Bilbo

For me, it is always 'i don't like the music'. The reason I don't like the music may be different but the fundamental problem is always the same.

If you want to learn standards like a pro, you need to be able to play them in all keys. Niger Price says, if you cannot play a tune in every key, you don't really know it. I don't know standards like a pro and have to use real books etc. I am considered a lightweight in the business.

These monsters have always existed. I envy them their focus.

Or an 11 year old girl from Japan http://www.youtube.com/watch?v=4XsYuHbXZUk

Or Fabio Valdemarin http://www.youtube.com/watch?v=Otbe5c2OIxI

And there's Simon Allen http://www.youtube.com/watch?v=xyB4wV56IP8

Not got to it this month, guys. Sorry. Blame Tony Kofi and Ornette Coleman!

That Behind The Lines line was one that I used as a learning tool early on. Alphonso Johnson is, to me, THE underrated player. Sklar is top drawer, though, absolutely.

I had one of these and they are marvellous. I have some recordings with it on. Here is one. The basic percussion track is a Handsonic Loop. There is additional percussion on there that is also the Handsonic and there is some real percussion too. I have other that are interesting and will try and post them. https://soundcloud.com/robert-palmer-1/fire-works

Nova - Vimana. It is on YouTube but not available as anything but vinyl. Also Peter Sprague's Napali Coast.

Stage electric double basses have a good reputation for start instruments but my advice is always to go for a real double bass. The electric ones are ultimately unsatisfactory and tend to sound like Fretless electrics rather than a double bass. This means that as soon as you get an electric upright, you start gassing for an acoustic.

I remember this blowing me away when I first heard it. Anthony Jackson with French Toast. http://youtu.be/YMobWpeUZw0

The reading thing just takes you places you wouldn't otherwise go. Bach Cello Suites are lovely to get you thinking about the neck. Jazz solos are great for reading practice because they tend to avoid predictable patterns.

Paul Chambers discography dropped off heavily after he left Miles (see the discography in my book 'Mr. P.C. the life and music of Paul Chambers'). If you listen to the recordings he did do, however, there is no tailing off of his ability. He was still practising when he was in the hospital with the TB that killed him. His recordings are strong right until the end and there are no substantive stories of unreliability. I just think that, when he left Miles, he inadvertently cashed in his best bargaining chip. Also, the style of bass playing was changing and PC didn't move with the times so got left behind. Was he the best? I don't think so, if I am honest. He was important as he was the most widely heard. Being the best is no guarantee of anything.

My Dad was in a male voice choir but that happened long after I had started gigging and had left home. Maybe I influenced him?

I think it is an important point. The influence of a player is often determined not by their ability but by the levels of exposure they enjoy because of the gig they have. When Paul Chambers was doing the Miles gig (1955-1963), he was all over the Jazz scene recording hundreds of sessions with everybody. When he left the Miles band, the sessions dropped like a stone and Ron Carter, Pc's replacement in the Miles bass chair, was the first call guy. Was this about the players or the reflected glory of recording with a Miles sideman? I know what I think. The thing is, a lot of influential players are in no way the 'best' players, they just have the highest profile gigs. Sometimes this lines up but, often, they don't.

What interests me is why this was a surprise. I assume you didn't grow up in the same house as your father? If you had, it would not have been a surprise to find out that he was a great player, surely?

There's some great Flim on the Flim and the BBs cds too.

Pm, Kev.

My local library hasn't got Kind of Blue!!

Alexander Technique helps me when I get in trouble. Makes you look at how your body is doing things and helps you find more efficient ways that reduce strain.

My Wal was 30 years old yesterday. I think I will keep it.

Can anyone access a copy of this album? It is deleted and I cannot find it commercially. I am doing a trio gig covering Ornette Coleman tunes in a few weeks and need to hear listen to it properly. It is on Youtube but that is only of limited use to me as I have no internet in my practice space. Can anyone hel?

For me, time is about listening. If you cannot hear where the pulses, playing ahead or behind becomes a matter of chance rather than design. Playing triplets becomes fraught with difficulties etc.

Phew!