Bilbo

Lee Sklar.

You are always welcome at Jazz East events, mate. Come down any time and we can talk sh*t 'live' instead of on here!!!

That Suitcase album is absolutely superb. AJ is so far in advance of most players in terms of harmony and note choices, it's unreal.

My wife bought me a Harley Benton electric acoustic for Christmas. It's great. I am really enjoying it.

Andy Watson is down that way. I would recommend him highly.

Bass. It's a f***er.

Most musicians continue to play long after they have moved away from any limelight, however dim, they may have once enjoyed but there are some that just walk away. I remember loving Andy Mccullogh, the drummer from prog legends Greenslade. He left the music industry and went into sailing, running some sort of maritime tourist thing in the Med (or something like that). Seems a shame to me but I guess he had his reasons. Any other players you liked who disappeared?

I never understood why Tales of Topographic Oceans was so vilified.

I used to like jamming along with Bloodsucker from Deep Purple in Rock but I still go back to Burn occasionally.

Bought mine in 1986 for £740 (Monkey Business)

Dark Side Of The Moon - turgid nonsense

By a country mile.... Herbie with Wynton Marsalis, Ron Carter and Tony Williams. One of the most important LPs that I heard early on as I got into Jazz, played to me by a drummer friend. I bought the CD a couple of years ago and I could remember so much of it note for note. http://www.youtube.com/watch?v=6xM1kUW3CI4

I have loads of these to the point where, if I hear a track out of context, I expect the next track I hear to be the next one on the LP. I think that the 70s link is obvious. We all valued music a lot more highly in those days but we also had infinitely less access to massive amounts of recorded music so listened to the fewer Lps we had far more intently. Now, with Spotify and YouTube, people can listen to almost anything at anytime without paying a penny. This has to be a good thing but you lose the intimacy you get from knowing your collection of 20 LPs inside out. Another Close To The Edge, Greenslade Time and Tide, Al DiMeola Land of the Midnight Sun, Brand X Product, Bruford Feels Good to Me, Genesis Seconds Out. The list is massive.

I was doing a gig in Cardiff some years ago and half of the Lionel Hampton big band turned up and sat in.

I guess it's a case of knowing why people do what they do. I know some superb musicians who almost never play live. They get a different buzz to the gig thing. Me, I have to gig. Can't see any point in doing it if I don't.

I missed a couple of months because I was recording bass parts for an album. I have recently heard the full mixes and some of it sounds awesome. The bass parts were recorded in my garden shed but sound totally professional!! Sometimes, the BCC has to take a back seat.

I was just reviewing my Soundlcoud page and realised that there are at 30 compositions on there that would not have been written were it not for these challenges. The quality is distictly variable, of course, but the learning has been invaluable. One wonders how many tunes have been written across the Basschat fraternity because of this. Whoever had the idea for this thread is a frickin' genius.

Here's my entry: three acoustic guitars playing a country blues kind of vibe. http://soundcloud.com/robert-palmer-1/way-to-go

I love my 30 year old Wal Custom Fretless. I hate that it never be quite sounds like it is in tune.

Plus one for Bach.

It's part of growing up.

There are no quick routes to reading. You just have to do it again and again and again and again

I think part of my problem with JB endorsed basses is that I don't like JB's sound. He needs a thin neck to do his thing but I don't like his thing so can't shake the feeling that the basses won't deliver what I need.

I had a student with a Palladium in Cardiff. I remember it being very playable but light. As a Wal player, I always struggle with basses without a little weight to them. I always think that the sound will be thin.I had the same experience when I tried an Alembic. It's not rational, though. The Palladium was a perfectly credible instrument.

http://basschat.co.uk/topic/215336-learning-to-read-the-dots-sheet-music-to-learn-with/