Bilbo

Don't forget my bass players mantra: 'Nobody notices you unless you catch fire'.

To get it good, you have to practice. TO get it great - noone knows. That's why its so great when it happens. One thing that is important, however, is your respective sounds. A poorly chosen ride cymbal can kill your bass sound. A great one can lift it and let it fly.

Kenny Garrett - Triology

[quote name='silddx' post='727381' date='Jan 28 2010, 10:54 AM']We had an artist support us called Betty Steeles. She had a fantastic upright player who was having so much fun. Can't find out anything about him though, he's not mentioned on her website or myspace.[/quote] PM her on myspace and ask. As for Chris Childs, I used to watch him in pubs in Cardiff when he was doing deps for Pino who had just broke with Go West and Paul Young. He played as Status headless as I recall. Great player.

There is no quick route. Its practice, practice, practice (it shouldn't take very long to get a handle on it for bass lines. Its only usually solos that get so complex that they can't be played in one position).

Faithless - the convention when writing swing solos is to write them as even quavers/8th notes and then indicate 'triplet swing feel' at the start. It means you haven't got to spend so much time writing triplet figures (which are also very hard to read).

Fun is overated. Being a great bass player requires you to get off on making other people sound good. Once you get that and make it so, its the best fun in teh world. But getting to that space is not all 'fun'; it can be damned hard work. Satisfying? Rewarding? Yes, but fun? Not always. But what I will say is that, particularly in the early stages, it is when it is NOT fun that most of the learning is taking place.

Just listening to it and have to say, I had forgotten how good some of this stuff is. The time signatures are all over the place. The bit I think you are thinking is 15/8 actually a bar of 4/4 followed by a bar of 7/8 (8+7 is 15). So, yes, it is technically 15/8 although it can be broken down more easily. All they are effectively doing is dropping a beat every second bar (it gets more complicated than that as there are bars of 3, 4 and 7 alternating here and there). It is easy enough to count as they have a note on every sub-division (i.e. 15 notes across 15 quavers).

Which Genesis track (never heard of 15/16) - its about breaking it down to manageable chunks. 7/4 can be a 3 and a 4 or a 4 and a 3. 5/4 can be a 4 and a 1, a 3 and a 2 of a 2 and a 3. I would expect 15/16 to be 3 4s and a 3. To be horrible blunt. if its Genesis, its unlikely to be that complicated. They tend to think in one bar patterns and don't cross bar lines much.

I have transcribed the head and solos to this and want to complete the chart with the chords. In an effort to try to avoid having to spend the time going through it and finding each chord by ear (its taken a fortnight to do what I have already done), I am posting to ask whether anyone has the chords already? In case you're wondering. yes, its bl**dy hard!

[quote name='Golchen' post='722915' date='Jan 24 2010, 10:33 AM']Jeff Berlin: Bach - Beautiful fluid fingerstyle[/quote] In case you missed it.... [url="http://basschat.co.uk/index.php?showtopic=73033&hl=jeff+berlin+bach"]http://basschat.co.uk/index.php?showtopic=...eff+berlin+bach[/url]

Heartbreaking. Profound condolences to all who knew him.

I saw Micael Janisch's band at Stoke By Nayland last year (Clarence Penn was on drums but I didn't know who he was until afterwards). I did a review for that Jazz Services writers course at the London Jazz festival. I got on the course but had to pull out because the dates were all over the place. Hopefully they will do it again next year and I will have more notice. My Paul Chambers book will be finsihed then as well so I'll get a better run at it. I will look up Berglund, Mehldau and Troyka up when I get a chance.