Bilbo

The list is endless but they are essentially a set of tunes that have become an established repertoire for Jazz musicians the world over. There are several lists you can google for that perport to be definitive but, in reality, the list is changing all of the time as some tunes are added and others fall into disuse. The real hardcore Jazzers tend to know these tunes by the hundred and are able to transpose them into any key at the drop of a (hi) hat. There are a range of fake books/real books (pretty much the same thing) that are legal and illegal that contain many but never all of the 'must know' standards. I do not consider myself to be a hard core Jazzer and only know about three. There are the show tunes standards but there are also 'Jazz' standards (often Parker, Miles Davis, John Coltrane heads etc but again the list is massive e.g.All Blues is not a show tune but it is known by almost everyone, tunes like Bolivia, Airegin, Tenor Madness, Monk tunes etc). This is a massive subject and one that can tie you up for life. A lot of Jazzers believe that, in order to make any headway into the music, you need to 'deal with' the standards but there are others who never bothered with them and find their own way - no roght or wrong, just different.

[quote name='gelfin' timestamp='1443264663' post='2873490'] Just out of curiosity, did you write that from memory? [/quote] Did I fcuk 😃

7 x 3 = 15

I voted for you, Dad.

[quote name='ezbass' timestamp='1443189682' post='2872978'] Voted. Bilbo got my vote this month, I really liked the John Martyn meets Pat Metheny with Danny Thompson on bass vibe. [/quote] THat is so what I heard!!!!

Good idea, Sarah. I had a pair many years ago but they were a bit crap so I never bothered again. Maybe I should revisit the idea.

I can't get enough music. I am surrounded by people who conspire against me in this regard. We have no music playing device in the house that doesn't require headphones to play (i.e. you cannot listen to it unless you are sat at a computer so listening whilst cooking, cleaning etc is not practical. My wife hates Jazz so, even if I could listen, it would only be when she is not there which is rare. I cannot listen in work as we have shared spaces. She also gets the arse if I wear them when I walk the dogs so that is out (I have to say I agree with her in this regard as walking dogs needs all your faculties!!). So I listen to music on my ipod when driving/trevelling and when walking through town to get my lunch and I get some in when I am in my music shed working on stuff/transcribing etc. I reckon its only about 2 hours a day but sometimes more if I am out and about. Could easily be 6 or 7 hours a day if I had my way.

Yaaay!!!

It is only letting us vote for one, Paul. Something is wrong with the whatnot.

These genres are frustrating. If I am honest, I prefer Latin American genres to a lot of Jazz but trying to play them in the UK is difficult depending on where you are. Finding idiomatically informed percussionists is the biggest problem but other instrumentalists are equally hard to come by. I was with a band called Albino Cubana for a while which was great but it petered out as getting gigs for a seven piece is always difficult.

The single problem I have with loopers is a deal breaker. It all operates on the basis of repetition, endless repetition of two or three chords, repeated rhythms etc. This guy has really worked hard on a creative use of the tools he has but, if what you look for is interesting harmony, it's not going to work. Hats off to him, though. It's noble stuff.

If you sit in any working men's club in the country, you will hear guys in their 80s and 90s talking about the war for no reason than it was the most significant and interesting thing that they were ever involved in. Why would the musicians in a successful band like the Bay City Rollers be any different? Nostalgia? Money? Probably both. I see no reason why not, if they can sell tickets they have as much right as any one of us.

I do wonder why people 'burn out' creatively as they move forward. I guess some of it is that they get bored of doing the 'same' thing all of the time. I always have cursory listen to new Iron Maiden LPs as I was into them when Paul Diannio was the singer and I always find myself thinking 'isn't Steve Harris bored by now'? I have similar thoughts about Rush and others. When you look at bands like Yes and Genesis who moved from long forms to shorter 'song' orientated material, you can see why they decide to try and look at things from new angles. Same with people like Joni Mitchell, Paul Simon, Peter Gabriel... You have to keep changing to remain relevant and to keep yourself interested. The fact is, if you move away from that which made you succesfful, you are inevitably taking a risk. But doing something different doesn't mean it has to be bad and some people just do bad stuff as their mojo is compromised.

