Bilbo

I'm gaining on 'em!!!

Joint first to joint third. Boccolks!!

That is astonishingly ugly. But, then again, so am I

There is a free PDF book of Charlie Parker heads that can be easily found on-line. Just google 'Charlie Parker Tune Book Fred Parcells' and look for a link. 80+ heads for free - all treble clef but short enough to transpose as needed if you cannot read treble clef.

No, that's us 6 coming back every five minutes to see if we have another vote.

Trouble is that to listen to all six tracks takes a minimum of 36 minutes. An eternity in this day and age.

The trouble with getting intonation right, on both fretless and double bass, is that you don't know it's going to be out of tune until AFTER you have played it. My electric has fret markers up the side of the neck but, on the double bass, we are reliant upon finger memory. What do people do to nail this issue? I seem to be ok in the practice room but, on gigs, with all of the background noise (of various kinds), it all gets a little shaky (sometimes more than others). Is it just about amp placement/monitoring?

Absolutely. As an electric player, I learned how to play everything on the beat until, one day, a saaxophonist colleague was heard to say that the problem with my playing was that my timing was too good. I discussed this with a saophonist/flautist/guitarist/drummer friend (yes, he played them all) and he explained what it was all about. Took him about 4 minutes and it turned my electric playing around. When I moved over the double bass, I had to revisit the issue and was interested to note that one of my early failings was related to stamina. A very good pianist friend, who I played with last Sunday and have more gigs lined up in the next month or so, noted that, as the early gigs progressed, I would start ok but, as the evening wore on ' the energy would go out of my playing'. In short, I was slowing down through fatigue. Things have got a lot better as I have progressed with the instrument but I am not aware that, if I am tiring, I need to harness a greater deal of energy and dig in more in order to ensure that I remain on top of the beat. It can be exhausting.

Dexter Gordon - behind the beat John Coltrane - ahead of it. That's nailed it!

Great player. Got his thing going and it is cool. I have only heard him doing these kinds of intense funk/pop things so I am not sure how he would fare in a Country Band or in a pit orchestra but I suspect that is not yet a concern for him!

SInce I took up the trouble bass about 4 years ago, I have struggled with my right hand technique. When I practice, I use the side of the index finger but, when I gig, anything can happen. I use the sides of the index and second, the ends of the first two fingers (a la electric bass), two fingers at a time and so on. At the end of each gig, I always felt a little defeated, that I didn't have the discipline to maintain my practised technique and that, under pressure, i caved in to less legitimate techniques. I looked on youtube for advice and found this from John Patitucci. In short, all of the technique I have been using are legitimate, given the various challenges offered by the music I play. Brilliant!! [media]http://www.youtube.com/watch?v=aGHLKj-TvBc[/media]

Thousands of them. Everytime I realise I know less and less, I buy another book so I can learn more and more. So far, I have failed. I always say that, if you put some thought into it, you can probably get everything you need to know in two or three books.

[quote name='RickyV' timestamp='1411765144' post='2562692'] [media]http://youtu.be/Qw0BESvKWIw[/media] [/quote] That's Linda Oh on bass! If you are in a trumpet mood, what about these guys? The Avishai Cohen Trio (the trumpeter not the bass player) [media]http://www.youtube.com/watch?v=3oyXF-tbeS8[/media]

It's the best fun. Composing is the most satisfying aspect of music for me at the moment, not because I am particularly good at it but because I can see things getting more sophisticated every time I try a new idea. It also helps me learn more about the IT side, the recording side, the composing software etc etc and, at the end of it, I have something of value in each piece. Brilliant fun.

Music is a lot bigger than any of us ever really know or understand. The more you know about it, the further you can take it and the further it can take you. If you don't want to learn scales, that's perfectly ok. You don't have to. It just means that you will probably remain a lightweight for the rest of your career. But that may be ok because you may be satisfied with that (most are).

Nobody else knows what we do unless we stop.

We are fast entering a space where the compositions all have considerable merit but, in having to choose one, we are forced to exclude the rest as if we are in some way critical of them. I voted for Leonard's because I loved the freedom within it. A flock of birds is not a predictable entity, something I was trying to convey in my own thing, but I thought LS's piece reflected that 'chaos' much more readily than I was able to.

Try to not let it fall below my standard, mate. People will only laugh.

When I have been researching musicians, I am often interested to note that their professional lives are very different to those in more conventional work settings. They sometimes have major tours, international appearances etc, legendary sessions that make them look busy and then, after the big gig finsihes, they do nothing for months or even years. It's all very glitzy on paper but the lived experience of the personalities involved is often very different. How many artists do we see who have years and years between albums (Kate Bush is a current example). I know plenty of people who live in London and hardly ever gig and plenty who live in one horse towns who are out regularly. It is what it is.

Guitars are like Harley's; prime material for a mid-life crisis. There are hundreds and thousands of people with loads of expensive guitars that cannot really play. I suspect it amounts to decades of trying to 'buy' your way into being a talented musician. It is endearing if they have a degree of humility but those who are delusional are best avoided.

The bass player is a GIIIIIIIIIRL

[quote name='bassace' timestamp='1410980686' post='2555328'] You can find him on roncarter.net and you will find some exquisite sound clips. I like his 'statement' :- I think that the bassist is the quarterback in any group, and he must find a sound that he is willing to be responsible for. PS He's 6'-4" [/quote] I made the point in my original draft of Mr. PC the life and music of Paul Chambers that Miles replaced PC with one of the only bass players TALLER than Chambers (6'3"). Alyn Shipton edited it out

Another Suffolk resident here!! Welcome to Basschat!

Here we go!! I tried writing something for my own sax/flue - bass - drums trio and was thinking about Coltrane and Eric Dolphy because of their history of blowiing complex ideas over relatively simple changes. Obviously, birdsong was a major influence but a lot of the ideas are compromised by the fact that I am playing/programming everything. Either way, I quite like it and feel that, like all Jazz compositions, it is something that would be massively improved by being played live by real folk and used as a starting point for blowing rather than as a through composed thing. https://soundcloud.com/robert-palmer-1/startling

Oi ain't never troid....