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Bilbo

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Everything posted by Bilbo

  1. Bilbo
    Any offers before they go on the 'bay? (I am not emotionally attached to any of these but can't get my father's voice out of my head telling me that throwing things out is wasteful!!) I am looking to buy a cheap double bass bow (German) if anyone wants to do a swap for the lot. Pathetic, isn't it?
  2. Bilbo
    All prices include postage. PM me if you are interested. Paypal preferred. Steve Howe – guitar pieces (tabulature) £7 Aebersold Vol 48 In a Mellow Tone – Duke Ellington (w. CD) £6
  3. Bilbo
    All prices include postage etc. PM me if you want anything. Paypal preferred. Sorry - no 'bulk buying' offers available as there is no slack at these prices. More coming soon.... CDs Pop/Rock Stevie Wonder – Talking Book £3 Greenslade – Time & Tide £3 (Martin Briley - great sound) Jazz/Fusion Tribal Tech - Rocket Science (Gary Willis) £3
  4. Bilbo
    One of the advantages of reading and knowing theory and stuff is that you get to play in lots of situations and with lots of different people. It means you are never reliant upon one band and, consequently, never get in a rut like the one you describe. I recently knowcked back a lucrative gig over musical difference but still had other irons in the fire and more since. Use the time to learn to read and get some theory under your belt that makes you an attractive proposition to jobbing musos.
  5. Bilbo
    All prices include postage and packing. PM me if you want anything. Super Guitar Trio and Friends (Al DiMeola, Birelli Lagrene & Larry Coryell) £5 Bill Bruford: Bruford & The Beat (30 mins) £3 Bruford: Rock Goes To College (March 1979) (w. Jeff Berlin) £5 Hatfiled & The North: Live £5
  6. Bilbo
    More space saving!! Gaps exist because some have already gone but I am letting these go at £2 a copy as per simbass' 139 copies sold earlier on this site. With postage, these come out as follows: 1 Issue = £3.50 2 Issues = £5.45 3 Issues = £7.40 4 Issues = £9.25 5 Issues = £12.00 6 Issues = £13.75 7 Issues = £15.50 8 Issues = £17.25 9+ Issues...PM me. The copies I have available are Year Date Title 1990 Fall Will Lee 1992 Jan/Feb Flea 1992 March Mark King & Pino Palladino 1992 April Sting 1992 May/June John Patitucci 1992 September Masters of Funk 1992 October Marcus Miller 1993 Jan/Feb Les Claypool 1993 March Maxxed Out! 1993 April Improve Your Groove 1993 July/Aug 25 Amazing Bargains 1993 November The 1993 Bassist of the Year 1993 December Geddy Lee 1994 Jan/Feb Michael Manring 1994 May/June Secret of Tone 1994 July/Aug Robert Trjillo 1994 Sept/Oct Special Recording Issue 1994 November Masters of British Rock 1994 December Anthony Jackson & Ron Carter 1995 Jan/Feb Darryl Jones 1995 March Tom Hamilton 1995 May/June Tony Levin 1995 July/Aug Paul McCartney 1995 Sept/Oct Mike Watt 1995 November Michael Anthony 1996 January Mick Karn 1996 February Flea 1996 March Special Issue: Strings 1996 April John Entwhistle 1996 June Alain Caron 1996 July Gene Simmons 1996 August Charlie Haden 1996 September Larry Graham 1996 November Dub Reggae 1996 December Mike Gordon 1997 January Ultimate 5-String 1997 February Will Lee & Chuck Rainey 1997 March Tina Weymouth 1997 April Jason Newsted 1997 May Nathan East 1997 June Essential Bass Albums 1997 July Patrick Dahlheimer 1997 October P-nut 1997 November Special Issue: Play the Blues! 1997 December Rocco Prestia 1998 January Jeff Berlin 1998 February Victor Wooten 1998 March Train Your Ears 1998 May New Gear '98 1998 June Special Issue: The Great Rhythm Sections 1998 July 4-String Shootout 1998 August Jeff Ament 1998 September Special Issue: Get out of that Rut 1998 November Special Issue: Record your Bass 1998 December Bootsy Collins 1999 January Special 10th Anniversary Issue 1999 February Fieldy 1999 March Mike Mills 1999 April Get Great Time 1999 May New Gear You Need! 1999 July Combo Amp Shootout 1999 August Stanley Clarke 1999 September John Paul Jones 1999 October Les Claypool 1999 December 30 Bass Gear Bargains 2000 January 100 Years of Bass 2000 February Sing 2000 March Sting 2000 April John Patitucci 2001 August Juan Nelson 2002 January Jaco Pastorius 2002 March MeShell NdegeOcello 2002 April Charles Mingus Please PM me if you want anything and I will delete any that are sold . First come first served obviously. I will try to respond to PMs quickly but sometimes I am not on-line for a couple of days at a time so please bear with me!
