Bilbo

[quote name='Stag' post='812107' date='Apr 20 2010, 12:29 AM'][i]A collection of men who like biscuits[/i] [attachment=47779:DSC01098.JPG][/quote] And facial hair. My type of party....

I have this for sale. Ticks some of your boxes but not all of them. PM me if you are interested in having a look! Its up for £400 ono to Basschatters. Its a lot of bass for the money but its your call entirely. I hope she finds what she wants either way.... [url="http://basschat.co.uk/index.php?showtopic=76888&hl=status+energy"]http://basschat.co.uk/index.php?showtopic=...l=status+energy[/url] [url="http://www.guitarmart.co.uk/advert/G04326"]http://www.guitarmart.co.uk/advert/G04326[/url]

[quote name='Patrickhadow' post='811722' date='Apr 19 2010, 07:35 PM']i would love to have a go at this book but it's so expensive! 30 pounds from amazon and you cant get it on ebay unless you want to ship it from america![/quote] Its really worth every penny, mate. I would recommend it above any other publication and, once you have it, you won't need anything else. Its an investment that will pay for itself many time over. I get that its a lot to pay out at first, though. Sell some old cds!!

[quote name='silddx' post='811702' date='Apr 19 2010, 07:24 PM']There's a part in Tempus Fugit by Yes I simply cannot work out to my satisfaction. It's the part that comes out of the version of the main riff he does an octave lower, in the verses. It goes E F# G A. The run is so easy in theory, but Chris Squire's doing something so liquid with those notes that I'm convinced there are other notes that are kind of ghosted, but I can't get close to it. It's the oiliest, greasiest bit of bass I can remember hearing and he does it slightly differently every time. The riff everyone loves in that number is child's play next to that ostensibly dead simple little run. Amazing.[/quote] Are you playing it with a pick?

And there was Andy Summers cdof Mingus tunes. Vernon Reid from Living Colour was ex-Ronald Shannon Jackson's Decodingf Society and went on to play on Hal Wiliner's Mingus/Paitch tribute, Weird Nightmare (superb stuff). Steve Vai has appeared on Al DiMeola's recordings. Jack Bruce has as much of a jazz presence as he does a rock one. Colin Towns of Gillan fame has had a long career as a jazzer (form 'I'll Rip Your Spine Out' to tv themes and big band arrangements). Neil Peart's Buddy Rich tribute big band, Bill Bruford, ex-Yes, is all jazz. The list is pretty long. I guess it depends on where your definitions of rock and jazz start and stop.

I have just gone through this and need to say that I wish this was around when I was learning. The Major's charts and play-a-longs are a fantastic resource for anyone who is trying to get started but who hasn't got a teacher (or can't afford one). There is enough material here to get anyone started and to keep them entertained for a good few weeks. I was caught out a couple of times on the last pdf (my turn to feel foolish, Pete). Quality material. There is no excuse for not being able to read at least at a functional level. As Marcus Miller said 'why wouldn't you'?

This is ROn Carter on Wynton Marsalis' Hesitation off his first LP. Try Spotify. There is no piano on this so it is clear as a bell. Play this a few doazen times and you will start to internalise the changes. Note Carter doesn't start until the middle 8/B section so don't get confused.... [url="http://basschat.co.uk/index.php?showtopic=35615&hl=hesitation"]http://basschat.co.uk/index.php?showtopic=...p;hl=hesitation[/url]

I don't know but I have heard that ehy are tightening their act up and taking photos of people that bring stuff in so, if an item is stolen goods, they can trace the low-life that brought it in. I have heard it worked on at least two occasions I am aware of but, whether it is fool proof or universal I don't know. My kid brother got a result once on a synth module; got something well under market price, but I have not heard of anything happening bass/guitar wise.

Teen Town, Donna Lee, Joe Frazier, Bach, Dixe - tried them all, got nearly there with them all but never hit a home run. To be frank, I know I could if I spent the time with them but what's the point? I even learned Parker's Passport as an alternative to Donna Lee but have never got it down to my own satisfaction. Got a Match by Chick Corea is another one I never nailed.

Play jazz, then you die! Or is it, die, then you play jazz? Change streams. Find a musical outlet that takes you somewhere new: folk, jazz, world etc. Find a reason to get excited again. Having just taken up the double bass, I feel reborn. Practising the Bach cello suites at the moment: crucifying them but its really exciting to be going somewhere new. Or change instruments

You deserve it, mate. Did you know I play the double bass now? Apparently

Jakesbass (Jake Newman) is in Aldershot - look for his feedback. He is a natural teacher and will get you to where you want to be.... He has taught many on here (including me) with great results.

