Bilbo

[quote name='ML94' timestamp='1376994857' post='2181881'] Any recommendations on what to listen to ? [/quote] Not Moondance for a start Try Miles Davis albums like Workin', Steamin', 'Relaxin' and Cookin', you won't go far wrong.

Moondance does go somewhere. To hell in a hand-cart This is a massive question, ML94. Walking lines are one of the ose things that take a minute to learn and a lifetime to master. I have been working on walking lines for 30 years and still struggle somedays. Really struggle. I think the simple answer is 'many things'. Firstly, impetus. You want your walking lines to add impetus to the music, to fulfil the roll of making the music swing (in all senses of the word). You need rhythmic strength but you also need to consider whether you want to add interest rhythmically. One of the things I learned from listening to 100s of hours of Paul Chambers was that, when he walks, his lines are made up almost entirely of quarter notes with very little in the way of fills and kicks along the way. Someone like Rufus Reid is much morelikely to stick in triplets, fills, double stops etc whereas Scott LaFaro etc will tear up the rhythm and play anything BUT the quarter note (not really but you get the point). In short, making the music move is an important part of walking but the way you do it is determined by [i]your[/i] musical choices and by the needs of the music you are playing. Harmonic movement - You want your lines to spell out the chords som the listener and soloist alike can follow the form. This is, however, balanced against the need to create interest - a consistent spelling out of arpeggios is 'correct' in theoretical terms but gets boring very quickly. So, it is a case of maintaining a sense of the harmonic structure without slavishly dictating it - that is the 'art' of it, the bit that takes a lifetime to master. As does the element of tension and release. You can use you lines to create massive tension (the most common way of doing this is playing a fourth below the root of a chord, say, on the last 8 bars of a 32-bar chorus of 'rhythm changes'). YOu can follow the soloist rhythmically, or the drummer or play against them. There are lots of ways of doing it and most of the methods are simple but, as with the harmony thing, it is the musical application of these concepts that takes a lifetime to master and which defines [i]you[/i] as a player. You also want to create a little artwork of your own so that your lines have an internal logic and an arc that reflects your intentions. This is particularly important when playing modally. 150 bars of Dm is both the easiest thing to play and the hardest. Keep it interesting, keep it real. It's a life's work.

Not a criticism just all feels a bit pointless to me. Then again, I'm an arse.

His website says his fretless isn't a Sei. Anyway - that Fcuker!!

Mike's (urb) Sei fretless.

I got my Evah Pirazzi's because they are supposed to be good for both arco and pizz whereas Spiros are allegedly not that good for arco. Personally, I have never been that precious about strings and find that anything with a decent rep is fine by me. I am not yet good enough for it to matter enough to notice On my Wal, I don't even know what guage they are, just that they are groundwound (for fretless). I adjust to the strings and don't expect them to adjust to me.

[quote name='ubassman' timestamp='1376400502' post='2173343'] The headstock looks very similar to Paul Chambers bass - welcome to BC !! [/quote] Lovely anecdote. Can you see the bead glinting on the headstock in that photo? That bead came off one of Annie Chambers's, Paul's wife's, dresses.

Thanks goingdownslow. That's the fellow (the Alive In The Studio session - it is not the recording I remember but it is clearly a rehearsal by the same band and the arrangement is the same, jsut the detail of the recording (bass sound, vocals place in the mix etc) that is not as good as the version I remember. But great to listen to it again at last. Many thanks again.

The LP was Songs For A Tailor although Theme For an Imaginary Western was on there.

What was the winning bid?

My first bass was my 5 string so go for it!!

I think it is because he is from Cardiff and we all played like that in Cardiff at the time.

Have the LPs but, no, the track I am looking for was only ever recorded on this one live session.

Yes - have seen that video on a previous fruitless search Marvellous memories.

In the 1980s, I recorded (on cassette) a session off Tommy Vance's Friday Rock Show that featured Cozy Powell's Over The Top band with Jack Bruce on bass. An Aria SB1000, IIRC, and the sound was influential to me at the time and remains my 'source' bass sound. It was a favourite for yrars, particularly their version of Tickets To Waterfalls with JB on vocals. So, getting to the point, has anyone got a copy? I lost the cassette years ago so doubt anyone will have it but if there is a 50 something anorak out there that has kept all of his cassettes...... Would love to hear it again

It absorbs all sense of taste, tone and musicality before it comes out of the guitar..... [size=4] [/size]

Brilliant musician.

If the audience is ignoring me but smiling, I know I have nailed it.

The only term I Know is whole-half diminished and half-whole diminished. But no-one uses those terms and just use the general term.

PM sent.

It took me a couple of years to get past 'suck'. I am still not happy but can play without making a complete tit of myself after about 4 years.

[quote name='cybertect' timestamp='1375816193' post='2166143'] John Etheridge *and* Jim Mullen. I'm more than a little green [/quote] Mullen was great but Etheridge took it to a whole new level! A career highlight for me (as was Mullen, to be fair).

[quote name='Jazzneck' timestamp='1375815314' post='2166124'] Oi, Bilbo - are you getting Mick Hanson back to his old stomping ground? [/quote] No.

Not interested and waiting for the September competition.

John Pariceli, f f s