Bilbo

I saw it last Saturday in Ipswich. Didn't buy it. Stopped buying bass magazines a long time a go when I realised that I learned next to nothing of value from reading them

[quote name='silddx' post='1241599' date='May 23 2011, 01:53 PM']I think ALL music is subjective. It's context that matters, and all the other things that BRX mentions with regard to what is technically correct or otherwise. Bending that 'wrong' note into the 'right' note is one of the most effective thing a musician can do. Also, I would assume that most people would know if it was wrong and not play it, after all, the fact that it is 'wrong' derives from the ears, not the theory and western ears are fairly capable of deciding consonance from dissonance. There are a whole lot of 'wrong notes' in western music that are 'right notes' in Arabic and Indian music, and indeed flamenco singers evoke the pain of the gypsies by singing a whole raft of 'wrong notes' over the accompaniment, listen and you will understand. Like how Indian raags clearly evoke moods and times of day through the raag's melody structures and use of quarter tones, something that is incredibly difficult for many westerners to accept are 'right' but which are evocative nonetheless.[/quote] All completely true, sil. However, having spent several years trying (and mostly failing) to get anyone on here to think past mainstream pop and rock and to listen to something else only midly challenging, in my case Jazz, I am fairly confident when I say that 99% of the people on here would probably be better off not playing a B over a C7 chord. Those that are exploring non-Occidental musics and raga melodies on their Fender Jazz can go to the forums on www.theyremakingthisupastheygoalong.com

I often find myself half way through a solo thinking 'hell, whatever else happens, I've got to hit that flattened fifth on the II chord. So, damn the groove'

[quote name='Machines' post='1241403' date='May 23 2011, 12:05 PM']Oh well, i'm in last months copy ! [/quote] I was in the first edition of Keraang

And a photo of our own Dood (Dan Veall) with an article in which he discusses the merits of his 7-string Shuker!

Something old WARNING: Mullet alert.....

Pat Metheny

Come on in and have a fishcake.

Agree with Doddy and, to be blunt, knowing myself, whilst I could justify an EUB as an interim measure the way you are, I know that, if I took that route, I would immediately be GASsing for an upright and feeling a little bit 'nearly but not quite'. I say go straight to the upright avoiding the EUB (you can return to that option later). I would also add that there are thousands and thousands of little kids playing little uprights all over the world without any reference to the electric bass at all. More time on the electric will not prepare you for the double bass in any way that will not be achievable on the double bass in its own right. I say get yourself a double bass and throw out a wardrobe.

I would play the open D and then A, B and C on the 7th, 9th and 10th 'fret' of the bass (A/1st, B /2nd and C/4th finger) and the D and E on the G string (1st and 4th). Then, when it changes to Eb, play the Eb on the A string (6th fret) with the first finger and slide the same finger up two frets to complete the rest of the riff a semi-tone higher than above. That is the way Chambers did it. There a video out there on YouTube if someone can post the link (I can't do it in work). (There are only two videos of Chambers that I have ever found; the Robert Herridge video with Miles and Gil Evans and an obscure GBerman video of PC with Coltrane and Stan Getz and Wynton Kelly and Oscar Peterson on piano. Jimmy Cobb is on drums on both videos. Fortunately, one of the videos is So What and, in the closing moments of the performance, the camera is focussed on Chambers. PS There is no 'correct' fingering, just the way that works best for you.

Never heard Back Door - guess I need to.

Kind Of Blue :lol::lol:

Linus 27 asked for a list of quality piano/bass/drums trios so here we are.... I have to start with [b]Sunday at the Village Vanguard [/b]and [b]Waltz For Debby [/b]by the Bill Evans Trio. Both absolute must haves for this line up. Oscar Peterson Trio - something like [b]The Complete Cole Porter Songbooks [/b]or [b]Nigerian Marketplace[/b] Wynton Kelly Trio - [b]Blues On Purpose[/b] Monty Alexander Trio - [b]Live at the Montreux Jazz Festival [/b](rocks) Marcus Roberts Trio - [b]Time And Circumstance[/b] Lyle Mays - [b]Fictionary[/b] Bud Powell - [b]The Scene Changes[/b] Keith Jarrett Trio - [b]Still Live[/b] (stunning) but almost anything with Jarrett, Gary Peacock and Jack DeJohnette (Changeless is a bit of a dud) Chick Corea - [b]Now He Sings, Now He Sobs[/b], [b]Akoustic Band [/b](any of them will do), [b]Song of Singing[/b] and on electric bass..... Michel Camilo - [b]Sundance[/b] Eugene Maslov - [b]The Fuse Is Lit[/b] Also try Robert Glasper's stuff. That lot'll get you started

[quote name='phil.i.stein' post='1237178' date='May 19 2011, 05:56 PM']so it's not about hiding your bass in the loft to give it vintage appeal whilst you get progressively younger.. [/quote] Took me a moment but I got there

So What is all dorian. Dm and Ebm. But there are passiing notes etc so there are more than just the seven notes of the D Dorian scale. I recommend you take Gonzo's scale and play around with it, find differeny ways of playing it, alternative logics, rising and falling third, fourths fifths, sixths etc etc. Get into in, under it and on top of it. Its only seven notes, how hard can it be?

