Bilbo

Gig with our new digital PA. Couldn't get the thing to work so the band leaders had to shout. We got it going 15 minutes after the end of the gig.

Will have a look. Yes, you are right, cb1. My bad 😲

I don't recall the book being particularly contentious. Maybe he wingers less than other Jazz musicians.

I think it is the angle of the photograph. The thing was fitted by Martyn Bailey in Sible Hedingham. It's one of his own and is straight as a die in real life. Just finished a set and it sounds great.

My revised set up. Acoustic Image Clarus+ and Ten2ex, Phil Jones Earbox (what a revelation) David Gage Realist and Audio Technica ATM350. mic. Sounds absolutely great. If only I could play the damn thing in tune!!

I am working on two Berlin/Bruford tunes at the moment: The Abingdon Chasp from OOAK and Lands End off Gradually Going Tornado. These four albums held my attention for years and, for me, represent, Berlin at his best. I always thought JB needed a strong producer and, when he is a sideman, he has the best drawn out of him without the excess.

I WANT to like the MJQ but they do get a bit bland at times. I bought a boxed set last year but gave it away after one listen.

There is a lot said about 'melodic' playing in Jazz as opposed to more complex approaches but, in my experience, there is less of a difference that people think. I posted somewhere recently that, when reading dots, it is helpful to thing of sixteenths notes as eighth notes played more quickly As humorous as that sounds, it is true of playing AND listening and 'complex' melodies are, to my ears, generally simple melodies that just go past quicker. Interestingly, when you try and write things down using Transcribe software, you can slow things down to 50% and it is often the case that passages that whizz by at a pace are often straightforward bop lines. It is a question of processing the details more quickly. To my mind, a lot of 'melodic' playing is predictable and uninspiring so it's horse for courses. I guess it's all about the balance that works for you as an individual.

I just wanted to add something about what I am doing with this thread. I am a staunch advocate for the value of reading music and by that I mean dots not tab. It is not just about turning up at a gig and being able to play sessions without rehearsal (you can rarely do that even if you CAN read the dots). It is about recording ideas (I have ideas and transcriptions I have written down from 30 years ago) sharing compositions with others studying bass lines and solos by other people it takes you to places you may otherwise never go it often shows you details in compositions and transcriptions that may be missed otherwise it allows you to access study materials that would otherwise be unavailable to you it has the potential to make you a better and more informed player and, last of all, you might get some reading gigs. My transcriptions are made available so people have something to use to help them improve their reading - not everything I transcribe has chords so studying the note/chord relationships is problematic. Also, chords symbols above the stave can make you lazy in terms of actually reading the notes. These transcriptions are prepared to allow people to practice READING. I have said this elsewhere but I am learning how to read treble clef guitar music at the moment and it is making such a difference to my guitar playing and the insight I have into the music I love. I picked up an Astor Piazzolla violin part the other day and played it through without any mistakes. What a buzz! I sometimes read twenty pages of simple guitar tunes in one session or work through one of the easier Al DiMeola transcriptions in one sitting. I can play Ralph Towner tunes (badly, but there you are). It's a marvellous skill that I wish I had developed more early on. My bass clef reading is improving now I have a regular gig but I still get caught out at every gig/rehearsal - 5 sharps or flats and I am done for. The practicing is helping though and I really consider this as time well spent. For the younger guys out there, get this thing done as soon as you can and you will never regret it.

I have had a GK MB150 amp and an SWR Baby Blue speaker cab stolen from the back of my car at Aust Services near Bristol. Has anyone seen them? It was in 1993 but I am still hopeful.

Steve Rodby is a very classy player. Massively underrated because he never really solos with the PMG but there are other bands he payed with where he had more space e.g Simon and Bard Group. He is all over this one...

Today's effort is Jimmy Johnson's bass solo on Allan Holdsworth's 'Panic Station' from his 1985 album 'Metal Fatigue'. The solo starts around the 2.31 mark and is a engaging little solo. Jimmy Johnson is an incredibly melodic soloist even when playing over Holdsworth's generally very intense compositions. If you haven't heard much Jimmy Johnson, check out the Wayne Johnson Trio albums Arrowhead, Grasshopper and Everybody Is Painting Pictures. Panic Station - Jimmy Johnson bass solo.pdf

I am working on a transcription of 'The Abingdon Chasp' from Bruford's 'One Of A Kind' LP.