[quote name='Rich' timestamp='1443001318' post='2871244'] Hippy. [/quote] I just love the tension created by that opening drone. The words are 'spoken' in almost a monotone. They mean nothing and they mean everything. And, yes, I am.

Dawn of light lying between a silence and sold sources, Chased amid fusions of wonder In moments hardly seen forgotten, Coloured in pastures of chance Dancing leaves cast spells of Challenge, Amused but real in thought, We fled from the sea whole. Dawn of thought transferred through moments of days undersearching Earth Revelaing corridors of time, provoking memories, Disjointed but with purpose, Craving penetrations offer links with the self-instructors sharp And tender love As we took to the air, a picture of distance. Dawn of our power we amuse redescending as fast as misused Expression, As only to teach love as to reveal passion chasing Late into corners, And we danced from the ocean. Dawn of love sent within us colours of awakening among the many Won't to follow, Only tunes of a different age. As the links span our endless caresses for the freedom of life Everlasting.

I doubt that. I think it's just him. And I appreciate that kind of creativity more than flawless execution.

Oh - and someone tell Joe Lovano to stop Judy Silvano ruining his recordings.

I have to add Jeff Berlin into this mix. He is undoubtedly one of the most accomplished players on the scene in terms of advanced chordal technique, soloing etc etc. Nevertheless, he has the worst, thinnest, ickiest sound imaginable and chooses the worst tuines (Imagine, Tears In Heaven) to perform with some sort of pseudo-commercial intentions, his concepts are cringeworthy (Low Standards - a trio with a pianist who can also play bass so JB can do a 'lead' bass thing over the top of a walking double bass. I LOVED him with Bruford and Allan Holdsworth and Champions and Pump It were great (a couple of turkies in there but otherwise ok) but now and for the last couple of decades he is, for me, the 'cleverest bass player who I can't listen' to in the world. He needs a producer that can stand up to his 'I have this concept' b******.

[quote name='toneknob' timestamp='1442866321' post='2870154'] When you say "clean" do you mean acoustic btw? [/quote] No - clean note execution. If Al Di Meola plays sixteenth notes, you can hear every one. If Howe plays anything 'fast', it generally sounds scrappy as f***. It has it's own personality, though, whereas Al Di Meola can sound overly clinical.

Do you remember where you were when you heaard? I was in a flat in London having just moved in. I spoke to a friend who was working for Harvey Goldsmith and he had just heard the news through a roadie friend. At that time, I hadn't even heard that JP was in trouble in terms of his mental health etc.

Love his work. Wish him well.

Never. Repairs, yes. Service, no.

[quote name='toneknob' timestamp='1442841835' post='2869899'] Got any examples of this? [/quote] Siberian Khatru, parts of Relayer. He always sounds like he is playing one notch faster than he can and that it is all about to fall apart. Makes it edgy. Don't misinterpret me. I love most of his work and I think he is a highly underrated composer. But, compared to a clean player like, say Al Di Meola, he is all over the place. Hackett has some really clunky moments across the Genesis era and beyond but, again, I like his stuff (saw him at Reading in 1981 and somewhere else I can't remember).

Sometimes I think he's crap. Other times I love what he does (Firth of Fifth). Odd that. Same with Steve Howe. Brilliant and crap at the same time.

[quote name='KevB' timestamp='1442586980' post='2868035'] It was the Trace gear with 'eyebrows' EQ that did it for me, top marks sir (though I assume for that sort of gig it was provided?) [/quote] Yes, it was what was provided. I had GK/Swr back home but travelled to Vienne with just the Wal. The eq was my work. Always scooped it like that on my own Trace Eliot.