Bilbo

This was RhysP's post [quote name='Bilbo' timestamp='1482837428' post='3202949'] This year, I have mostly played bass with Steve Waterman, David Horniblow, Simon Spillett, Andy Panayi, Martin Speake, Jacqui Hicks, Tony Kofi, Cameron Pierre, Georgina Jackson, John Etheridge, Julian Stringle, Tommaso Starace, Stewart Curtis, Nicolas Meier, Asaf Sirkis, Hannah Horton, Nigel Price, Josephine Davies, Kate Williams, Kevin Flanagan, Chris Ingham, John Parker, George Double, Russ Morgan, Alex Best, Andy Watson, Mark Cecil, Simon Brown, Paul Higgs, Zak Barrett, Dan Banks, Mick Hanson, Gione da Silva, Myke Clifford, Gary Leach and a bloke called Ron. And all without leaving Felixstowe. I learned that it you can improve exponentially just by ensuring that all of the people you play with are sh*t hot [/quote] You played with Asaf Sirkis? Wow!

RhysP. I am sorry. I think I deleted your post whilst quoting it.

[quote name='RhysP' timestamp='1483031801' post='3204316'] You played with Asaf Sirkis? Wow! [/quote] I know. And at the same time as Nicolas Meier. It was as good as it sounds. :-)

14 entries. 14 votes. We are playing with ourselves, guys.

Don't run before you can walk. Try the Bach Cello Suites. They are all in different keys and working through them one at a time can be a great way of getting used to the issue of key signatures. What you are describing is just another thing that needs concerted practice.

My Mum passed away on 14th January, 2016. She never really 'got' my musical ambitions but, like my father, was accepting of it and did not discourage me. In fact, Mum made the purchase of my Wal Custom Fretless possible when, in 1986, she ordered the bass from Monkey Business on her credit card which I then paid back over several years!!! They also put up with me practicing for hours every day in my late teens. We take them for granted but supportive parents are an absolute God-send.

No. Massive difference in size. Double bass is designed to 'double' cello parts a octave lower, hence the name.

This year, I have mostly played bass with Steve Waterman, David Horniblow, Simon Spillett, Andy Panayi, Martin Speake, Jacqui Hicks, Tony Kofi, Cameron Pierre, Georgina Jackson, John Etheridge, Julian Stringle, Tommaso Starace, Stewart Curtis, Nicolas Meier, Asaf Sirkis, Hannah Horton, Nigel Price, Josephine Davies, Kate Williams, Kevin Flanagan, Chris Ingham, John Parker, George Double, Russ Morgan, Alex Best, Andy Watson, Mark Cecil, Simon Brown, Paul Higgs, Zak Barrett, Dan Banks, Mick Hanson, Gione da Silva, Myke Clifford, Gary Leach and a bloke called Ron. And all without leaving Felixstowe. I learned that it you can improve exponentially just by ensuring that all of the people you play with are sh*t hot

7 joint firsts!! Am lovin' it.

Keep the piano. Write some great tunes. Make a million. Buy the basses.

I got it LAST Christmas and only started watching it yesterday :-D

Reading these threads for a decade or so, one can only conclude that there is never a best way, only a different way. Each has strengths and weaknesses which need to be explored over time.

I have, JJ. I absolutely love it. There are other great trios Swallow did wit Lee Konitz, David Liebman and, my favourite, Ohad Talmor. Swallow is my man.

That Lincoln Center Cuban album is great. There is a brilliant cd by David Murray in this vein. Also worth checking out Miguel Zenon's Identities are changeable project.

Mine feels like a good idea badly executed this month. It sounded a lot better in my head and I wanted so much more from it percussion-wise but the time ran out and I can't do any more before the deadline so here it is. https://soundcloud.com/robert-palmer-1/have-yourself

100% agree re: Pino. A perfectly competent player but nothing particularly exciting that couldn't be done by most of us with a bit of rehearsal. Wooten I never got. A juggler rather than a player and when I hear him in a band context (say Mike Stern), I hear a competent played who, when he solos, well, juggles rather than expresses anything. Stanley Clarke - I want to like him, I really do, but I just think he sounds clunky and un musical.

Just saw this. Great resource.

I keep fancying six string basses and now have a seven string but I only ever play them in the woodshed and rarely take them out.

Nobody notices the bass player unless s/he catches fire. I have to say, I am regularly on the other end of this. My knowledge of bass parts is fairly encyclpeadic and I hear people copping licks all of the time. I remember seeing one kid (definitely a teenager) at the Brecon Jazz Festival ripping off Jaco for the whole gig. I wanted to go and tell him 'don't do that; you need to find yourself' but it is not in my nature to do that to a stranger. I wonder what happened to him.

There is a reason I said 'almost nothing'. The reason is Sound Chaser. Outside of that, it's mostly quite easy to play.

One of the interesting things about Squire is that almost nothing he does is actually hard to play. It's just that he and his bandmates were such great writers and arrangers. His ideas were very personal and creative.

There's your problem. There are only four gaps. That was easy.

Actually, a lot of readers don't have a lot of theory under their belt as they arguably don't need it. E.g. I could read out Einstein's theory of relativity quite effectively without actually understanding it.

It's about how rounded a musician you want to be. The more you understand, the bigger your pallette.

Wow! Transcription and recording.