Bilbo

Sorry, guys, but I don't buy this 'its the spooky magic mojo thing you either have or you haven't got'. You'll be saying only Black people can play Funk next. The ability to teach and to learn are things that are central to the sharing of any concept, including what makes something 'funky'. If I say to someone, for instance, 'leave more space' and they don't, they only have themselves to blame for not being funkier. I can teach it, they aren't in a space to learn it. If they do 'leave more space', as was suggested, then they will have moved forward in learning how to be funky. Put 100 other related concepts through that same process, including listening to funk, and you will have a funky bass player. WHat is the difference between that and a kid learning to phrase as part of a string section, or a horn player to phrase in a saxophone section? You learn the idiom from those who teach you, those you play with and those you listen to. Funk is not a magic ingredient for the chosen few. To suggest any 'skill' is a natural gift that some have and others don't is a dead end.

If it can be learned, it can be taught.

Learn to read music.

[quote name='Skol303' post='1345531' date='Aug 19 2011, 03:10 PM']^ Sounds very interesting. I have a feeling that what you deem as being "of merit" would probably be a great achievement for most folks,[/quote] For me, the secret of a good jazz composition is that it stands alone as an interesting piece of music but that it also allows for the musicians performing it to stretch. There are some stunning through composed jazz pieces (Self Portrait in Three Colors by Mingus is one that comes to mind) but I find my preference is for the blowers, My own compositions tend to lie in that area so its about finding players who will get on board. I have a drummer to die for but my sax player, whilst a great, great player, is more 'at home' with the standard/bebop repertiore. I try to write with his needs in mind but he seems reluctant to stray out of his comfort zone. I'm working on it!!

I pride myself on my shut downs. Quickest from last note to fully loaded car is 4 minutes (the stage/my set up was in front of some French doors and my car was right outside). Set up i snormalyy 15 minutes max (no rigs or lights )

[quote name='Skol303' post='1345185' date='Aug 19 2011, 10:21 AM']Although there are plenty of folks here (and on other forums) who I'm sure would be happy to collaborate. Just an idea...[/quote] And a very good one. But I always find myself thinking 'why'? with these things. If I could put together a major work of some intrinsic value that would contribute to the canon, it would be worth it but, if all I end up doing is produicing another 'vanity' cd that would impress my Mum and sell 11 copies, its pretty pointless. I'll keep plugging away at my composing and, may be one day, if I come up with something of merit, I can look to get it played/recorded. I am working on my own sax.bass/drums trio at the moment (which gigs) so maybe writing something for that and then recording it woudl be more useful.

[quote name='urb' post='1344565' date='Aug 18 2011, 04:38 PM']Sounds wicked Rob - great playing and tone - do some more, get creative, do some harmony stuff - you know go a little nuts... [/quote] Its finding the time, Mike. I can knock out bass lines in moments but structuring a backing track takes me hours I haven't got!! Must try harder!!

Sei Flamboyant 6s have very narrow necks, IIRC.

[quote name='KevB' post='1343137' date='Aug 17 2011, 02:12 PM']I suppoose we should respect Waters for not writing overly complicated bass lines just because he was the bass player but sticking to the golden rule of creating what was right for the song.[/quote] Or, alternatively, we could call his lines predictable, boring and lacking in imagination Never got into the Floyd. Never played any of their songs. Unlikley to

Which PF tribute band, barney? There are so many?

I guess the weight thing is lost on me as I haven't really played anything else for so long. But, on the other hand, I have also never finished a gig thinking 'oooo! Me poor shoulder(s)'. I am 6'1'' so that may have some bearing on it but, as I said, the weight thing is a non-issue for me. I always think things like neck profile only matter for about an hour and lots of the 'playability' stuff is about working with what you have rather than expecting an 'off the peg' players dream. For the record, the set up on my Wal is entirely stock and it has only been in a workshop twice: once with Pete The Fish (when he built it) and once with Paul Herman. The last 'visit' was pre-Millenium, IIRC. It fits me perfectly and I can reach every note on it, there are no bits digging in, the bridge is perfick, as are the machine heads, the pick-up and the pots. I nornally put it in a gig bag in tune and take it out still in tune.

I have a version of Cubase Stonehenge v.1 which meets my needs in terms of home recording. I use Sibelius Orthapeadic, Transcribe Quill © and Band in an orange Box and they do everything I want them to. I get the motivation for providers to up-date software (primarily commercial) but have never really bothered with it as the core purpose of the earlier versions is working perfectly well. I still only use 'play' on a dvd player, one setting on a washing machine and 'on/off' for the central heating. Is it just me?

A lot of software lets you download a trial version taht doesn't let you save more than a small amount of data or some other built in data capture flaw that means you will need to buy if you want to use the product properly. Have you tried to download Reason?

Depends. When I play gigs, it is now unknown for me to not know the tune as it is being counted in. One chorus later I have a sense of it, two chorsus in, I'm pretty much there and aat three, we are home and dry.

Wal don't sponsor/give basses to anyone. If someone, even a celebrity bass player like Geddy Lee etc, plays a Wal, they bought it.

