Bilbo

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.

[quote name='WILD FROG SHOT' post='1234478' date='May 17 2011, 04:01 PM']Here we go...[/quote] Naaa. S'easy...

I found this useful. but it is double bass specific (someone here recommended it but I can't recall who) although my issues are shoulders and arms not back pain. [url="http://www.amazon.co.uk/Alexander-Technique-Approach-Double-Bass/dp/B004JKMSSE/ref=sr_1_1?ie=UTF8&qid=1305643745&sr=1-1"]Alexander Technique for the Double Bass[/url]

I can't help but think that Wals with frets is wrong.

I did a dep gig in London a few years ago and it was a typical function band set. No rehearsals, just turn up. Fortunately for me, the piano player was a reader and I knew him well and he has prepared some pretty useful charts for me; keys, form, breaks, chords etc and most of the tunes were old familiars which most of us could do cold. I did the whole gig glued to the charts but had to modify my playing as I went along to account for changes and odd idiosyncracies from the rest on the (7 piece) band. What a lot of players not schooled in these disciplines don't realise is that, often, a good listening player can stop on a dime not because he knows when to but because he hears that everyone else has doen so before he hits another note. He can also get lost and find his place without anyone knowing he has done so because he remains in the right key and plays confidently etc. Anyway, by the end of the gig, these kids thought I was 'Ready' Freddie Washington and I quietly basked in the kudos I had won, to the obvious but collusive amusement of the (Royal College graduate) piano player. I love it when a plan come together!

One of the things that always troubles me about these threaads is the knowledge other people have of the differences in sound between a long list of specific makes: they are all mentioned above. Having played bass for three decades, I can honestly say, I have absolutely no idea what most of these basses 'sound' like. I have no idea what they difference between a Fender Precision and a Jazz, no idea what a Ken Smith sounds like or a Fodera or Kubicki or Overwater or an Alembic etc ....... becasue I have never even [b]seen[/b] one of them let alone played one. The only 'modern' bass I have played is a Roscoe (I was trying out an amp in a shop) which sounded remarkably like a bass. I know Jimmy Johnson plays and Alembic and sounds nothing like Stanley Clarke or Mark King or Phil Lesh etc who also play Alembics. So what does an Alembic sound like? WHere do you guys get the opportunity, never mind the time, to not only play this array of basses but to play them sufficiently long enough to be able to identify the specific idiosyncracies of the instrument makers definitive sound? At a guess, I think I have played 3 or 4 Wals, a Jazz (mid 80s), an Ibanez Musicman bass (mid 80s), a Yamaha 6 string (mid 80s), a Status Energy 5 and 6 string (mid 90s), a Jaydee (late 80s), a Washburn headless Status type copy (late 80s), an Aria SB700 (1980 - 82) and a Hondo II Precision copy (1980). There may have been a Stingray in there somewhere as well. I think that's it. Oh and a couple of Sei basses at The Gallery. None of them left any impression upon me at all except the Wals (played them in about 1985) which were consistent. Most of these basses I either owned, they belonged to students or I played because I was there and it seemed like a good idea at the time. But to have a definitive opinion on the sound of each? I must have cloth ears