Bilbo

[quote name='Earbrass' timestamp='1337589797' post='1662241'] As an author yourself, I'm sure you would also appreciate Edward Gorey's wonderful first book: [i][url="http://www.amazon.co.uk/The-Unstrung-Harp-Earbrass-Writes/dp/0747550344/ref=sr_1_1?s=books&ie=UTF8&qid=1337589667&sr=1-1"]The Unstrung Harp: or Mr Earbrass writes a novel[/url]. [/i]Not yet set to music. [/quote] On order!!

I don't find her attractive (particularly) and the dress/heels thing is not the point. Its the marketing. The fact that she is not a heavyweight but is being presented as something more than she is is the point. She is marketed the way she is because of the way she looks, no because of the way she plays. Her stuff is ok and the band is good but she ain't no Messiah! It happens every time a woman picks up a bass or any other horn; she is seen before she is heard. This kind of approach to image aggravates that tendency to the detriment of other female musicians. One wonders if she would have had this coverage had she been a better player but looked like Norah Batty. Where's the features on Melissa Slocum, Joanne Brackeen, Marian McPartland, Toshiko Akiyoshi..... oops, no cute dimples and no mini-skirts = no cover story, no videos and no record deal. And the fact that she sings makes everything rrrrrrrrrright (irony, in case you thought I was being serious) Anyway, all of this a distraction. I'm probably being more hostile because of the 'trappings' than is fair to the kid. I hope she grows into a great musician and PUTS SOME TROUSERS ON Jazz rools!

I often think moving a double bass from one place to another is like running a three-legged egg and spoon race down stairs in the dark with Parkinson's. It's only a matter of time......

Got that IEM thing sorted. Did two gigs last weekend on the beast and only a wee bit sore this morning. The gig I did ;ast night was a particular pleasure as it was my own trio (great players on sax and drums) and the bass sounded great. I plugged in and there it was. Didn't even have to touch the eq. It just sounded like the bass but louder which is, I believe, the point.

[quote name='Donnyboy' timestamp='1337548994' post='1661925'] ...... it's harder and more satisfying to play a one note groove locking in with the drummer , than a whole lot of fancy pies.... [/quote] No its not

[quote name='Hector' timestamp='1337521509' post='1661259'] I think Esperanza treads a delicate line - She doesn't pander to this in a particularly specific way, [/quote] So her choice of skirt and heels was purely pragmatic I'll try it on the next gig to see if it helps my intonation.

Christ, no.......

[quote name='Earbrass' timestamp='1322749310' post='1455325'] Ah yes, Carla Bley. If you haven't already heard it, you should check out the Hapless Child album, in which Robert Wyatt sings some of the stories of Edward Gorey. Fab band, including Bley and some of her regular companions. [/quote] Just got hold of this as a download (itunes, £4.49). Great stuff. Perversely feel good!

Great fun. Nice composition. My only real comment on the bass element is 'just because you can, doesn't mean you should'. If you are arranging tunes, you need to think about what is the best way of presenting the material and bass tapping is a a very raw/raucous sound that kind of overpowers everything else; like a loud drummer I guess. But it is nice to hear folk messing around with stuff other than the normal rock and pop staples. Good work.

Who is the tenor player who play the last solo? I like his ideas.

Just got hold of Ornette Coleman's 'Beauty Is A Rare Thing'. 57 track retrospective of his early stuff. Some interesting material on there. The Uri Caine works but its more funk than jazz to my ears. Not that matters.

I think its a case of deciding what it is you want to achieve by transcribing the pieces you choose. Personally, I think that, if you are transcribing for publication (even informally such as on here), you need to be as thorough as possible and complete tracks start to finish are preferred. If, however, it is all for your own study, then you can legitimately transcribe one bar and have achieved your aim. I have posted a large number of transcriptions here ranging from a bass clef version of John Coltrane's entire saxophone work on 'A Love Superme' to individual riffs/licks etc. What I find is that transcribing a whole album can sometime be a bit pointless as a lot of music is based on repetition and transcriptions of endless bars of the same riff really doesn't achieve very much. At home, I tend to transcribe things I want to examine and understand which can be a little part of a solo or riff rather than massive chunks of material. In short, the purpose determines the content.