Try anything by Brand X (Product, Nobody Goes to Sweden, Wal To Wal, April). For me, it is the bass that allows you to sound like you. I have played my Wal Custom Fretless (4-string) pretty much exclusively since 1986 and have to say that I can't recognise a distinctive 'Wal' sound at all (but, then again, I can't tell the difference in sound between a Jazz Bass and a Rickenbacker 4001). What I do know is, if I hear myself playing, I know its me (so does my wife). For a jazz player, that's pretty important. Its reliable (no breakdowns (or broken strings) in 25 years), versatile (jazz/blues/funk/rock/shows. big band/duos/ live/studio) - it just delivers. Everyone who I play with is complementary about the sound and I pretty much always get called back. Some examples of the bass di'd into my PC (noodles, not proper pieces) [url="http://basschat.co.uk/index.php?showtopic=150684&st=0&p=1340108&#entry1340108"]http://basschat.co.uk/index.php?showtopic=...p;#entry1340108[/url] [url="http://basschat.co.uk/index.php?showtopic=42836&hl=wal+street+crash"]http://basschat.co.uk/index.php?showtopic=...al+street+crash[/url] Other stuff on my Soundcloud page (See below). If its me on electric bass, its all the Wal.

It doesn't change tempo at all but the first bar is a semibreve, the second two minims, the third is a triplet minim, the fourth 4 crotchets, the fifth 5 crotchets against 4 beats, the sixth two sets of triplet crotchests, the seventh is 7 against 4 and the eighth bar is eight quavers. |it then does kind of does the same thing in reverse but only half as much . Its a Jeff Tain Watts arrangement and it was done in 1986, 25 years ago. A simple but effective idea but one that cannot be replicated because it is too obvious.

I have used bags for 25 years on my Wal - it has fallen sideways, forwards, backwards, been left unattended on the road in a car park (for 45 minutes minimum) and been banged, wedged, stood on and spilt over. My bass is still in full working order although the pots are a bit scratched - serious mojo! Its a bass not a rare antique. Its gonna get bished and boshed. But that's all superficial. Hardcases are a pain.

Ugly little whatnots. They appear in Felixstowe occasionally, in a tiny little shop near the train station.

We are all actually in agreement but I just wanted to urge people not to deify the bebop/hardbop school of jazz - its potentially as cliche-ridden as any other genre. There is a lot to be gained from standards but more to be gained by looking outside of the cloisters of neo-classicism and out into the wider music world.

There are a while raft of influences bearing down on Jazz that could not have happened before 1965. A lot of the world jazz influences are new, hip hop rhythm stuff has come in, new instruments are being explored - I guess it depends on what you value and what you consider to be Jazz.

1.Do we need an agent/agency? No but it can't hurt (don't sign exclusively as they won't get you enoughwork) 2.How do I find a good agent/agency? Lift up any drain cover...... 3.What are the essentials for a website? Soundclips and contact details. Make it look classy. 4.What type of events book Jazz bands? Weddings, birthday parties, retirement dos, corporate stuff.. 5.Is it OK to do Jazz arrangements of Pop tunes (Kings of Leon, Killers, Gaga)? Yes, as long as you do it well. 6.What are the top tips for doing functions/events? Be on time and look clean and professional. Keep a clean band area (put cases in cars/out of sight). Always make sure the customer is getting what they want. Always discuss payment in advance (cheque or cash) so no uncomfortable silences on the day.

[quote name='risingson' post='1338962' date='Aug 13 2011, 06:12 PM']Wow, a lot of these guys couldn't be further away from what is collectively known as acid-jazz, I don't know where you got the list from but it ain't really right![/quote] That's the trouble with labels. Different strokes for different folks. You create the label, the next guy steps over the line. Many genres expand until they encompass sub-genres and sub-sub-genres. I grew up with Rock which morphed into Heavy Metal before it sub-morphed into death metal, speed metal, prog metal etc. Its all academic to 99% of the population, including the bands. Wikipedia, by the way.

There is a myth around that you have to start at te beginning at work your way through it all to get to the stuff we hear today. There is some value in the idea but it is not the only way to make sense of the concept of improvisation or of swing etc. As the path from King Oliver to the Glasper's of this world gets longer, its harder to absorb it all before you get to play something of value. The great American Songbook is not the only source and the fact that it is held in such high esteem is as much commercial as it is aesthetic. Some of those songs are bl**dy awful

Those kinds of frantic lines are seldom worth the effort, IMO On the age thing, I have to disagree. I am playing better now than ever (age 48). There are some things that I used to be able to do that I can't now (only because I have forgotten them) but, where there are recordings available, it would be fair to say they weren't nearly as good as I remembered them to be. I was clearing out some old cassettes recently and found several live recordings of some fairly heavy fusion/jazz rock tunes we used to do in days of yore. My playing was [i]very[/i] raggy and, although the tunes I was trying to play were hard, my playing of them was nowhere near good enough. Nowadays, I am much more aware of what is working and what is not and my playing is generally more musical as a result. And because it is more musical, the bits that involve technical flourishes tend to be more integrated.