It is what it is and I am not criticising it per se but just wondered what you would think of it if it was played on a nylon strung acoustic guitar or a piano? It would be pretty lightweight. The focus is, therefore, on the technique being used and not the content per se. But, to be fair to you, its yours and you did it so more power to you. Would rather this than your version of Portrait of Tracy

I just love this sh*t like you wouldn't believe. Just listening to Rollins' Freedom Suite. Pure visceral joy.

Its a great way of making money, having a laugh and will suck the life out of you Don't listen to me. I talk sh*t

There is something about the intimacy of a saxophone/bass/drums trio that brings out the best in people. A line-up I have started working with recently, it gives the bass player (and drummer) so much space and freedom to move. I have been listening to such trios for many years but have recently started to focus in a little more on the potential of this line up. It places real demands on the horn (no sitting back whilst the piano solos) and can really separate the men from the boys, as it were, but, when it comes together, it’s a great sound. Some recommendations for you to explore: Joe Henderson ([b]Ron Carter[/b]/Al Foster) - The State of the Tenor Vol. 1 & 2 Sonny Rollins ([b]Oscar Pettiford[/b])/Max Roach – The Freedom Suite [b]Scott Colley[/b]/Chris Potter/Bill Stewart – This Place and The Magic Line [b]Dave Holland[/b] (Steve Coleman/Jack DeJohnette) – Triplicate [b]Steve Swallow[/b]/Lee Konitz/Paul Motian – Three Guys [b]Steve Swallow[/b]/ Dave Liebman/Adam Nussbaum – We Three [b]Steve Swallow[/b]/Chris Potter/Adam Nussbaum – Damaged In Transit Joe Lovan0/[b]Dave Holland[/b]/Elvin Jones – Trio Fascination Edition One & Flights Of Fancy Trio Fascination Edition Two Kenny Garrett/[b]Kiyoshi Kitagawa or Charnett Moffett[/b]/Brian Blade - Triology Branford Marsalis/[b]Robert Hurst[/b]/Jeff Watts (monster trio)– The Dark Keys, Bloomington, The Beautyful Ones Are Not Yet Born, Trio Jeepy (a favourite)

What is it you are asking for, slo? Transcriptions, recordings, mp3s? Not sure what it is you want help with.

Lena Abé, Kianna Alarid, Cecilia Amenábar, Jennifer Arroyo, Stephanie Ashworth, Talena Atfield, Melissa Auf der Maur, Laura Ballance, Jo Bench, Gina Birch, Lori Black, Jody Bleyle, Sheila Chipperfield, Annie Clements, Kim Deal, Trish Doan, Gail Ann Dorsey, Donna Dresch, Jill Emery, Alla Fedynitch, Jennifer Finch, Nicole Fiorentino, Peggy Foster, Jackie Fox, Debbie Googe, Kim Gordon, Gail Greenwood, Camila Grey, Rachel Haden, Leslie Hardy, Juliana Hatfield, Maureen Herman, Joyce Irby, Carol Kaye, Clare Kenny, Debra Killings, Sara Lee, Paz Lenchantin, Laura Love, Aimee Mann, Johnette Napolitano, Meshell Ndegeocello, Absinthe Green, Kristen Pfaff, Tessa Pollitt, Ginger Pooley, Suzi Quatro, Leah Randi, Jeanne Sagan, Shingai Shoniwa, Michael Steele, Abby Travis, Kathy Valentine, Christina Von Eerie, Kim Warnick, Tina Weymouth, Tal Wilkenfeld, Tracy Wormworth, D'arcy Wretzky, Sean Yseult, Regina Zernay Roberts, Annette Zilinskas, Joelle Leandre, Paula Gardiner, Gill Alexander, Plenty of female bass guitar/double bass players around if you have a dig about. Welcome to basschat.

Joe Henderson - So Near, So Far.

[quote name='4000' post='1234301' date='May 17 2011, 01:59 PM']I think what you've got to remember here is that you don't appear to be every interested in the instrument beyond its use as a tool for creating music. I get the impression that as long as it works ok, then that's game over. "What ketchup do you prefer?" "Doesn't matter, it's all ketchup isn't it?" To some, yes, to others no; gimme Heinz or gimme death .[/quote] Makes sense.