Bilbo

Hey, Skol...... [size=6] [/size][size=6]LOSER!!! [/size]

A vote for mine would be a travesty

I agree

Worth a watch if you are interested in Partch and his use of atonal instruments, this is a documentary on the making of Hal Wiliner's Mingus tribute album Weird N[size=4]ightmare.[/size] [url="http://www.youtube.com/watch?v=r8b6KdnnM8Y&list=RD38sSuHTI7iKls"]http://www.youtube.com/watch?v=r8b6KdnnM8Y&list=RD38sSuHTI7iKls[/url]

Great bass-line bad song is an oxymoron to me. I find myself often being in a minority of one when I say that Jamerson never works for me because the songs are mostly s*** (there are a few exceptions but very much the minority). To my mind, a great line is a great line precis[size=4]ely because of where it is not in spite of it. [/size]

[quote name='tinyd' timestamp='1375099077' post='2156612'] That's some fantastic playing Bilbo. I can barely play the first note in each bar at that tempo, but you're really swinging! Just out of interest, how do you find playing at that tempo affects your note choices? Do you necessarily have to pick from a smaller 'set' of notes? Or is part of the achievement of playing at that tempo that you're able to make the same decisions? From listening, it certainly doesn't seem like you're limiting yourself, but I'd be interested in what's going through your brain at that speed... [/quote] Walking lines at that pace are easy, soloing less so. I tend to be thinking three dimensionally, theory/scales/patterns, melody and reacting to what is around me. A bit of theme and variation is in there and the occasional 'lick' I have practiced. Some muscle memory, no doubt; its all in there.

Try Duraglit.

I thought the idea was to vote for the composition which representrd the photo that inspired it. If it is just a what is the one you like the most thing, why bother with the picture?

Can you hear me Doctor Wu!

I create a mental image of the dots for the first two bars as an aide memoire and then the memory kicks in.

Mays should smile more often; it suits him.

[quote name='bassman7755' timestamp='1374875046' post='2154456'] If I was designing music notation from scratch I would completely dispense with the notion of # and b notes, and instead have 11 notes named A to K. Written music would then simply use 11 lines/space instead of 7 + accidentals. [/quote] And the piano would be a total mindful!

[quote name='geoffbassist' timestamp='1374906973' post='2154593'] Those 11 minute up tempo tunes really test your stamina, but the tempo stays right where it should be. [/quote] I remember many years ago going to see Branford Marsalis at Ronnnie's and watching Eric Revis rip through long tunes at astonishing tempos. I remember thinking, where does he get that stamina? Having now achieved the same, I feel that, whilst the end remains a long way off, I can, at least, see where the tunnel starts. There is so much more to learn about playing this wonderful instrument but these recordings make me feel that I have something on which to build.

Mine is a Gedo 3/4, mate. Whatever else it does, it sounds like a double bass!

Not if you had heard the tunes I didn't upload!

One more (different line-up). Secret Love (tenor/guitar and rhythm). I cannot tell you how great it feels to have been part of these performances and to know that, on a good day, I can, at least, 'keep up'! [url="https://soundcloud.com/robert-palmer-1/secret-love"]https://soundcloud.c...r-1/secret-love[/url]

Another tune of a very different type. [url="https://soundcloud.com/robert-palmer-1/gospel-tune"]https://soundcloud.com/robert-palmer-1/gospel-tune[/url] For the record, this tune was performed by a band that, with the exception of one musician, until the first note is played, have never even heard the tune. In fact, I had never played with two of the players until this gig and only knew the drummer. This is what reading and a knowledge of your instrument can free you to achieve with others who also have that knowledge..

I captured this with my new Zoom H1 at a recent gig and am pleased with the results. I struggle with the inconsistencies in my playing and with the errors that occur when I overreach myself (which happens, regrettably, far too often). Over this series of gigs I have been doing, I have seen a subtle improvement in my playing and am thrilled to say that this performance of Denzil Best's 'Wee' (rhythm changes) was the last tune of the first set and shows no real signs of flagging despite the furious tempo!! [url="https://soundcloud.com/robert-palmer-1/wee"]https://soundcloud.com/robert-palmer-1/wee[/url]

It is a language that needs to be learned. The best reader I ever knew, a pianist who could read what I called 'ten finger piano' charts pretty much perfectly right off the bat, told me that from starting to learn to being that fluent took 15 years (he started young). Most people can get pretty good at reading single lines quite quickly and then it is a case of 'speeding up' until you can read more and more without crashing. But it takes time, just like reading prose. No conspiracy, just a tried and tested method that makes things that much more viable for composers and performers alike to execute complex works quite quickly. It also makes learning easier as ideas can be communicated more readily. Worth the the investment but it takes time, discipline and patience.

[quote name='wrinkleygit' timestamp='1373211705' post='2134748'] Hi bilbo, did you ever finish writing your jazz standards book, mike b [/quote] Not sure what you mean. Have published a book on Paul Chambers but that is all I was working on.

I do find most pop and rock doesn't come off too well after a point. Jazz, folk, classical, even Blues, all seem to feel ok but older guys playing a lot of rock n pop genres look a bit 'sad' to me. I recently saw the Michael Schenker group. MS played great but posturing looks seriously iffy.

[quote name='Mornats' timestamp='1374687029' post='2151917'] Poor teddy, he's getting his brain nuked. [/quote]

And of course they have no relationship with him and no vested interest in him being that aforementioned .man'!! I have heard Kool and The Gang consider Robert Bell aka 'Kool' to be the best bass player in the world..... [size=4]Of course, he is a great groove player etc so, if you subscribe to the idea that a bass should 'get off on making other people sound good' then 'other people' are going to rate them. I think Paul Chambers's reputation was based on the same idea.[/size][size=4] [/size]

I have some ZOOM H1 mp3s but have not got consent to post so am reluctant. I may put some up on my soundcloud page 'anonymously' one day.

I think I have had one of those once?