Bilbo

I measure chops based on the capacity of others to execute the parts. What Squire plays is, to my mind, reasonably easy to recreate whereas, say, Jaco, Jeff Berlin etc are tougher to cop by mere mortals.

Another Chris Squire part, this time 'South Side Of The Sky' from the LP Fragile. Again, nothing chopsy about this one, just great simple bass parts. Some interesting Proggy time changes etc but, otherwise, a fairly easy read. I don't thin it goes over eighth notes throughout. Again made easy by one of those isolated bass videos on YouTube. South Side Of The Sky Bass.pdf

A bit more Jeff Berlin. This one is the most difficult solos I think he ever recorded outside of his set pieces (Dixie etc). The solo starts at the 1:30 mark. If anyone ever nails it, please video yourself - I can't get anywhere near it!! The tune is 'Manos de Piedra' (Hands of Stone) from the LP 'Pump It'. The transcription is a FULL transcription (although the second run through the head is a cut a paste from the first so not entirely accurate). Manos De Piedra Jeff Berlin Bass.pdf

I think that six year old kid playing Chromatic Fantasy or the 11 year old Japanese kid playing YYZ on an organ show that chops is the easy bit. It's the ideas that matter. Craft vs. Art.

I love his playing and I love his ideas. He is a perfect example of how great players/musicians/artists don't have to be chopsmeisters to make a massive contribution.

It's all tone and arrangements. He had fairly limited chops by any standards.

I went to school with that 'Korean' guy. He is 57 years old and comes from Ystrad Gynlais in S. Wales. He was doing these party tricks in the early 1980s at the Ebbw Vale Garden Festival dressed as a gnome. He has that brittle bone disease that stops him growing. He even nicked that bass from Percy Jones's dad's shed in Llandrindod Wells, the little turd.

Our own Kevin Glasgow doing what he does best..... REALLY pissing me off Seriously, though. In trio with Nelson Veras and Asaf Sirkis. Stunning. 😎

They certainly have their place and I know many people who have benefitted from using them. I guess it depends where you are in your learning as to how valuable they would be. If you are just starting out with Jazz, then, yes, they are probably worth the money (it is generally a lot less to buy one of these than to have a private lesson). Let's be honest, it's a lot less to buy one of these than a large pizza with a side order of coke and a coleslaw)

Yes. It is being developed by a IT savvy relative for free but he is busy with other projects that pay so obviously I am put on the back burner whilst the other projects are completed. We are progressing, though, so hopefully we will see Bilbo's Bass Bites up and running before long.

342 hits in 7 days and over 500 downloads. I am happy with that

I thought I would have a crack at this one even thought I don't particularly like it. The piece is a straightforward blues with a couple ripping 'guitar' solos by JB. Lots of guitarist tricks so you will need to listen to this as you read it to get the feel of the phrasing etc. I couldn't be arsed to put in every slur and bend. It's a but of fun, I guess. You can hear his Jack Bruce influences clearly on this one. Crossroads Jeff Berlin Bass Part.pdf

It is complicated isn't it? Some of this is about the fact that instruments are physical instruments that have a range the is different depeniding on the physical characteristics of the artefact itself. A tenor saxophone is bigger than an alto which is bigger than a soprano. A tenor and soprano are both Bb instrunents whereas an alto is Eb. The way that the written note deals with this is to make the C on a tenor the same as a C on an alto. This means a sax player only has to learn to read one clef rather than two different ones depending on which horn he or she is playing. In short, whenever anyone reads a tenor clef, the C is in the same place. In short, the instrument changes not the written note. Theoretically, a pianist can read a saxophone part if he is playing a saxophone and a saxophonist can read a piano part if he is playing a piano. I guess whichever way around you do it, you will have the same problem in reverse.

Nowt wrong with a bit of 'approximation' or, indeed, considered omission at the appropriate moment.

Yes. Absolutely bangin'.

Try this one, MGB. It is even better. Jaw droppingly so. https://www.amazon.co.uk/Caribe-Michel-Camilo/dp/B00KUJTP3Y/ref=sr_1_2?dchild=1&keywords=michel+camilo+caribe&qid=1589799233&sr=8-2

I just wanted to draw people's attention to another epic transcription I have posted in my transcription archive. This is the full bass part for Anthony Jackson's performance on 'Why Not'? from the Michel Camilo Big Band recording 'Once More Once'. Monstrous playing and stunning accuracy. I recommend reading this one along with the track (i.e, not playing it, just 'watching' the dots). You really get a sense of how good Jackson is as a player. Just follow the link.

This was great fun to transcribe and reading the transcription along with the recording (i.e. not playing it, just looking at it) is really entertaining. I wanted to do the trio version from the 'Michel Camilo In Trio' CD but I couldn't find it so I have used the big band version from the CD 'One More Once'. The tune is 'Why Not'? and features the legendary Anthony Jackson on contrabass guitar (that's a six string bass to you and me). Incredible playing and the syncopation in the arrangement is astonishing. Hold on to you hat! Why Not Anthony Jackson Bass.pdf

I have long believed that there is a lot to be said for transcribing solos from instruments other than bass. There are problems with doing this, however, as there are different techniques and tricks associated with other instruments that don't translate particularly well to bass. I started this transcriptions and got the head and two choruses down before it got a bit mad and the benefits of continuing were less clear. This is Wynton Marsalis's head and the first two choruses of the solo of the tune 'Just Friends' from the album 'Live at Blues Alley'. A very strong live album from the period where Marsalis was really blowing and before he got into the more heavily arranged stuff. Marsalis Just Friends.pdf

I sooooo value this skill. It takes me places I may otherwise never go with the 'rote learning' approach. It is not about reading on gigs, it is about access to material. Of course, reading a chart won't bring the music to life without other important information but it will get you to the point where that stuff matters much more quickly that learning by rote. It does replace good ears, it enhances them and vice versa. No brainer from where I am standing. My transcription archive is an attempt to make learning to read about learning to read rather than searching for stuff that's worth reading

A bit more Chris Squire - again made possible by the isolated bass tracks available on YouTube. This one is a lot shorter than I remember and is actually quite easy to play. Great songs, great arranging but seldom virtuoso playing, despite the reputation the band had during this time. 'Long Distance Runaround' from the Yes LP 'Fragile' (the first one with a Roger Dean cover). Long Distance Runaround Chris Squire Bass.pdf

I thought it was a competition to see which young musician has the best eyesight.

I have, for a long time, believed that so called 'great' bass lines do not automatically result in great songs any more than a 'boring' bass line makes a song boring. https://youtu.be/QPFVv6-umLs

Today's transcription is something a little bit 'off the beaten track'. It is the bass part for a piece called 'Cha Cha Con Meatus' from the trio of bass player Steve Berry. Steve was the main bass player throughout the history of the band 'Loose Tubes' and his trio album features Mark Lockheart on saxophones and Pete Fairclough on drums. I understand Steve is still a big part of the education scene up North but am not sure of the details. I met him on a Jazz Summer School in the 1990s and told him I had done this transcription. I revisited yesterday and there were definitely some clinkers in there that I have addressed. I have to say that I am not entirely happy with the transcription as there are moments when the bass is hard to pick up but this is my version and, if it encourages anyone to check out Steve's great little album, that's good enough for me. I lost the LP when I ditched my vinyl a few years ago but it is now available again on Bandcamp for whatever you feel inclined to pay. https://steveberry1.bandcamp.com/album/trio Cha Cha Con Meatus - Steve Berry Bass.pdf

That sounds like a dare.....