  7. Bilbo
    [url="http://www.amazon.co.uk/Al-Di-Meolas-Picking-Techniques/dp/079351018X/ref=sr_1_1?ie=UTF8&s=books&qid=1263486165&sr=1-1-spell"]http://www.amazon.co.uk/Al-Di-Meolas-Picki...mp;sr=1-1-spell[/url] Look this one up (less than a fiver). It will get you where you want to be (yes, it is a guitar book but the principles are the same).
  8. Bilbo
    Never live (most rooms have their own reverb and I don't need more than that) but on recordings where the bass is featured, yes, but only a very subtle amount to give some space. If the whole band is playing, I wouldn't bother. The only effect I really use is compression and even that is used sparingly.
  9. Bilbo
    Some old videos I don't want anymore (no VHS player) but don't want to dump because there is some good stuff in here someone might want. If you are interested, PM me and you can have them for the cost of postage (or you can, of course, collect) Branford Marsalis: The Music Tells You (Robert Hurst on bass) The Leaders (Lester Bowie, Kirk Lightsey, Arthur Blythe, Chico Freeman, Cecil McBee, Don Moye) John Abercrombie Trio w. Mike Brecker (Marc Johnson) Joni Mitchell: Refuge of the Road (Larry Klein) Paul Simon: Concert in the Park (Armand Sabal-Lecco) - marvellous live gig Larry Coryell: Jazz Guitar Vol. 1 Manhattan Transfer: Vocalese Live 1986 (w. Alex Blake)
  10. Bilbo
    [url="http://www.petertambroni.com/mostlybass/For%20Students/frenchorgermanbo.html"]http://www.petertambroni.com/mostlybass/Fo...orgermanbo.html[/url] I found this when I was looking for answers. Carbon bows seem to have a credible reputation. Not as good as a good wooden bow (worth hundred an even thousands) but often better than a cheap crappy one!
  11. Bilbo
    [quote name='thepurpleblob' post='711415' date='Jan 13 2010, 03:30 PM']I knew this would happen [url="http://www.pluguglies.info/"]http://www.pluguglies.info/[/url][/quote] Had not heard of them (although their name is plural so different to my suggestion). I did actually think it through and wasn't being smart. I play with a Brazillian guy half my age and we use a lot of older jazzers. Gione is young, dark, good looking etc and the rest of us are, well, not - which creates a marketing issue as photos are unflattering to him. So, as a way of packaging it, I thought of announcements like 'Hi everybody, my name is Gione and these guys are Plug Ugly'. We didn't go for it and market the product as him alone and not as a band per se but I still think it was a good idea.
  12. Bilbo
    Plug Ugly
  13. Bilbo
    Fancied one of these for ages..... [url="http://www.fodera.com/a_jackson.html"]http://www.fodera.com/a_jackson.html[/url]
  14. Bilbo
    Love the idea of the bass bit of the gig but I ain't doing that keyboard/bass pedal juggling act or buying a load of Geddy lookalike gear. I reckon this is going to be a long search for Mr P.!!!
  15. Bilbo
    I'll Give '20.000 Prayers' a go when I get a chance. The original LP its from was called 'Champion'. 'Crossroads' is a compilation of earlier stuff (although, from where I am standing, I think ALL of his earlier stuff is on it!!). I have to transcfer it from vinyl to mp3 first so I can use my Transcribe software to slow it down to an audible level!!
  16. Bilbo
    [quote name='chardbass' post='708789' date='Jan 11 2010, 01:27 PM'][attachment=39953:gatefold.jpg][/quote] They could at least have made an effort!
  17. Bilbo
    It was Chris Squire but I can't remember which tracks. I got Close to the Edge first but don't think it was that. Probably Fragile?
  18. Bilbo
    A transcription of the main theme (Bach's C Minor Prelude) and the bass solo off Jeff Berlin's 'Bach' from his 2nd album 'Pump It'. The chords were off the net and the solo is a key change but the sequence is the same. Bar 49 is a nightmare to transcribe but I tried!! This one is a lot tougher than most I have put on here so good luck!!