Interestingly, I knocked this one out in around 20 minutes because I knew it very well so was effectively writing it down in the same way that I am typing this. John Giblin's fretless bass ono the Brand X tune 'April'. It is all over the place in terms of time so, on a 4:4 stave, it's a tough read but it is really only 4 bars repeating itself. One of the most beautiful fretless bass features ever recorded. April - John Giblin Brand X.pdf

I am working on some more Bruford but, to keep things moving, I knocked up a bit more old school Rush. Geddy Lee's bass part for 'Anthem' from their second LP 'Fly By Night'. It's not exact as I repeated a section so a couple of fills are not entirely accurate but, if you want that kind of detail, buy Transcribe software and knock yourself out. Anthen Rush - Bass.pdf

These pictures are getting more and more random. Totally uninspired. 🥴

Smooth Operator by Sade?

Ron Carter. There is a transcription of the bass line to the tune 'Hesitation' from the same album on my transcription archive page.

I have used this example many times when trying to explain to Jazz novices what Jazz is and what it is not. When a musician is soloing, s/he is generally thought to be using theory and a knowledge of harmony to create spontaneous improvisations directly out of their imaginations. Whilst this may occasionally happen, it is more often the case that the player is using what s/he hears to inform her/his developing ideas. In this performance of the Tony Williams tune 'Sister Cheryl' from Wynton Marsalis's first LP as a leader, saxophonist Branford Marsalis, then aged 22, plays a wonderful solo of around one minute that provides us with a perfect example of what makes a great Jazz solo. The important thing to remember is that, as pianist Herbie Hancock approaches the end of his piano solo, Branford has no idea what he is going to play. Then, at the 3.50 mark, Herbie plays a four note chordal phrase that gives Branford the idea he was waiting for with which he opens his solo at 3.56. Remember, Branford is listening to what Herbie is doing and then formulating a response in real time. Branford repeats Herbie's phrase once and then reframes it as the chords change beneath him. He then changes the phrase slightly (4.02) and Herbie responds to the change by playing a slightly different phrase underneath him (4.04). Branford uses Herbie's response to echo a further response (4.05) which he then repeats and moves around the harmony. His phrases from here are essentially theme, variation and recapitulation but the thing is that each phrase informs that next (4.11 to 4.20 is beautifully done - notice how he reuses the same phrases again at 4.36 and, once more, at 4.52). Listen to the solo in isolation and then again within the full performance and you will get a real sense of what it going on and why there is nothing random about this solo. It is a dialogue that starts between Herbie and Branford and which Branford then uses to build his own argument. Exquisite.

Tab is for lightweights. 😎

A very hard set of charts that night, dm. Not a II V I in sight!

Last Sunday's effort.

Jazz East at The Alex in Felixstowe. A band called Q3 which normally features Tiago Coimbra on bass. Tiago has played with Spontaneous and Hiromi’s Explosion Trio. He has studied with Oscar Stagnaro, Anthony Vitti, Bruce Gertz, Matthew Garrison, Abraham Laboriel, Walter Beasley, Ed Tomassi and Kenwood Dennard and works with various bands including the Gavin Harrison and 05Ric Band, soul singer Myles Sanko and Resolution 88. I got one rehearsal in with the band and the gig was fairly together so I got a buzz out of that. it was mostly original material and almost all altered chords - literally no II-V-Is or cycles of fifths to be seen. I just held on for the ride. Got some positive feedback from three bass players in the audience so that was nice too. I asked not to solo as I think the material was too hard for me and I would have screwed it up but they 'forced' me to do one on Michael Brecker's 'Midnight Voyage'. Nobody laughed. I hate it when they laugh.

Unbelievably, having spent three weeks on transcribing Jeff Berlin's parts on 'Beelezebub', I managed to nail the whole of his bass parts to 'Sahara of Snow Pts 1 & 2' from the LP 'One Of A Kind' in one sitting. Much easier due to lots of repetition and an absence of mad time signature changes bar to bar. This one if a bit more fun. Sahara Of Snow Pt 1 and 2 - Jeff Berlin.pdf

It makes sense to start with the Blues. Bb7/// //// //// //// Eb7/// //// Bb7/// //// Cm7/// F7/// Bb7/// //// Use the relevant mixolydian scale over the 7 chords and a Dorian over the Cm and you are off. Play what you hear, DON'T just wiggle your fingers.