Coilte

I had an operation twelve months ago to straighten out the left pinkie. I had a bad reaction to the operation itself. Instead of the "normal" physiotherapy recovery time of around eight weeks, I was still doing therapy exercises eight months later. That would be fine if it had been a success, but in my case it was not. My pinkie has returned to bend at a ninety degree angle and the whole hand is still a bit stiff. I can still play bass fairly OK...about the same as before the operation. So...a waste of time and a LOT of effort on my part. My consultant told me that around fifteen percent of his patients have the same reaction as I did.

Not sure how much of his material is free, but IMO Joe Hubbard's lessons are excellent. https://www.joehubbardbass.com

I agree with the idea of being as diplomatic as possible when stating an opinion. However, with some bands, they simply dont want to hear anything that goes against the "norm" in a band, regardless of the conveying method used. Surely, in any band worth it's salt, ALL opinions would be taken on board. I can identify with the OP's questions as I often asked them of myself...i.e. am I being too opinionated. After many diplomatic suggestions in bands about playing at.. "jumbo jet taking off".. volume both at gigs and rehearsals, I decided there was no fun here and walked away. I am also generally amazed at the breakneck speed that some songs are played. In summary...OP...I agree with, and understand what you are saying.

That would be my description...obviously with a peppering of blues thrown in.

Was thinking the same thing myself. Sooo... https://www.ebay.co.uk/itm/ELECTRIC-BASS-5-STRINGS-G-L-L2500-TRIBUTE-SERIES/232754200621?epid=13014565671&hash=item36313b402d:g:xHkAAOSwZrhafHTM

Plus 1.

I agree with all the suggestions so far. I would add that gentle stretching before you pick up the bass can help to prevent cramp. Three to four minutes is usually enough. A minute or two spent doing the same stretches after playing is a good idea too. Search Youtube for "hand stretches for bas/guitar".

Whatever about "foreign"...but music is indeed a language and like any language you need to start at a very basic level and build from there. As I said earlier, I am not a theory buff by any means but I think there is more to it than simply playing a pentatonic over a II V I progression. Perhaps this clip might be helpful if you are interested in pursuing your theory. It is part of a series of lessons that start VERY basic...as in "this is the headstock etc..😁. If you dont understand the terminology in the clip then start at a place that feels appropriate to you. I learned a lot from this set of lessons. Yes, there were times I felt frustrated and I was making no progress, but my interest and curiosity kept me going. Best of luck.

When I first approached theory it was a bit like that orange square. 😁 Could not make head nor tail of it. However, I was interested enough to persevere, and while I am by no means an expert, I think my grasp of basic theory has not only helped my playing, but has enriched my appreciation of music in general. Yours (and other people's) milage may vary. 🙂

Does knowing the alphabet and how to spell make any difference to how you speak ? 😉

If by "practicing scales" people mean aimlessly playing them from root to root all over the neck, then the benefits are going to be minimal. To me, REALLY knowing/practicing scales involves knowing how chords are derived from them, and also being able to harmonise a scale...especially the major one. To those who say they don't need to practice scales or to know some basic theory.... Yes, you will get by without either, but IMO theory is beneficial in learning the "nuts and bolts" of music and how it "works". Knowing a little basic theory never held anyone back...quite the opposite in fact. https://www.studybass.com/lessons/bass-chord-patterns/chord-tones-are-primary/

Hadn't seen that thread. Thanks.

https://www.bbc.co.uk/programmes/m00023xl?fbclid=IwAR1rxiyCWB7W376-k9XhrCMX3UWPauDMdAD_mW1ZAIvvKLByTVfcF_gVsKo

Dont sacrifice the groove in favour of flashy/show off playing.

I'm sure you are correct..so he won't care if I add one more... With the severe bend in that plucking hand wrist, I can almost feel the CTS coming on. 😦

One of my favourites is ..."You're The One That I Want"...from Grease.

IMO the title of this thread is like asking a carpenter which tool he is most impressed by...his saw or his chisel. For the bassist, the most impressive "tool"...i.e. pick or fingers... is the one that he feels most adequately fits the song or piece of music.

Agree 100%, but I think there is plenty in chord tones to occupy his interest for some time to come. Later on, when he has a good grasp of basic theory....then by all means he can delve into modes if he so wishes. You have to learn to crawl before you can walk. 😉

If you intend to continue as you are...i.e. playing in a pub rock trio, then IMO you won't have much use for modes. I suggest that instead, you concentrate on CHORD TONES. These are what most bassists play 90% of the time...not modes. 😉 The link below is an excellent site for learning some basic theory. Go to the study guide and start where you think is appropriate for you. In the link, the site emphases the importance of chord tones. https://www.studybass.com/lessons/bass-chord-patterns/chord-tones-are-primary/

Plus 1. IMO this is the single most required "must have " of any "good" bassist. Following close on it's heels I would put having the ability to listen to whats going on around you in a band and to respond accordingly. In other words...playing what the song or piece of music requires...no more...no less.

Another album that springs to mind is Chicago's debut..."Chicago Transit Authority".

I have decided to sent Tom Scott another email.

As I said earlier, I have done a lot of research to try to find a definitive answer to who the musicians (especially bass and drums) are/were, including an email and Facebook message to Tom Scott. Heard nothing back. Also started a thread here a while back and on Talkbass...no luck. Like yourself, I thought it might be Max Bennett on bass, but can't be sure. Joe Sample did indeed work with Scott in the early days, and it has been suggested that Wilton Felder might have filled the bass chair. According to a comment beneath the Youtube clip......Lightnin' Rod Piazza -Harmonica & Vocals Arthur Adams - Guitar& Bass David Cohen - Guitar & keyboards Tom Scott - Saxophone & Flute. Perhaps the guy has some inside information, because I have never been able to unearth a definitive musician list. BTW...I even posted it on Carol Kaye's site asking who it might be. Guess what....she claims it was her !!! Surprise !!...Surprise !!! (LOL)

https://www.youtube.com/watch?v=PhgQXnNnTXM "The Revolutionary Blues Band" (an early outing from saxist Tom Scott) is an amazing one IMO where the bass and drums stand out...both from the point of view of the music itself and also in the mix. Unfortunately neither musician was credited on the album, so despite many searches, I have never been able to find out who they were. As far as I know, the album was never released on CD. To get a real flavour of the bass work, it would be best to listen with ear phones, as the clip recording does not do it justice. 😎 Enjoy.

Re thumb placement : While there are no "right" or "wrong" places to put the thumb, there are tried and trusted safe places. Placing the thumb on the pick up causes the wrist to bend fairly sharply. Over time, this can lead to injury problems like carpel tunnel syndrome. To reduce your chances of experiencing any injury problems it is more beneficial to have BOTH wrists as straight as possible. For plucking, there are two techniques worth checking out. 1. The Floating Thumb Technique. 2. The Moveable Anchor.