guy!!

It's all here in a logical order. For free.. http://basschat.co.uk/topic/74284-the-majors-bass-boot-camp-session-index-1-36/

A lot of ghost notes are just the notes between the notes you actually play. A lot of it comes perfectly naturally.

Absolutely. I am a staunch ad ocate for reading music but there is definitely a difference in reading slowly as a learning thing and learning to sight read cold. The former is a must, in my view, the latter an ideal that is achieved over years and need to be maintained like any form of skill. I read once of a literate woman who went blind and recovered her sight twenty years later. UPon being able to see again, she had to learn to read from scratch because she had 'forgotten' how to do it.

http://m.youtube.com/?#/watch?v=yYOQ01zPnt8

They say you taste food with your eyes, why not hear sounds the same way? The maple LOOKS brighter so the ears perceive it as brighter. NB I don't know sh*t.

Have checked it out and tea up on the theory and, to be blunt, I think there is sufficient ambiguity for us all to be right It would be necessary to speak to the composer/copyists to clarify their intentions or compare charts with other musicians. Obviously, as the machine plays naturals, it is obvious that this was his or her intention. The use of accidentals in parentheses is, for me, the safest option.

[quote name='dustandbarley' timestamp='1429183888' post='2748832'] Bilbo, I didn't realise you can't see the dots. Can I ask you to [url="https://dl.dropboxusercontent.com/u/4894275/F%23.png"]follow this link and have a look?[/url] [/quote] Link doesn't work on my work computer. Will look at it later.

[quote name='Coilte' timestamp='1429101851' post='2747992'] I wonder what Bilbo's contribution to the thread will be ??? I'm sure he'll be along soon to let us all know.......for the 100th time !! [/quote] This is important stuff. Until there is an outright ban on it, it will remain on my agenda.

Timmo - Have you tried Transcribe! software (seventhstring.com)? It lets you slow music down by up to 75% (without changing pitch) so you can isolate notes and figure things out. It's not overly expensive and massively useful for study.

I cannot see the dots here so cannot comment on the chart being discussed but, is an accidental appears in a bar then all notes of that kind are effected unless they have another, different accidental. The only exception is a tied note.

Often the naturals are simply there to 'remind' the reader of the fact that the notes in the second bar that are NOT tied to the previous bar's accidental should be played as naturals. The purpose of notes is not to be accurate but to be played. When a computere reads them, none of this matters as it is not 'reading' the chart, it is reading the 1s and 0s that make up the programming. When a human being reads the chart, the notes need to be presented in a way that makes it readable.

Sounds like NHOP to me (tone and note choice). Also, there was a long string of Storyville albums by Marsh and Konitz with NHOP on bass (6 lps recorded at a club in December 1975, I think). The performance of April on those is 2 seconds longer than the one on your Spotify link so I reckon you have answered the question yourself.