Bilbo

I have been a little focussed on electric bass for a while so I thought I would post a few double bass transcriptions. This is Dave Holland's bass solo on the Jack DeJohnette tune 'Blue' from the Holland trio album he did with the drummer and saxophonist Steve Coleman in 1988, 'Triplicate'. https://bilbosbassbites.co.uk/blue-dave-holland-trio/

I saw this band at The Four Bars Inn in Cardiff. John Scofield in a local pub 😀Those were the days.

I am doing another book and needed to find examples of bands who continue to perform under a name even though they have no original members. One is too many, it has to be none The intended outcome has been achieved so thank you to everyone.

I read the article and realised that the drummer thing was not the most important element in his story. It was his relationships that were important and, whether we recognise it or not, we all have that in our lives. Things to be be proud of, things we regret but, most importantly, the people to share them with. It's there in all our lives. Some stories are big, some are much smaller but that is simply not the point. Be kind and appreciate who you have. The rest comes from that.

Four days I will never get back, this is Gary WIllis's tune 'It's Only Music' from the 1998 CD 'Bent'. The ranscription features the head, chords and bass solo. A masterclass is nuance. https://bilbosbassbites.co.uk/its-only-music-gary-willis/

The first thing to remember about playing fretless is that you are probably always going to be out of tune to some degree. Get used to it I have slightly been out of tune since 86. Seriously, though. It is a constant concern. Hearing yourself on stage, making sure your bass is properly intonated, using your ears constantly not your eyes (using a tuner doesn't work EVER as it is always a few seconds behind you and what you are seeing is where you were two seconds ago and not where you are now - also lined fretlesses can be bear traps - don't trust the feckers), understanding that it may not be you that is out of tune but it may be a saxophonist or singer clashing with the piano or guitar, understanding that there are ways that your tone can play tricks on your ears so you sound out of tune when you are not and in tune when you are out. The 'secret' of good intonation, and, yes, it is not hard to play in tune, is to understand that you NEVER EVER get to the point where it is not a concern. You will never have 'nailed' intonation. It requires your attention FOR THE REST OF YOUR PLAYING CAREER , not because you are in any way a substandard player but because that is simply how it is with fretless instruments. Having played fretless bass with an orchestra (Karl Jenkins' The Peacemakers), I have sat next to a viola section. The simple fact is that, listened to close up, they are all slightly out of tune with each other. Nevertheless, the overall effect is not one of being out of tune but one of a subtle chorusing - the whole is greater than the sum of it's parts. With fretless bass (and double bass), you are constantly making microtonal adjustments to stay on piste. Sometimes this is a slight twist of the knee, at other times, you have one leg in the air and are flailing around like a crazy person. It only really matters if you are recording, otherwise, no-one notices you unless you catch fire.

I am writing a piece on this issue and need a few examples of bands that still perform but who no longer have any of their original members left in the line-up. Soft Machine and Yes come to mind but I need a few more. Can I draw upon the Basschat hive mind? Muchos gracias.

I got 163 transcriptions done this year which feels pretty satisfying. There is no way I could have done that much work if we weren't in lockdown but, with no gigs and no other distractions, it was pretty much a breeze. I usually get around an hour's practice time in a day* with some additional time every now and then. I haven't spent every second of that time transcribing and have got some bass playing practice in but this project has kept me motivated this year. The website now has just over 200 transcriptions on it and has had over 26,500 hits since I went public with it on 6th July, 2020. If every one of those hits is a downloaded transcription, then I have achieved what I set out to do and can go to my grave a happy man Happy New Year to all my Basschat chums * I am not a professional musician (thank, God for that this year)

I have started using the Parts as you have suggested, cb. I am finding out new details about Sibelius all of the time (it doesn't help that I use two versions, depending on the conputer I am using - one is an ancient Sibelius 2, the other an up to date version),. For instance, I recently found out how to change note heads on Sibelius 7 but it doesn't work on Sibelius 2. Makes ghost notes problematic if I transcribe on the old PC.

A supplement to the transcription of 'Sean En La Madrugada' from the 1997 Jeff Berlin CD, 'Taking Notes'. This is the second overdubbed solo that was not included in the transcription I posted in November. This is a tough one to crack. The sliding and bent notes that Jeff employs are a bit like catching smoke rings. It is important to acknowledge that this is MY transcription of the piece and is presented as I hear it. There may be disagreement in the detail,partcularly with the idiosyncracies in Jeff's phrasing. https://bilbosbassbites.co.uk/sean-en-la-madrugada-overdubbed-solo-jeff-berlin/

That's the whole of the Moving Picture album done. https://bilbosbassbites.co.uk/the-camera-eye-rush/

Might as well finish the Moving Pictures album; this is 'Witch Hunt'. The Bass Bites website has just passed 26,000 hits since it went public on 6/7/20. https://bilbosbassbites.co.uk/witch-hunt-rush/

And here it is. 'Tom Sawyer' by Rush, from the 1981 Moving Pictures album. Tom Sawyer – Rush – Bilbo's Bass Bites

Will have a look.

I did 'Tom Sawyer' last night. Just need to proof read and convert to pdf and it is ready to post. So much easier than I thought it was at the time.

I have to admit that I hadn't even noticed it until it was mentioned. I am trying to get into the habit of deleting it from the finished score but I don't always remember to do it.

I have long thought that, whatever bass I play, I sound remarkably similar. I don't think the make or model of bass makes much difference.

I just came across this recording I did live in 2013. I think it is pretty sublime. The band had never played together before and was coming in cold so these results are nothing more complicated than what happens when the stars align. Not a hi-fi recording but you can hear it all.

Theyt all just sound like basses to me but I have got cloth ears.

I actually have a rack mounted tuner but, because I have an AI Clarus that is tiny, the rackmounted thing is unbalanced and looks peculiar. I may just start using my ears like we used to in the olden days.

They all let themselves go eventually. 🤣

I have walked out of gigs before because of a clip on tuner

Is it just me that hates them? Not the artefact per se, just the way they look when left on the instrument headstock when thee instrument is being played. Icky.

My IT bod says the same.

The Jeff Berlin courses are a great way in.