bassace

Much of the above. I also have a square of carpet that I get out of the car and rest the bass sideways on it when the stage is rough or has nail heads protruding. And Paracetemol.

I was just waiting to see if anything turned up. And it did, a Saturday evening gig at short notice. So have a great time and congratulations on the SE Bash's tenth anniversary.

Two weeks to go folks. It's looking good!

[quote name='chris_b' timestamp='1473925213' post='3134099'] As I said in the other post, on his own or with help (doesn't matter) Ringo changed drumming. Before him there was rhythm drums. Accents on 2 and 4 (Earl Palmer's contribution and drum world game changer) and variations around that. Even the likes of Sandy Nelson and his drum solo records were basically rhythm drums. Ringo changed drums up to also take a lead role. But for his Tomorrow Never Knows, A Day in The Life, Come Together etc etc drum patterns I don't think there would have been the likes of Steve Gadd's 50 Ways drum pattern and the rest. Ringo showed the way for all the creative drummers who came after. [/quote] And some say the world is flat.

There'll be at least two EUBs at the bash that would represent an improvement on the Stagg.

Yes, USAF great. We used to do lot at Fairford in the sixties and all of the above apply. Vodka and Seven Up was a popular tipple, and Camels. We were gathering at the Belle Vue at Cheltenham ready to go and somebody came in and said JFK had been shot. And I don't think we ever went back. Did Greenham too.

The first stage I stood on was at the Royal Albert Hall when I was twelve and was in the choir for the Festival of Remembrance. With the RaH and BBC TV audiences it must have been in the millions. Since then it's gone downhill. Playing the bass, I suppose some of the European jazz festivals with the Pete Allen Band must have pulled in up to 3k.

It has quite a 'grown up' middle eight melody but the chords under it are surprisingly simple.

Get hold of the Julie London version on Spot. The instrumentation is quite sparse so you should be able to hear the bass line. The guitar by Barney Kessel is sublime.

BYO!

Yes, it's at the Risley Park, Derby Road, Risley, DE72 3SS and yes, I've booked the function room for Sunday 2nd October from 10.00am. I'll post a catch-up two weeks before the event to get an idea of final numbers. All welcome, especially newbies and those contemplating getting a double bass. There will be plenty of basses available to have a try on and their owners will give good advice and help. Should be good, and all for a tenner including lunch, tea and coffee. www.therisleypark.co.uk

I'd be interested to have a go on the Eminence, Dave. I seem to be doing quite a few gigs on stick lately. I'll bring my Kolstein travel bass. Only four weeks to go now.

I was 16 in 1957 and believe it or not jazz ruled, well, for anyone with half a brain that was. Pop was pretty mushy stuff, even Elvis left us unmoved in those day except when Scotty Moore struck up. And Rock wasn't really established. A bass guitar made quite a rare appearance and was played with a plectrum. So my influences were Dave Brubeck, MJQ and Chris Barber.

I'll have a couple of Double Bass books to sell:- Ray Brown's Bass Book and the Evolving Bassist by Rufus Reid. Both at a fiver each. Also I'll bring some of my clips to attach the pickup jack to the tailpiece. And I might be persuaded to part with my Crazy 8 cab but still mulling this one over.

Dan, keep the melody in mind and different tunes should inspire different solo lines. And by playing those tunes in the written key -iReal will provide the default key - you will find that you are playing on different parts of the fingerboard and finger positions. The more tunes you play you'll soon pick up all different lines. As a jazz freelancer I find I get little opportunity to play prepared solos but rather I have to solo on what's thrown to me. Concentrates the mind wonderfully.

Dan, at its simplest a bass solo can be either an embellishment of the walking line you've been playing under the band or something built up from the tune's melody line, always keeping the chord sequence in your head. I'll look out for you at the Double Bass Bash and if you like I could show you how it works in practice. It'll get you started.

Duckworth-Lewis method?

Watched the Jamie Cullum Prom on BBC 4 last night. Good to see our own TheG on double bass with the Remi Harris Trio. Great playing, Mike. Gigs will be quite humdrum after your moment in the spotlight. But of course you did Montreal a few weeks ago, so onwards and upwards.

The Jamie Cullum Prom the following day was good too. That guy certainly knows how to bridge the jazz , pop and rock genres. And did you see our own TheG on double bass with the Remi Harris Trio. Great playing, Mike.

And a very accomplished guitarist.

[quote name='ambient' timestamp='1471787238' post='3115830'] From your definition then, neither Wes Montgomery, Errol Garner, Buddy Rich or Dave Brubeck would be classed as musicians because they don't read music ? [/quote] From the narrow definition, perhaps not. But they were creators of music and certainly musicians. I'm not creative in the originals sense but I consider myself a musician nonetheless by my simple standards and what I'm able to contribute. Goes to show there is no one simple definition. Many of us have diverse talents to add to the musical pot.

When I first realised that, given a set of chords, I could play any tune put in front of me and in any key. And people phoned offering me gigs. That was back in 1964.

Photos or it didn't happen!

Enjoy the gig, guys. Our band played there last Sunday (outside) to an enthusiastic crowd. See if you can get a deal on the drinks. Prices are a bit on the heavy side.

I'm so glad there weren't any forums when I started out. I bought my £45 ply from the local music shop. Hadn't a clue what the strings were, bridge could have been anywhere and probably a massive string height. And of course initially no amp. But, in blissful ignorance, I had the best time. No lessons, I learned on the gig. And in the five years I did some amazing gigs, some of them with the biggest names in the Jazz world. All this is of course a bit tongue in cheek. This forum and its members provide some of the very best advice to help anyone starting out and even we old lags still pick up some good stuff. But don't be too intimidated or confused by all the amount of advice and opinions, some of them contradictory. The double bass is a wonderful and satisfying instrument so initially just go out and enjoy it. BTW, once I fitted a set of Spiro Mitts I resolved that I would never be distracted to try anything else. And this has stayed with me for five decades. After all, they are the jazzer's string!