Mark Levine's Jazz Theory book.

Weather Report 'A Remark You Made' is the great fretelss 'entry level' tune. Pat Metheny Group 'Jaco' (in fact, look for the first two Pat Metheny Group albums 'PMG' and 'American Garage' and Pat Metheny's first solo LP 'Bright Size Life' - they are all chock full of great fretless lines that are generally pretty easy to play). Weather Report's 'Black MArket' album is also get some great fretless stuff on it; Jaco and Alphonso Johnson. Johnson is also the bass player on Phil Collins's 'This Must Be Love' off his Face Value cd.

To be blunt, it is so rare to have two bands playing at a jazz gig..... I did lend my Trace Eliot stack to both Miroslav Vitous and Arild Anderson once. Trouble is, it was before I knew who they were Talk about a missed opportunity.

It is always a judgement call. If you go above C on the first ledger line of your transcription, you have the option of using terble clef but, if this is for one or two noites, you wouldn't bother and you woudl used ledger lines (the first ledger line ABOVE bass stave is middle C, the first ledge line BELOW the treble stave is also middle C; that's where the 'transition' is between the two clefs.). If there is a passage well above that that goes on for several bars then you can consider treble clef or tenor clef or, as you say, the 8va/15mb option. It is up to the transcriber to make the chart as easy as possible to read and, in my experience, all three options are used with equal frequency. I guess it also depends on whether your transcription is for study or reading on a gig. Here are a couple of useful links. I wouldn't try to 'learn' it all but it is certainly wirth thinking about some of the basics about the processes involved. http://en.wikipedia.org/wiki/Clef http://en.wikipedia.org/wiki/8ve

Hated everything she did then and still hate it now. Nevertheless, 63 is no age and my condolences to her kith and kin.

My music stand covers about 4 pages easily and five at a push. If it goes above that, it is usually a piece with gaps in so its a case of waiting until the gap, dumping the parts that have passed, moving the other parts and then carrying on with the rest. But 6 page parts are VERY rare in my little universe. Am I the only one who as developed the skill of continuing to play with my left hand hammering notes whilst my right hand turns the page? A lot of bass charts have long notes and this is not as clever as it sounds. It is also important to make representations to whoever transcribes the parts and say that a turn there is difficult and can they redraft the chart so the turn is somewhere else. It's an occupational hazard and the solutions are many and varied depending on tempo, the nature of the lines etc.

[quote name='Nibody' timestamp='1337328198' post='1658038'] I'd love to try a DB. But I dont have the space, and I'm not good enough to play one!! - I take my hats off to all upright bass players, I may call myself a bass player but the upright guys are the "True" bass players IMHO. [/quote] I think there may have been an argument for that 50 years ago but the electric has its own majesty now and I don't think its in anyone's shadow. I think there is a holdover from the idea that a d bass hails from the legitimate area of classical music and, as it is studied in Conservatoires etc, it is somehow 'better' that the e-bass but, as I said, I don't think that's really a credible argument anymore. Good to hear the OP is developing in a new direction. Always a good thing.

MIles plays so few notes compared to everyone else and they all count. Magic solo.

I took my soprano to a gig last night (not to play but to show it to my sax player (who has a £4K Mk VI Selmer). He was really impressed with my Thomann and, when I told him the price, was astonished. He says it plays really evenly and in tune across the full range and only starts to struggle in the absolute highest register. He sounded marvellous on it (unlike me, who still sounds like a duck on heat). If ever I got good enough to play like that, I could still do it on my bargain basement starter instrument. Nice to know that you can still get on board even if you can't afford big money for professional instruments.

[size=6]FREAK!!!![/size] [size=6][/size]

Thanks, mate. Will need to look elsewhere!

I think it may be in the Oct 99 issue of Bass Player and is from Chris Jisi. Have started another thread to that effect. Thanks anyway.