  19. Bilbo
    [quote name='Pete Academy' post='702042' date='Jan 5 2010, 08:00 PM']Come on Bilbo, you've kept it quiet for too long. Tell everyone about your secret Quo tribute band. [/quote] Its actually Kool & The Gang
  20. Bilbo
    I always told students 'if you haven't got that knot of frustration in your stomach when you are practising, you're probably not working on anything new'
  21. Bilbo
    [quote name='tauzero' post='701563' date='Jan 5 2010, 01:35 PM']B, D, F = something odd that Bilbo can tell you about.[/quote] Its still a minor third but the fifth, in this case, is diminished i.e. made smaller, one fret down. For the sake of completion, if the fifth were augmented, made bigger, it would be one fret up. The problem is that there is no one route through this, there is no one-way to go so you will never know it all in the right order. My advice is to start with the concept of intervals - the distance between any two notes, irrespective of which notes they are. Know a semi-tone/diminshed second (one fret), tone/second (two frets), minor third (three frets), major third (four frets), fourth (five frets), augmented fourth/flattended or diminished fifth (six frets), fifth (seven frets), augmented fifth/flattened or diminished sixth (eight frets), sixth (nine frets), dominant seventh (ten frets), major seventh (eleven frets), octave (tweleve frets). An awful lot comes out of this.
  22. Bilbo
    [quote name='Marvin' post='701540' date='Jan 5 2010, 01:11 PM']A simple example. C major scale. I read somewhere that the chords in C major contain 4 major chords and 3 minor chords. And that was it. Nowhere did it explain why in a major scale did you have even 1 minor chord (it highlighted Dm). Call me thick but I don' understand it: minor chords in a major scale chord progression.[/quote] My point was that information is there to use, not to provide explanations of the information I used as an example. You can get the gist of that paragraph by reading the first and last sentences only. If you want to get into the theory I mentioned in more detail, PM Jakesbass for a lesson. He is a better teacher than I am.
  23. Bilbo
    [quote name='jamesbass116' post='700938' date='Jan 4 2010, 08:41 PM']even though they're veeeeeeeeery old[/quote] Errrr... that's a good thing, James. The older the better in most cases.
  24. Bilbo
    [quote name='Clarky' post='700737' date='Jan 4 2010, 06:07 PM']As far as i could tell (though I was too scared to say) every note in a scale is either a flattened, sharp or natural something-or-other and it seemed that there were no rules about which ones to play over any given chord. Clearly that last statement must be rubbish, as undoubtedly some note choices are atonal/dissonant/nasty, but thats how it felt.[/quote] It sounds to me like you were given too rich a diet too quickly. In reality, all notes can be played against all chords - they all result in individual sounds/textures that can legitimately be used in the creative process. By KNOWING what each not sounds like against each chord and by KNOWING why and how it functions, you will be able to make informed decisions about what to do with each individual piece of independent information. Knowing that a dominant seventh chord resolves to a Major chord a fifth below (say G7 to Cmaj7) means you can always hear that coming a mile off. Knowing that it can also resolve to a Major seventh chord a major third below (say G7 to Ebmaj7), creating a completely different feeling, immediately gives you choices. The more knowledge you have, the more choices you have. A diatonic major scale over a dominamt seventh chord or a diminshed scale implying a flattened ninth? Or an augmented scale over a dominant? All different, all correct and all options you can use as a composer, orchestrator or improviser. But you can't digest this stuff in a couple of lessons. One of the most wonderful skills I admire, which is one I don't have although I do try, is the way great composers can use a simple theme and create a ludicriously complex array of compositions out of it. Doesn't matter whether we are talkng Kenny Wheeler, Javier Navarette, Pat Metheny or Edward Elgar - I would consider it almost unthinkable that these kinds of work could be achieved without some understanding of the building blocks. Throwing three chords together stopped doing it for me thirty years ago. Some of the greatest pop icons of the 20th century and beyond were only able to do what they did as entertainers because of 'trained' backroom boys like Quincy Jones, Lalo Schiffrin, George Martin, Geoff Gasgoine etc etc. And as for 'feel'. The celebrity 'stars' like Madonna, Sting, Whitney Houston, Paul Simon, Steely Dan etc etc are also often backed up by 'educated' players, be they Omar Hakim, Victor Bailey, Michael Brecker, Matt Garrison, Daryl Jones, Chris Potter and so on. So you cannot say that players who know their stuff are anywhere near being less able to 'groove' because they know sh**. After all, and with respect to those that groove their asses off seven nights a week, 52 weeks of the year, it ain't rocket science!
  25. Bilbo
    To write just one piece of music I can be proud of. Just one.
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