Bilbo

Is Steve Berry still nr Manchester, Thunderthumbs? He would be a great teacher.

About 3 years ago, I remember doing a big band gig and reading that line on 'Sir Duke' cold. Then I KNEW I had turned a corner on my sight reading! Currently working on 'Wing & A Prayer' by Mike Stern (guitar part). Getting there.

Sounds great, QOTD - good luck on Wednesday. These grooves are NICE!

That Mighty Boosh clip was not even close to funny. Fast Show was much nearer the mark. Jazz - its personal. Don't mess with MY definition. It's mine and I don't have to defend it. I just have to LOVE it! ScoLoHoFo - Oh! John Taylor Trio Dave Holland Quintet Enrico Pieranunzzi Marc Johnson's Bass Desires It's exquisite!

I called it I Love Jazz because I DO and I know what I mean and don't need to define it because I KNOW what I mean and rock isn't jazz and, although I like some rock, didn't think it needed advocating for because there are zillions of rockers already doing so but there aren't many people advocating for jazz so I thought I would because I love it. OK?

My point was that my reaction to the music I was listening to today IS visceral and that, despite its obvious cerebral appeal, when it comes down to it, the stuff I like fundamentally makes me FEEL good. I don't need a backbeat for that.

Its MASSIVE!!!!

Eh... have you read the front page of this discussion board?

I was just listening to a Steve Swallow track called 'Re-Inventing The Wheel' (recorded live at Ronnie Scotts for the cd 'Always Pack Your Uniform On top') and I was overwhelmed by a wave of visceral excitement at the beauty of it. It features an opening cadenza by guitarist Mick Goodrick, a beautifully understated guitarist (now THERE'S two words you'd never expect to see in the same sentence!) and builds with some beautiful playing by Chris Potter (sax) and Barrie Ries (tpt). Adam Nussbaum on drums... gorgeous. It reminded my of all of the reasons I love music and jazz in particular. Emotionally profoundly satisfying. I listen to jazz a LOT and just LOVE it. There are some beautiful players out there weaving some real magic without a shred of testosterone. Art for Art's sake. Love it. This stuff deserve passionate advocacy and so I am here to tell you all.. [size=5] Put the barre chords down and LISTEN!!! [/size]

I agree that getting a good sound live is as much an art as ait is a craft. There are so many variables, not the least of which is the bodies of the people who are listening to the band (the difference between the sound in an empty room and a full one is massive). But I do think that a lot of bands struggle because everyone in the band (usually as a conseqence of an insentive and unmusical drummer but not always) is too loud. That's why a bass/guitar duet w/o drums would sound nice, because the clarity achieved by the intimacy of the setting would be refreshing for the audience. Another thing to consider (particularly in jazz) is the relationship between a bass sound and a ride cymbal (I would KILL to play with Peter Erskine). Also the overall SOUND (not volume) of the drumkit will make a huge difference to the overall sonic effect of an ensemble.

Been using Rotosound Solo Bass (45s) on my Wal Custom Fretless for nearly 20 years (I think - basically, from around the time I got it in 1986). You tend to have to get them by mail order as they are rarely in stock in the provinces. But my sound is not an eighties Gary Willis 'mwahhh' fretless sound, more in a Steve Swallow/double bass kind of space. I think that techno space age fretless bass sound is a bit over-processed for me. In a nutshell, I like an anonymous string that lets my sound be my sound and the Solo bass does it for me. Worth noting as well that I change mine around once every 8 years (whether I need to or not). I loathe new strings on a bass (but love them on a guitar)

Jazz in Pontypool!?!! Its changed a lot then since I lived in Cwmbran (born & bred)! Blues and Metal only when I was there. Is the Torfaen Jazz Festival still on? - played there with Julian Martin in the late 1990s.

It's like eating an elephant - one bite at a time and chew....

This is the only book you'll need. There is a tendency to buy more and more books to seek to address the issues we have with our playing but, theory wise, it's all in here for £32. Bargain!!

Google it. I did the other day and got a good price on 36 Gibson Hvy guitar picks. I couldn't find them locally and they sell them in packs of 72 for $18 (£9) in the US but they won't export them so I had to buy 3 x 12 packs for £13. Still better per pick than UK prices, even after postage. I love the internet.

