Bilbo

https://soundcloud.com/robert-palmer-1/on-green-dolphin-street A live quartet version of 'On Green Dolphin Street' I did recently (it is only an excerpt but gives you a flavour of what I do with OGDS). Interestingly, I find the tune to[size=4] be a game of two halves; lots of space to develop interest on the pedals but lots of chords on the second eight bars which can tie your ideas down a little (two chords a bar can be difficult to do anything with without sacrificing the harmony).[/size]

[URL=http://s283.photobucket.com/user/bilbo230763/media/RobandOsian_zpsec64afa3.jpg.html][IMG]http://i283.photobucket.com/albums/kk287/bilbo230763/RobandOsian_zpsec64afa3.jpg[/IMG][/URL] [URL=http://s283.photobucket.com/user/bilbo230763/media/RobRussandOsian_zps3114cd32.jpg.html][IMG]http://i283.photobucket.com/albums/kk287/bilbo230763/RobRussandOsian_zps3114cd32.jpg[/IMG][/URL] [URL=http://s283.photobucket.com/user/bilbo230763/media/RussRobandOsian_zpsb74cee34.jpg.html][IMG]http://i283.photobucket.com/albums/kk287/bilbo230763/RussRobandOsian_zpsb74cee34.jpg[/IMG][/URL]

Plugged the Rode into a mixer to a mixer today. Dead as a dodo. Have ordered an new t -bone SC14 to replace it. Not as good on paper but more than enough for the purposes I need it for.

The important thing about walking lines is to relate what you are doing when you are walking to what is happening elsewhere across the piece being performed. I learned early on that learning lines from a book or even from transcriptions by the Greats often does not work because these set pieces, whilst technically correct, are not working 'in context'. It is about recognising what lines in your arsenal fit a given passage; this is something that you need to learn to do in real time, on the bandstand, and can only really be achieved by doing it. Also, a lot of the swing you get from a walking line is in your tone and not just in the notes. Some great lines can fail to work because of a thin sound whilst some massive cliches work astonishingly well because the sound is soaked in swing. A lot of subtle problems exist because lines use the wrong passing notes or start/end clumsily and the only way to get better at this is to keep trying, listening hard to what is going on around you and working on what you are trying to do in that endless quest for the perfect line. What I find interesting is how many times I go back to listen to the Greats and find the lines aren't 'all that' but the intention and swing are so intense, the details matter less than we think. Walking bass takes a minute to learn (what could be easier than straight quarter notes on the beat) and a lifetime to master.

I have options to try but need to get to it.

Yes, I have just seen this package on ebay. No, I don't have the 212. Need to get to the issue this weekend.

This is the second shed of this type I have had built and the last one was bone dry after 10 years, even having lost the roof felt once. It is also fairly sheltered in the send that it is tucked in the corner under a tree that provdes great cover. So far it has weathered storm after storm with no problems. I am not complacent but, equally, I don't lie awake worrying!

I have had it years, mate, so cannot complain. It may have seized up through lack of use since I moved last October!!

Another option is to use any charts you have as exercise to read rhythms (the Parker Omnibook is great for this). Just sit there, without a bass, and read through the charts as rhythms, ignoring the pitches. It helps you focus on the act of reading rhythms across bar lines without the distraction of identifying the notes. After you get better at it, you can start working on the actually reading of dots. Ironically, reading the rhythms is often seen as the complicated bit but it is, in fact, the easiest part of the exercise.

No chance this month. Too much on. Will try March.

I do not know what a 212 is. And it is a Focusrite Platinum Penta Stereo Analog Preset Compressor (see link below) http://www.music123.com/pro-audio/focusrite-platinum-penta-stereo-analog-preset-compressor/188203000000000

Download the Kindle software to your laptop or PC (it is free on Amazon.co.uk). The bigger screen will allow you to view the material better (this is a problem with any book containing staff notation. The images are generally of the kind that doesn't expand when you increase the text size).

The stray harmonics are usually because your left hand is stopping the strings over the 5th or 7th fret and the harmonic is ringing sympathetically. If you are able to use more of your left hand to stop the string (i.e. more than one finger width), that often reduces extraneous noise.

http://basschat.co.uk/topic/93958-i-did-it-now-with-photos/page__hl__gedo+musik__fromsearch__1

They are fine as starter instruments and, yes, an upgrade on bridge and strings would be a good idea. Alternatives include Gedo Musik's basses which are similarly priced (I started on one priced at around £1400 but they are perfectly credible at lower prices). If you want to hear my cheap, nasty bass (irony, it's lovely), check out 'Calypso Zoom', 'Speak Now', 'Estate', 'Wee' or 'Caravan' on my Soundccloud page. There is a lot of what I call hysteria about cheap basses but, in my opinion, getting one looked at by a luthier and getting to the act of playing the damn thing will be more use to you than agonising over whether to spend £700 this year or wait another six months until you have £1500. The difference between the two will be irrelevant for a few years until you really get a handle on the instrument. My 'cheap' bass sounds four times better now than it did when I got it. Not because it has been modified but because I have been playing it for four years now and am much better than I was when I bought it! I cannot see how a marginally 'better' (i.e. different) bass would improve my 'thing' as convincingly. My advice in one sentence: Just start your journey and enjoy it.

