Bilbo

My wife bought an Orla Kiely handbag (£350) in a charity shop for £3.

Bought my Wal for £740 in 1986. Now worth about £3K? And I didn't do anything but grow older!!

I think I have enough change in the footwell of my car!!

I can't believe it but I am gassing for one of these. I play guitar as well as bass and have a credible pick technique. I can 'hear' this thing whereby I play a seven string bass tune BEADGBE (as opposed to BEADGBCF) effectively as a guitar/bass hybrid. A lot of seven string basses are used in heavy, driving musics but I can see a use for it in a kind of more laid-back, Steve Swallowesque way. Think Jim Hall but going lower. For the money they cost, it's got to be worth a punt!

Simple question: what's the answer?

Simple question:what's the answer?

It's about measuring up the pros and cons. If you have a sh*t job that is easily replaced, go (a lot of 'actors' in the US work sh*t jobs so they can 'resign' if an audition comes up and get another job the next day if they don't get the gig). If you have worked hard at developing a career, getting qualifications and all, maybe think more carefully. Also, if you have a mortgage vs. no financila obligations etc etc. Simple cost/benefit analysis.

Here we are...... [url="https://soundcloud.com/robert-palmer-1/flight"]https://soundcloud.c...palmer-1/flight[/url]

I had a two lessons with Dudley Phillips, one with Paul Westwood and about six or seven with a guy called Dan Quinton who was by far the best [i]teacher[/i] of the three.

I knocked something out last night. Not particularly exciting but it will have to do (wasn't really inspired by the image this time). I am not going to get to this again before the closing date. WIll post it when I can get to a computer with a USB port!!

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.