1982, methinks, at The Star in Stoke On Trent. And then today......

Get rid of all the mids on your eq, pluck near the neck, turn volume up and pluck softly rather than 'dig in'. Oh, and use a fretless......

Three resistors blown, apparently. All done for £20! Picking it up today (could have got it back last night but didn't get the message). Marvellous!!

Sounds like it may not be a big deal then. Thanks for that, guys. The bloke I have given to for repair was recommended by a friend so I am not expecting anything untoward in that sense. It all sounds like it may turn out ok.

Yep - I have no idea what that means but, yep. [url="http://www.swrsound.com/support/manuals/html/bbheadom.php"]http://www.swrsound.com/support/manuals/html/bbheadom.php[/url]

Just seeing your name, MacD, reminded me of another 'discovery' (I had this one ages ago but hadn't listened to it for a long time until last week when it caught my ear big time). Dave Murray's Latin Big Band: Now Is Another Time. [url="http://www.amazon.co.uk/Now-Another-Time-David-Murray/dp/B00007MB80/ref=sr_1_fkmr0_1?ie=UTF8&qid=1271083209&sr=1-1-fkmr0"]http://www.amazon.co.uk/Now-Another-Time-D...mp;sr=1-1-fkmr0[/url] Really, really strong playing. Loads of energy. Not a smooth big band like teh Viallge Vanguard or Bob Mintzer's unit. More like the Mingus Big Band, looser, more edgy. Very Latin based.

We all do it, even if we don’t know it, but the art of the arranger is one of the most misunderstood and underrated skills in the field of music. They often don’t get any credit at all; Gil Evans only got arranger’s fees for his work with Miles Davis and those arrangements were astonishing and defined several Davis lps! I am no arranger, I never really get the chance to work with an ensemble long enough to get into this area of work but, as a listener, I get a real thrill out of a lovely arrangement, be that some subtle changes to the harmony in one player’s version of a great jazz standard, a tune played at a much faster or slower tempo than the original (a bossa based ‘Giant Steps’ or a lightening ‘Prelude to a Kiss’), a changed time signature (Steve Swallows 5/5 version of All Blues from the We Three cd is great) or a change in root movement. YOUR bass line can define a piece but you won’t get a composer credit – Wherever I Lay My Hat, Birdland, Fever, Too Shy…. Then there is the choice of instrument. Anyone ever heard Bill Frissel’s Have Little Faith’? Gtr, bs, dr, accordion and clarinet doing everything from Souza marches to Aaron Copeland ballets, from Sonny Rollins bop and Madonna hit singles. Or Bob Curnow’s big band arrangements of Pat Metheny tunes. The decision to double a trombone with a flute (Bob Mintzer’s ‘Mr Fone Bone’), or to introduce a harmonica or French Horn into a big band (Jaco’s Word of Mouth). The specific sound of a flugel horn doubled by a soprano saxophone. Or a double bass doubling a pianist’s left hand. One of the most exciting things I ever saw live was a trio of saxophone, polytonal tambourine and hurdy gurdy. I was only there by accident but WOW!! What about the choice to replace Rodrigo’s Guitar with Miles’ trumpet on Sketches of Spain? Or to add a string arrangement to John Lewis’ ‘Django’ (Wynton Marsalis’ ‘Hot House Flowers’) (strings in jazz? Now there’s a controversy). Albert Mangelsdorff’s Trio of trombone, drums and electric bass? Anything by Pat Metheny – the supreme arranger! Maria Schneider. Michel Camilo in duet with Gregory Hines – yes, the TAP DANCER!!!! Or the choice of players when the choice is infinite and not circumstantial: Trilok Gurtu with John McLaughlin or Oregon – totally defined the music. Allan Holdsworth and Kenny Wheeler in Bruford’s band? Shouldn’t have worked but, hell, it really did. Add a string quartet to a jazz piano trio (Michel Petrucciani – ‘Marvellous’). Or go it alone: Francois Moutin playing ‘Beyond the Sea’ on solo double bass, or Chris Potter taking ‘Body and Soul’ alone on saxophone. Bobby McFerrin made a choice to go solo and made some astonishing lps with just his own voice and body parts to call upon. So many of us only ever get to play with guitars drums and maybe keyboards, mediocre instrumentalists, reproducing the arrangements of others, or regurgitating well established clichés for tried and tested (and, consequently, predictable effect. We miss so much. I recommend that people listen to what is going on in the music they enjoy and ask themselves, why that and why then? Then start thinking about your own music and the choices you make in preparing for performance. There is so much more to enjoy in music and so many better ways of moving people than double thumbing.

