Bilbo

And no-one matches Joni. Sublime. [url="http://www.youtube.com/watch?v=tKQSlH-LLTQ"]http://www.youtube.com/watch?v=tKQSlH-LLTQ[/url]

I have a love-hate relationship with Diana Krall but this is lovely. [url="http://www.youtube.com/watch?v=it1NaXrIN9I"]http://www.youtube.com/watch?v=it1NaXrIN9I[/url]

The massively under-rated Janis Siegel. [url="http://www.youtube.com/watch?v=gAtJXSodaDQ"]http://www.youtube.com/watch?v=gAtJXSodaDQ[/url]

[quote name='bobbass4k' timestamp='1389497979' post='2334869'] If you like time signatures you're in for a treat, at last count there was 13 of the things. [/quote] On purpose or by accident?

Chris Potter - The Sirens

Oh and my favourite simple is best line 'Ladies Night In Buffalo' by Dave Lee Roth (Billy Sheehan keeping his powder dry).

So many to choose from. Try 'Are You Going With Me' (Travels), 'Slip Away' (Letter From Home), Last Train Home' (Still LIfe), 'Spring Ain't Here' (LFH)

The collected works of Steve Rodby (Pat Metheny Group).

I think that is the point. Some arranger can spend four times the time it takes the writer to put the song together and to make it presentable and then the songwriter gets all the kudos. SOme songs seem to fall from the ether (I have done them in 30 minutes from conception to recorded) whilst others are agonised over for weeks months or even years. But they all have the same 'market' value. There is a lot of luck involved, I think (althought the harder we work at it, the luckier we get).

The issue is that the writer of a song, say Morrison and Moondance (assuming he wrote it ), gets his royalties not only from his version but every other version. Now for Moondance that is 1,000s of versions. But for a tune like, say, that Wet Wet Wet thing that went mental (I feel it in my fingers, la la la). The original was mildly successful and went awaty whilst the remake was massively massive. And yet the original songwriter gets the lion's share of the royalties. PS I really don't care about any of this

I always wanted to play a stadium/arena. The biggest audience I ever performed in front of was at the most 4,000 (one of those orchestra with fireworks events on the grounds of a stately home). I just wondered what it would be like to play to ont of those massive crowds. Not likely to happen now (its a real result if jazz audiences reach triple figures). I'll live.

I get that the song is the thing but there are so many examples of songs that are dead in the water until some producer, arranger whatever breaths new life into it. The catalyst gets very little, the writer of the song gets everything. Doesn't seem fair.

The Impossible Gentlemen - Play The Game. Steve Swallow, Adamm Nussbaum, Gwilym Simcock and the astonishing Mike Walker. What a band! What a tune! What a performance! Energy, ideas, swing. Monster! It is on Spotify - go!! Now!!

Can't watch the video here but it has often struck me as peculiar that the songwriter gets so much in the way of royalties compared to other 'stakeholders' in the process. There are some great songs that have become massive hits but, without the arranger, producer, musicians, performer, even the video director etc the 'song' can a bit something and nothing. I head some old Hoagy Carmichael tunes once, performed as he intended, and they were pretty crap really; the band was weak, the performances lame etc. And yet, years of re-arrangements through hundreds of fresh ears, voices, instrumentalists and they are classics. I get that the 'idea' is the important part but, actually, is it the [i]only[/i] important part?

[quote name='BetaFunk' timestamp='1389218615' post='2331630'] You're not paying attention Bilbo. I posted that before Christmas especially for you! [/quote] I cannot always see the videos posted here as I look at Basschat primarily in work and on a Kindle HD, neither of which allows me to even see the embedded videos let alone watch them. Thanks for thinking of me.

More Aznar. Beautiful [url="http://www.youtube.com/watch?v=-x-031gqsVI"]http://www.youtube.com/watch?v=-x-031gqsVI[/url]

Some iffy intonation, though

Just found it. It's not 'Donna Lee', thank God!! Ooooer; but there are some slippery passages!! (Check out 'One Song').

I have just been asked to play the fretless bass part in a chorale scoiety's performance on Karl Junkins' 'The Peacemakers'. I am trying to access the piece on line and am being sent the parts before accepting the gig but I have noticed that the original recording was done by Laurence Cottle. Does anyone know how difficult the part is (i.e. is it the whole 'suite' or just one section)?

I have had no training in it but am aware of its core messages and use it to inform my own approach to playing the instrument i.e. listening to the body, making the most of a stable centre, using muscles across the arms and hands as efficiently as possible etc. Having had problems in the past, I have found that I am managing to keep on top of the playing without any injuries or specific aches and pains. Still have friction based soreness in my right hand fingers and wish I could play without forgetting to breath properly and without gritting my teeth (am working on those) but, otherwise, it seems to be going well.

I am struggling because, for some irrational reason that has no basis in any reality that I am aware of, I 'kin hate Burt Reynolds and every film he has ever done

Usually have a set list but it is 'flexible', depending on the atmosphere.

[quote name='leschirons' timestamp='1389002982' post='2328523'] Weren't they American or Canadian? Name rings a bell for being a bit "Gong" like (but it was all a long long time ago so I could be talking utter rubbish) [/quote] No they were based in Milton Keynes!!

'Northern Lights' always reminds me, stylistically, of the music to Follyfoot and White Horses (both of which I also loved as kid). Also, does anyone remembers 'Solstice' (I auditioned for them but didn't get the gig - no surprise as I wouldn't have given to to me at that time either!!).