I think we should start a new thread on good sounding rooms. I do around 70-80 gigs a year and can honestly say that it is only once or twice a year that I play in a room where the acoustics are conducive to a good sound. Mostly we play in horrid sounding rooms with high ceilings and nasty sounding reflections off tiled floors or brick walls - yeeeuch!! And some of these places have music seven nights a week! And full rigs don't really make that much difference if the room is a real dog. My favorite gigs are outside!!

They wouldn't conciously notice but, subliminally, they couldn't but... I think a lot of punters don't know how crap a lot of what they hear is until they are presented with something that sounds classy. Then again, a lot of musos aren't much better. Otherwise Carlsboro would have gone out of business decades ago

This is a massive issue. Whilst I agree that some reggae is played behind the beat and some metal ahead etc, these are generalisations that could confuse (like the one about a triplet feel in jazz). I spent the first 11 years as a player playing smack ON the beat (lots of metronome practice etc in teh early days) but, one day, playing in a jazz quartet, the drummer, a guy called Lee Goodall (Cardiff), suggested I play ahead of the beat to improve the swing feel. I asked him what he meant, he told me and 'BAM' my insight and playing went up a notch in an instant. Pushing the beat creates energy and forward momentum, whilst playing behind the beat creates a slightly more laid back feel, a sense of relaxation that can be beautiful. BUt playing too far ahead results in unwanted acceleration and too far behind and you slow down. The importance is the relationship between the notes you play and the beat itself. If the beat is constant and the 'distance' you are ahead/behind it is constant, you are in heaven! From a jazz perspective, I would recommend you listen to almost any Paul Chambers solo as Paul plays both ahead and behind the beat within the context of his improvisations, pulling the tension of each piece in both directions as his solos build. The tension and release are palpable. His walking lines tend to be slightly ahead of the beat. His intro to 'So What' on 'Kind Of Blue' (a short unison duet with Bill Evans) is played behind the beat but the famous bass riff that underpins the main theme is ahead of it. His lines on Coltrane's 'Giant Steps' are also ahead of the beat, really pushing the groove. The 3/4 line for 'All Blues' however, is much lazier and holds the groove back beautifully.

Just a thought - I have worked with only one pianist who could REALLY sight read anything. I discussed his skills with him and he revealed that it actually took him 15 years to develop this skill. THAT is why the schools in question don't teach sight reading - because they can't get it into an academic year. I guess its like those 8 week courses at community colleges - brain surgery for beginners! Yeah, right.

Just my four penn'th... I think I am on side with Beedster - teaching and learning are arts in themselves and being a good player does not make you a good teacher (I hear Jeff Clyne, an astonsihingly accomplished technician, can't teach for s***). Being a student also doesn't put you in a space to learn (my own year at art college was a wasted opportunity - my fault, no-one elses). I think more should be made of independent learning and mentoring or even distance learning (yes, it could work) rather than these large commercial seats of learning. I think the best thing to get out of a college situation is lots of potential playing opportunities all day every day. But if you ain't gonna do the wood-shedding, you ain't gonna get any better. There ain't no magic cure. [b]Recipe for Improvement[/b][u][/u] Lock yourself away with your bass, Mark Levine's Jazz Theory book (not just for jazzers), a PC containing Transcribe software and a pair of headphone, a few dozen cds and lots of coffee. Make as much sense of it as you can then go out and play with anyone, anywhere, as much as you can. Cheques can be sent to me care of Basschat....

My ear will sit, fetch and play dead but I still can't get it to fetch my slippers.

I think a compressor or limiter would help but would also recommend time spent with the EQ on your amp as it is perfectly possible to inadvertently create some problems by over compensating for something you don't like (eg trying to get more bass frequencies into you sound by turning up the bass rather than turning down the treble etc - they aren't the same thing). Also, it can be a string problem if your strings are old (i.e. check the notes that 'pop' out aren't all on the same string). You could also need to adjust the height of your pick-ups if there are discrepancies across the strings. There could be other things wrong that a compressor/limiter would only mask.

Stick with the reading, ednaplate, and watch those shortcuts. A reading bass player is a working bass player!

I win - 79 in total and a couple of studio dates. Mostly jazz trios but a few with a 9 piece Latin band and a whole load of funcions over the summer - bit of this and a bit of that. My best year to date in numerical terms but the quality of music in East Anglia is not great so quantity over quality this year, I am afraid..... I THINK I have only played two original tunes in the whole of 2007 (while no one was looking). The scene sucks, doesn't it?

Thou dost agitate the excrement....