I did a gig with it a couple of weeks ago and it went 'microphonic'. Took it to a rehearsal yesterday and my Wal sounded like it had been eq'd to play the theme to Rhubard and Custard - yes, REALLY like that -ni ni ni noooooooow, ni ni ni noooooow ni ni ni ninty nowwwwwwwwww. Changed guitar, leads and speakers so confirmed its demise, Now with the repairers . Its hard being me sometimes

You will all be pleased to note that my finger is now mostly healed so I am back on course for practising. Mrs. Baggins os off to her mother's tomorrow so I can get some real time in and nail that Cello Suite (yeah, right!!) In the meantime, in case anyone thought this was getting too easy, I stabbed myself in the thumb on my right hand yesterday so my dedicated double thumbing practice time on electric will have to defer to the double bass for the time being. Not a pain thing, I don't use that thumb for anything on the double bass, but the blood pouring out of the wound does ruin the carpets so I have it taped up like Mark King!! I never though bass playing would be as hazardous as a contact sport.

Some new finds: Ipswich's Andi Hopggod has released a new CD with Steve Melling (p), Geoff Gascoyne (bs) and Sebastian De Krom (dr) in the rhythm section. Some great arrangements (I Fall In Love Too Easily in 5/4 works beautifully, Dulcinea is another highlight). Go to www.andihopgood.com for more details but the music can be heard on Spotify or via itunes. 12 tracks, great value for money. I got hold of an old Scott Colley trio cd (Bill Stewart and Chris Potter) that ticks all the boxes: it's called The Magic Line. Think Ornette Coleman but with a better horn player Other downloads I am enjoying include another Colley appearance on a Thomas Savy (bass clarinet) trio recording (French Suite) [url="http://www.amazon.co.uk/French-Suite-Thomas-Savy/dp/B002RSH2MW/ref=sr_1_1?ie=UTF8&s=music&qid=1271076119&sr=1-1"]http://www.amazon.co.uk/French-Suite-Thoma...6119&sr=1-1[/url] John Hicks - A Billy Strayhorn Songbook: Something To Live For. Marvellous trio with Dwayne Dolphin on bass [url="http://www.amazon.co.uk/Something-Live-John-Hicks/dp/B00000AGFM/ref=sr_1_1?ie=UTF8&s=music&qid=1271076053&sr=1-1"]http://www.amazon.co.uk/Something-Live-Joh...6053&sr=1-1[/url] Joey Baron with John Taylor and Marc Johnson (Rosslyn) - saw them live a few years ago - the greatest arco sound I have ever heard on a bass that was built whilst Bach was still alive!! [url="http://www.amazon.co.uk/Rosslyn-John-Taylor/dp/B00007KN2G/ref=sr_1_1?ie=UTF8&s=music&qid=1271076081&sr=1-1"]http://www.amazon.co.uk/Rosslyn-John-Taylo...6081&sr=1-1[/url] NOT enjoying McLaughlin with Hadrien Feraud - pointless flapping around - hard to play but really not worth the effort

I always advocate for Mark Levine's 'The Jazz Theory Book'. A book of scales will not really do anything without some input about application. Levine's book is a must have and will save you a lot of money in the long run as it will be the only book you really need (other than something on how to read music - you will need a rudimentary understanding of reading to get the most out of Levine).

What I strive for, and sometimes get, is a sound that is ultimately integrated into the ensemble and works with the other instruments present to create an overall feel that is musical. I like to hear a note; no strings, no amp, no electronics, no metal (that's why I don't like fretted basses), no 'techniques', just a pure note. I like it when I can't actually hear the instrument at all, just the note. I guess that's why I am not overly inclined towards GAS; I am trying to eliminate the gear from the process of sound generation, not highlight it!! Having taken up the double bass recently, I am interested in the ease with which its tone integrates into the ensemble - I guess its the difference between an acoustic and and electrc instrument. My fear is, as I get into the pick-ups/amplification technology necessary for live playing, I am going to have to re-learn how to use the gear to get louder without introducing each of the components in the signal chain into the final sound. I guess its about getting as much of the instruments true voice into the amplified sound. In a studio or any setting with a PA, I will be able to use microphones to capture/amplify the sound but these settings are rare for jobing jazzers and pick-ups and amps are a fact of life. My research tells me this is gpoing to be a life-long quest but that's nothing new. Its the notes that matter, the music, not the gear you make it with. When the note is right, I am smiling.