Bilbo

First bass players that caught my ears were Steve Harris and Jack Bruce (his sound on Cozy Powell’s Over The Top was my default for years, although I never really liked Cream). After that it was Chris Squire and Geddy Lee, then Percy Jones (Brand X ‘Product’ was the one that hooked me) , Jeff Berlin (the 4 Bruford LPs), Jaco and Jimmy Johnson (with Wayne Johnson’s Trio). Anthony Jackson was always inspirational for his focus as much as his playing. When I got into jazz it was Marc Johnson, Dave Holland, Ron Carter, Paul Chambers…. Steve Swallow came later. What I have found, as I have matured as a musician, is that bass players and bass playing has become less important as the fascination has moved to the arts of composition, arranging and improvisation. So the artist I then moved towards become people like Mingus (the composer and the bass player), Kenny Wheeler, Dave Holland (as composer), Gil Evans, Maria Schneider, Django Bates, John Scofield, Pat Metheny, Duke Ellington, Coltrane, Bill Evans, Joe Lovano… Interestingly, there are many mentioned here who have never inspired me in the least, despite their formidable (and usually deserved) reputaitons. Marcus Miller – I have never likes his music so never bothered with his bass playing. Wooten – acrobatics not music? Gwizdala – intelligent and developing player but, as yet, I am not engaged. Feraud – not heard anything that moves me at all. All the groove players: Flea, Mark King, Pino, Edwards, Johnson, Jamerson, Collins – I acknowledge that they are very good at what they do I just never really found what they do to be that interesting (I own no material by any of those players – great playing but uninteresting music). I guess that is what makes me a different player to others who love this stuff.

I did a 3 sets double bass gig yesterday with Colin Watling, an East Anglia based tenor saxophonist of some considerable merit. He is a fiery player and enjoys playing at rapid tempos (we did a version of 'Donna Lee' where I could barely sustain the walking lines on electric, never mind play the head.... to be fair, he did apologise afterwards as he 'didn't mean it to be that quick' ). In short, I have now got my [b]first double bass [/b]blister (index finger, right hand) . It was inevitable, really, but I feel like I have been through some sort of inititation. What was nice was that the pianist was heard to say 'we have another double bass player in the Area'. Just not tonight, ay?

I am in Felixstowe and will teach if noone else is available (former students have gone on to the Royal College and one now teaches at Cardiff University). PM me and we can have a chat about what your needs are.

Rotosound Solo Bass. Been on my Wal for 23 years and no damage to the ebony fretboard. They are groundwounds

He is an astonishingly accomplished player. HIs ideas are a little derivative but, given the right context, I have no doubt he could make some incredible music. I am not impressed by mindless displays of technique but this guy is an intelligent player who just needs a bit of discipline and maturitty (and probably a producer). Like everything on YouTube nobody has edited this so its a stream on conciousness. When he gets past that, he has some extremely useful tools his can use in his music.

Decent bass, decent amp. The rest is trainspotting.

Interesting fred. I like my sound (as do the people I play with ) but I will try this on the gig I am doing tonight with my Neil Sedaka Tribute Band, 'Sweet Sixteen'. It will be interesting to see whether it helps or hinders!

Steve bought some of my cds. Quick and efficient transaction, good communication and an interesting and enlightening exchange of pms about double basses! Would do business with him again anytime.

Compression is often used in music production to make performances more consistent in dynamic range so that they "sit" in the mix of other instruments better and maintain consistent attention from the listener. In short, it is a way of tightening the signal so the highs and lows in the resulting volume are less extreme. I see it best when slapping and popping as the 'pop' bit can peak your signal whilst the slap bit sounds a lot quieter. Its subtle but makes a massive difference in balancing recordings. Live I don't bother as the effect is often lost in the live mix in the small venues I play but I know others are more inclined to use it.

You can also find a s/h GK MB150 for £250 if you look around.

[quote name='Clarky' post='823759' date='Apr 30 2010, 10:11 AM']Thanks David but a bit far for me - was thinking of a one hour lesson on a Saturday morning. Catford on a Saturday would probably be an hours drive each way and Mrs Clarky would not approve of a three hour absence (kids homework and all that), especially if I then disappear off to the match in the afternoon ![/quote] I would kill for a teacher that close! And since when has a child's education been more important than yours?

The Funk is in the thumb. More thumb less pops.

Write out a chord chart - you don't need to be able to play the guitar or piano. You can figure it out on teh bass. If you can write out a bass line, you should be able to figure out the chords. If you can't, you don't know as much theory as you think