Bilbo

[quote name='lojo' timestamp='1504334972' post='3364124'] I guess there are many levels to reading , and sight reading with no previous knowledge of the feel of the song is another level to using dots and tabs to work something out ahead of time. [/quote] It is not unusual for tunes you have never heard before being put in front of you. The reality is that there is always someone there who DOES know how it is supposed to feel so it is a quick briefing and off. Eg 'two feel ', 'shuffle' etc. Usually sorts itself out by the second or third bar.

No need to apologise. Van Mo is no worse than most other pap artists. It's just the 'Moondance' debacle that gives me the arse.

'Learning the song' is one of the issues, surely. If you read dots and are playing for an MD who writes great charts, you don't need to 'learn the song'. If I do a show, I will often get just one band call/rehearsal before Showtime. No time to'learn the songs'.

Coming at this the other way. I have an AI set up for double bass but it wasn't cutting it on electric /rock gigs so I bought a PJ 4x5 extension cab. Absolutely did the trick. I gig with Brendan O'Neil, Rory Gallagher's old drummer, and the AI PJ mix absolutely cuts it.

[quote name='jacko' timestamp='1503316019' post='3357074'] YES covering S&G's America. [/quote] 100% http://youtu.be/W-062j9dafg

That's correct, Pete, but I recall having a choice when I bought the instrument so anyone purchasing a five string from Gedo Musik can specify a low B rather than a high C at no extra cost. My thread on the process is here http://basschat.co.uk/topic/93958-i-did-it-now-with-photos/page__fromsearch__1

[quote name='thepurpleblob' timestamp='1503737420' post='3360595'] Yep. I think that got answered in the first half dozen replies. Then it grew legs.... [/quote] It's called a conversation. This is what happens

When I was active on the Cardiff Jazz scene, I loaned my Trace Eliot stack to both Miroslav Vitous and Arild Anderson.

I use dots for study, for composing and for writing out charts for others to perform. I rarely read on a gig but can if I need to. Reading takes me to places I may not otherwise go. TAB is not something I have used in decades. Feels like a toy to me when compared to dots. Reading let's me interpret the music of others who may not be writing for my chosen instruments. To quote Marcus Miller: 'why wouldn't you'?

Sargasso Sea and Five Years Later are great LPs. I recently recorded a version of Caminata (as a test piece). Some great work throughout his career.

One of my all time favourite musicians, guitarist John Abercrombie, as died of heart failure yesterday. I had heard he was poorly but it is always sad to hear that one of your inspirations has died. I had a trio in Cardiff called Bass Instincts that was based around the concepts he explore with his Abercrombie/Johnson/ Erskine Trio. Loved the way he played so minimalistically but with great depth and a beautiful, beautiful tone.

It's a five beat phrase played over a four beat grooove so it resolves in the wrong place every time creating a lovely tension. A simple device. I used similar ideas throughout this.... https://soundcloud.com/robert-palmer-1/theres-a-reason?in=robert-palmer-1/sets/rob-palmer-compositions

[quote name='Lazurus' timestamp='1501051905' post='3341998'] Anyone got the score for Fever? [/quote] One/Nil to Peggy Lee

I recorded an album last year with a bluesy rock gtr/bs/Dr trio. I did all my bass parts in my shed. The other guys did theirs in other studios. Sounds awesome. Not released yet.

Key signatures and keys are seldom definitive in Jazz transcriptions due to passing notes, blue notes and chromaticism. Most Jazz transcriptions are littered with notes that are not in the 'stated' key.

Bugger! Now it will be at least three days until the next picture appears.

[quote name='mikel' timestamp='1501527862' post='3345316'] Depends what you mean by good. Define good music. [/quote] Definition is irrelevant and subjective. My point is that the belief that Level 42 is manufactured as a means of expression whereas Whigfield is pap is arbitrary. It's all manufactured pop, even if the purpose of it's manufacture is less immediately commercial. Ritchie Blackmore, Gregory Porter, Stevie Wonder, Van Morrison, Rick Astley, Metallica, Ed Sheeran, Duke Ellington, Janek Gwizdala ... they all want one thing. To move units.

It's all Pop, really. Having been watching these things for decades now, I am firmly of the view that the concept of Art for Art's sake where the music industry is concerned is almost entirely rhetorical. Obviously, we all recognise the 'manufactured' pop of Stock, Aitken and Waterman et al but the reality is that the same 'gimme the money' ethos drives most of the music business. The details differ but the drive for sales is pretty much universal whether we are talking Miles Davis or David Bowie, Van Halen or Pink Floyd. Having a hit is media driven (exposure and image) rather than content driven and how good something is musically is almost entirely academic.

I have to confess that I have long since become frustrated with the recording process i.e. vsts, sequencers, drum machines etc and I only put together pieces I can actually[i] PLAY. [/i]Hence my composiutions are tending to be limited to the standards of my guitar playing which is pretty poor. I could easily play more complex bass parts but this would rarely work against my weak guitar parts and even weaker percussion. I would love to update my music IT (I am still working with Windows XP so a lot of the modern stuff is incompatible) but there is never enough money, is there, and, when I do come into money, it tends to go on upgarding guitars etc not hard or software. I find that there is an uneasy relationship even a tension between one's ability to compose and one's ability to perform what one composes. The IT available today helps with this, undoubtedly, but I think there are limits depending on what genres we are working with. As I favour genres where sequencing is all but non-existent, I feel that am limited to what I can do with 'real' instruments that I can actually play. My choice, I guess. I really do enjoy these challenges though and don't really mind where I finish up in the voting.

I suspect she is not going to be suitable. If she is that advanced a reader, she is probably steeped in the classical tradition. Maybe she could handle a show but playing alongside less formal players, I would expect her to sound clunky and idiomatically suspicious.

Almost as irritating as Moondance.

It was. I would be interested in the price. PM me if you like.

I communicate in metaphors. Think acting. Reading a script out loud is doing that and nothing more. The acting equivalent of Musicality would be in making the words mean something, communicating the emotions and intent of the author etc. One is mechanics, the other is Art.

My wife has bought me a Harley Benton 12 string guitar for my birthday. Once again, I am astonished at the quality of these guitars for the money. I have tuned it up and recorded a couple of minutes worth and it is absolutely fit for purpose. It's not a Taylor but, as a piece of kit for occasional recording etc, it's a very nice instrument. https://soundcloud.com/robert-palmer-1/harleyh-benton-d200ce-12-bk

I have bought every instrument I own on-line or, in the olden days, by mail order. Never had a problem until I bought my Ovation Custom Legend from Thomann but they sorted out a replacement without any difficulty. My experience suggests that the risks associated with buying on line are about who you buy from.