Some people put a wrist size sweat band around the neck to dampen the strings (have seen Kevin Glasgow do this with his six string bass and Reggie Wooten on guitar) but I think most peopel just find a way to dampen the strings with either hand. It is an irritant, though, I agree. PS. I never slap on a gig, only for my own amusement and never for more than a few minutes a decade

This is good for reading rhythms. It's called, oddly enough, Encyclopedia of Reading Rhythms http://www.amazon.co.uk/Musicians-Institute-Encyclopedia-Workbook-Instruments/dp/0793573793/ref=sr_1_1?s=books&ie=UTF8&qid=1392753679&sr=1-1&keywords=reading+rhythms Also try the Complete Bach Cello Suites as you won't remember them enough to be playing them by ear. http://www.amazon.co.uk/Faber-Music-Bach-Cello-Suites/dp/B003HKDZ02/ref=sr_1_4?s=books&ie=UTF8&qid=1392753788&sr=1-4&keywords=bach+cello+suites It takes a few years to nail it, guys. Progress is incremental and slow. Be patient and stick with it. I know a 'ten-finger' reading pianist who told me it took him 15 years to nail it. If we take 2 or 3, we are doing well.

Will have a 'fiddle' and see what transpires!! Thanks for the steer, bro!!

I thought the SM58s did need phantom power? Just googled it and you oare right (whcih you clearly knew already ) Looks like its the Focusrite[size=4]'s phantom power may be the issue!![/size]

Simple query - my Rode NT1-A condensor microphone has developed a fault (it is massively too quiet - barely audible with all levels on full). Can these things be repaired and, if so, where? I tried it through my Focusrite pre-amp/compressor and could barely hear it so I unplugged it and replaced it with a Shure SM58 without changing any of the settings and the SM58 was fine (although not as good as the fully functioning Rode) so I am 99% sure it is the Rode.

Tidy. I do a regular duo gig of this nature (guitar bass, lead vocs backing vocs). It don't sound like that Actually, the strength of this performance is in the lead vocalist. He's a monster. Also worth youtubing 'Perpetuum Jazzilw Africa'. The opposite end of the spectrum. I love theior faux- jungle sounds.

What is your reading practising regime?

Had a quartet gig with Jazz trumpeter Steve Waterman and Essex guitarist Andy Watson last night. Monsterously good gig with great charts and great playing from everyone. I recorded the gig and it sounds fantastic (a few simple arrangmements can really MAKE a gig). Really exciting stuff. We also got to try out one of the tall skinny Bose PA systems which was nice. Next gig: Alan Barnes!!

To add to Jake's post, I would just reference the fact that, in a Jazz setting, most improvisation is a dialogue between the various parties and that you will find the source of your inspiration in the playing of those around you. A piano lick, a drum fill and bass line etc. Or even in the theme of the songs themselves (Sonny Rollins is THE expert in this). The best Bass orientated book on impriovising I have ever used is the Chuck Sher/Marc Johnson book 'Concepts For Bass Soloing'. http://www.amazon.co.uk/Concepts-Bass-Soloing-Chuck-Sher/dp/1883217008/ref=sr_1_1?s=books&ie=UTF8&qid=1392628661&sr=1-1&keywords=marc+johnson+bass A small point, the two guys you have mentioned, whilst in no way lightweight, are not particularly advanced improvisers. You would be far better getting inspiration from a range of saxophone, trumpet, piano and guitar players (i.e. don't focus on one individual player). Seek out great improvisations, things that make your ears go 'aaaah' and make you think 'what was THAT'? Try Chris Potter, Mark Turner, Branford Marsalis, Joe Lovano, Keith Jarrett, Kenny Werner, Wayne Shorter etc. There are also great source books like Slonimsky's Thesaurus of Scales and Melodic Patterns. It is also important to note that you are starting a journey that never ends but it is the journey that matters not the destination. Look forward to a life of gigs where two solos a year (maximum) do it for you But it's the BEST feeling And, yes, Steve Berry rocks!!