Bilbo

What came over to me (as a fan at that time) was how lame some of them looked - Rob Halford (who I respect) for one looked like he was trying really hard to be rock and roll whilst the absence of a chin militated against it. The Uriah Heep guys looked like they were trying but had given up half way through make up. But it was a real nostalgia trip and I enjoyed it. Just not too often, please

I say no. It will dilute the brand. If people want to talk about stuff enough to want a dedicated section on it, then they need to find a more general site; allaboutjazzcom? Young Composers? tolkien.com? I used to subscribe to a great magazine called Double Bassist (still read the back issues now) but it got subsumed into some general 'string player' magazine. I cancelled my subscription straight away as I knew it woudl be one DB article a quarter. Like when the UK's Bassist got swallowed by Guitarist - goodbye all the good bits.

Depends whether you want jazz bossa nova or Brazillian bossa nova but here goes: Joe Henderson - Double Rainbow (Nico Assumpcao, the real deal, on the Latin stuff and Christian McBride on some jazzier tracks - a fantastic CD) Eliane Elias Sings Jobim (Marc Johnson) Eliane Elias Plays Jobim (a different cd) (Marc Johnson) Eliane Elias - Bossa Nova Stories (March Johnson ---- p.s. Johnson is Eliane's husband) To Jobim with Love by Toninho Horta also, look for stuff by Dori Caymmi, Joao Bosco, Marissa Monte, Joyce, Maria Bethania, Caetano Veoloso, Gilberto Gil (his Acoustico dvd is great), Djavan - one of the great bossa bass players is a guy called Arthur Maia and he has recorded with Jorge Benjor, Gal Costa, Gilberto Gil, Lulu Santos, Caetano Veloso, Roberto Carlos, Martinho da Vila, Djavan, Milton Nascimento, Marisa Monte, Leila Pinheiro and César Camargo Mariano. Its a huge genre and you can spend years exploring its treasures. Its not all root, fifth, root, fifth. Its another 'less is more' genre and playing a great bossa groove is an art form. BUt, when you get it right, its one of those great, great 'pocket' feelings you get as a bass player.

Swapping my tobacco sunburst Ibanez Artist (6 string) guitar for a naff Antoria Acoutsic I still have but never use. Mostly, my regrets revolve around not studying enough and not practising enough and not composing enough. Not being ready for the opportunities I had to play with Iain Ballamy and Stan Sultzman. There is also my 1999 aborted double bass experience that should have turned out differently. I am doing something about that now but do regret the wasted decade of not playing the instrument. Would love to have that back!!

A new one to me. Pianist Eugene Maslov is a fiery player but the record is astonishing. Boris Koslov is the bass player and he is so on the money - I have never heard of him but WOW!!!!!. Think Michel Camilo and Anthony Jackson and then some!! Highly recommended. [url="http://www.amazon.co.uk/Fuse-Lit-Eugene-Maslov/dp/B00006DTZS/ref=sr_1_1?ie=UTF8&s=music&qid=1267183244&sr=1-1"]http://www.amazon.co.uk/Fuse-Lit-Eugene-Ma...3244&sr=1-1[/url]

[quote name='thisnameistaken' post='755732' date='Feb 24 2010, 02:00 AM']I think it will improve my bass guitar playing in a few different respects too.[/quote] My Wal is SO easy to play now!! Practice on the double bass and then gig on the electric. You'll never moan about stretches ever again!!

Tried this for playing jazz on my Wal and, frankly, it just doesn't deliver the bottom end. It can compete volume wise with a drummer but it is really atruggling and just doesn't sound warm enough (I have an SWR Electric Blue head and two of the GK micro bass cabs but I never use them now because I just don't like the sound. Great practice amp but gigs? Not for me. To be fair, its the speaker cabs not the amp. Not tried it with double bass yet, though, but have never heard anyone else sound good through one so would not expect it to deliver there either

I had been experiencing that left arm thing you describe: no stamina (like trying any form of work that involves working above your head, the heart has to work harder to get blood to your muscles to give them oxygen). What I noticed last night was that I had the end pin too far out and the bass was higher than it should have been, I was looking at a picture of Dave Holland and realised that I had the nut of the neck about 3 inchs higher than it needed to be (it was level with the top of my head not with my eye line) so I really was playing above my head. So I took it down a few inches and it was easier immediately. Still not a breeze but not nearly as bad as it was. I guess the point it to listen to your body and, when it complains, analyse why. It is probably something you can do something about with a little thought. But, yes, lessons are more important with the big fella.

It is the sheer physicality that is a shock to the system, isn't it. But I am finding that a little attention to posture etc pays dividends. Patience is the key: 30+ years of ripping around an electric means it is inevitable that we will all want to play like Dave HOlland on day one but we can't and shouldn't. Take time to build up stamina and tone, intonation and technique. Its so easy to get a false sense of progress in a practice room.

Novice - some James Jamerson stuff (Can't Hurry Love, Get Ready, My Guy) Intermediate - some James Jamerson stuff (What's Going On, Heard It Through The Grapevine) Bloody Good - some James Jamerson stuff (Ain't Too Proud To Beg, How Long Has That Evening Traini Been Gone) Something a Little Bit Special - some James Jamerson stuff (live version of Ain't No Mountain High Enough, I'm Gonna Make You Love Me)

Yeah, I see the problem. Your old technique saw you hitting the strings with your pick at 45 degrees, meaning that you weren't plucking them as much as scraping them: hence the extraneous noise. I guess it depends on your sound. If there is some distortion/grunge in there, it will matter less but, if you like a clean sound, you will need to address the problem. Be patient. These things take time but there is noone screaming for a resolution today. World class jazz trumpter Terence Blanchard had to re-establish his embouchure after winning grammies and it took him two years!! If you have to do something to improve your technique do it now, don't waste any more time doing it wrong. Of course its hard and takes discipline but so does everything else on these planks of wood. You could, of course, ditch the pick and play with your finger!!!