Bilbo

Plug Ugly

I had a half size many years ago and it was crap. Sounded crap, looked stupid (I am 6'1") and was harder to play because I could not really get it to stand up tall enough. My advice; go for 3/4. They aren't heavy, just a stupid shape.

http://basschat.co.uk/topic/82990-hardest-piece-of-music-i-have-ever-tried-to-play/page__hl__elannod__fromsearch__1

Wouldn't It Be Good?

[quote name='Kevin Glasgow' timestamp='1439995631' post='2847387'] Thanks Bilbo! Just watched your seven string vid. Sounds really nice! (I'm guessing it's just a camera mic, but the tone still comes through). You manage to get a nice consistent tone across the instrument. [/quote] Interesting that you heard it that way, Kevin. I previously owned a Status 6 string (£1K) which I felt sounded great at one end and crap at the other but whenever you changed the EQ to address the issue, it sounded sh*t at one end and great at the other. The Harley Benton 7-string (£260) sounds even across the whole instrument and I cannot fault it. The recording was sone on the Kindle mic and the amp I was uising was a Roland Cube 60W GUITAR amp!! I guess the progress in instrument manufacture will account for the 'improvement' at a quarter of the price. Or it could be the fact that I am using a pick and not my fingers (I had not used a pick on bass since about 1982).

Who Do Ya Love? Could You Be Loved? War. What Is It Good For? Do You KNow Where You're Going To? Why Does It Hurt When I Pee? Isn't She Lovely? Wouldn't It Be Nice?

[quote name='Bassjon' timestamp='1439916291' post='2846754'] Ooh thanks..I'll take a look! The Impossible Gentlemen sound quite good. Is Steve Swallow not with them anymore? No idea. I think touring is difficult now as he is over 70 and insurance must be extortionate. [/quote]

If you want 'punk' Jazz, try Bill Laswell, Last Exit, John Zorn, Ronald Shannon Jackson, Peter Brotzman, Sonny Sharrock, Jamaladeen Tacuma, Derek Bailey (The Sign Of Four), Pat Metheny (Zero Tolerance For Silence), John COltrane (Ascension).... But, be warned, this is some scary stuff!! As for where to go next, try Charles Mingus (Mingus Ah Um), John Coltrane (A Love Supreme, Giant Steps), Thelonious Monk (anything), Oliver Nelson (Blues and The Abstract Truth), Bill Evans (Live at The Village Vanguard), Ben Allison, SF Jazz Collective.... and trawl through this thread for recommendations and youtube links left by other basschatters.

If you stick to roots, thirds and fifths, you won't go far wrong. Add a few passing notes, semi tones above and below the thrds, fifths and roots and you pretty much have it. And don't be afraid of playing the same note twice.

Someone else I have discovered recently who is making some incredible music is saxophonist Marius Neset. Some of his stuff is pretty intense.

I have one bass I have used for 30 years in Jazz, Rock, Funk, Latin, SMall Group, Bog Band, Shows..... I woudl sell one of your existing basses and get on with it with the other one

It is a very simple issue wrapped up in a difficult one. It is always best to play with people you respect and who respect you. I always appreciate players who can offer and accept constructive criticism and recognise that references to an indivduals strengths and weaknesses as a player is not the same as a reference to their worth as a colleague and a human being and is designed to improve the music. When I started doing my Jazz East thing in Felixstowe, I took a conscious decision to put together a stable' of rhythm section players who were up to the task of performaing with some of the UK's top Jazz musicians. If I book a player like Simon Spillett or Gilad Atzmon, I need someone who can play creatively at fast tempos. If I book someone like John Etheridge, I need people who can play rock grooves as well as Jazz and so on. Some swing players cannot play Latin grooves and so on. As a result, I had to sideline players who I would book anytime for any other kind of gig. I have had approaches from musicians I really respect who I have had to say no to even though I like their playing (e.g. rock/funk/fusion players who play a 'bit of Jazz' are never going to cut it in this environment). I have had some players who respond positively and acknowledge the agenda and others who get the hump and 'never speak to me again'. It is a shame but, if you want to set a standard, you have to gatekeep the players or that standard will slip. A lot of local Jazz players/singers approach me looking for a gig but they aren't good enough. Telling them is difficult because few people want to hear that they are 'not ready' or not good enough*. I think a lot of musicians do approach delusional when it comes to their own abilities, myself included. Being confronted by the reality is a bit scary sometimes. PS For the record, I am not 'good enough' sometimes but I have the advantage of being cost neutral!!

Wrong Kev. She never irons my stuff

The transition was easy. I play guitar which is why I tune the 7-string the way I do so I already know where everything is!

[quote name='visog' timestamp='1439755603' post='2845544'] +1 Cracking!... Reminded me a bit of IOU album (in a good way). Must be good if Bilbo didn't say... 'it didn't swing...', or 'would be better on acoustic bass', or 'not enough beards' or 'more elbow patches' p.s. Preston, Glasgow and Lowestoft sounds like the worst tour schedule imaginable. [/quote] Can I 'help it if I am discerning?

Two minute video uploaded this morning. https://www.youtube.com/watch?v=f6AHkcNO0bg

My seven string. Sound sucks but you can get a sense of how easy it is to play despite the ironing board neck!! http://www.youtube.com/watch?v=f6AHkcNO0bg

It is widely praised but, yes, sell that kidney.......

Having read the above my own thoughts are that three hours practising scales is something I could only have done when I was a kid and, even if I had the time now (which I don't), I would struggle with that. I suspect the idea of genuiniely committing to a classical 'career' at my age (52) is nothing more than an fantasy but I can see the benefits of developing some arco technique. It's difficult. I struggle every day between double bass (pizz vs arco), electric bass (pizz vs pick), improvisation, composing, guitar, soprano sax etc. One cannot do it all and, I suspect, would improve immeasurably at any one of the above if I let the others go.

Anyone who fails to recognise the contribution made by each individual in any ensemble is a cock, in my book. The whole thing relies on shared ownership of the ensemble sound. Remove any bit and you have a problem. And, unless I am mistaken, the one note at a time thing also applies to saxophones, flutes, oboes, bassoons, French Horns, trombones, trumpets, piccolos, English Horns, clarinets.... you get the point. Personally, I would have driven them and their gear TO the gig and then left them there, having helpfully supplied a card for a cab firm.

No way I would be ALLOWED to do NYE for less than £200. If I am asked I tell them to ask their wife if she would 'release' them on that evening, off all evenings, for just £40 and beer.

[quote name='Kevin Glasgow' timestamp='1378732617' post='2203829'] Hi folks, Here's a video of some clips from a recent gig at the Amersham Arms, New Cross, London. It was a fun gig! [media]http://youtu.be/3XX1g6D_BA0[/media] Cheers, Kev [/quote] Go, Kevin. You have something exceptional on offer there, bro. Keep up the good work.

I practice a little most days but almost never rehearse unless a specific gig calls for it e.g. a show.

Yeah. BJH had some highs. Which reminds me: what about The Enid. Loved them and still revisit their stuff occasionally. Aerie Faerie Nonsense was a favourite. They were one of the first bands I ever saw.

Surely...... Teen Town - Weather Report Donna Lee - Jaco's version Schooldays and/or Silly Putty - Stanley Clarke Fever - Peggie Lee Air on a G-String - Bach Wrathchild - Iron Maiden The Chicken - Pee Wee Ellis