bassace

Geoff and M-M, thanks for the timely caution. They seem almost impossibly easy to play but probably lack the attack that I'd need. I'll stick a set of Spiros on tomorrow and see how the bass sounds before I get my cheque book out. Sorry to hijack the thread, guys, but you know how one thing can lead to another and that's the great thing about forums.

Thanks Bilbo. Steve's site is a nice concise double bass book in itself. I found the items on strings to be very interesting: I've always been a Spirocore man but have just bought a new bass that is fitted with Bel Canto strings. They're generally reckonned to be orchestral strings but on first playing I rather like them for jazz. Anyone with experience of using them?

I was playing at a jazz festival over the weekend and got chatting to the bass player with the band who followed us. I remarked that his bass looked like a golden strad. 'I haven't got that sort of money' he replied. Just thought you'd like to know Enjoy your bass!

I can't see how you can play properly without a basic knowledge of music theory. I suppose someone will chime in and ask me to define 'properly' - well let's say that I wouldn't be able to get any enjoyment out of my playing if I didn't understand what I was doing.

I can quite understand your reactions with the benefit of progress in the speaker department. I'd just like to mention that I used to cart an 18" Goodmans about when I doubled on [i]double bass[/i] and bass guitar. I made the cabinet to Goodmans designs and it was at least twice the size of the cab in the video. Funny thing was I carried it into gigs no prob - but I was a lot younger then of course. At the time I thought it made a great sound but with the benefit of hindsight it was probably crap. Those were the days.

Boys, boys! How many erroneous apostrophes is that? But I get the drift; on its side. Right?

Ever since I started out 50 years ago I've been paid for playing. In my first year I knocked up a bad debt of £2.50 for the band (that was quite good then) simply because I didn't have the balls to ask for it. To answer the question, I would play for nothing under the following circumstances:- if a fellow muso asked me to - I wouldn't ask why for a village fundraising gig - I do Hook Norton Library and the church each year nothing else, especially for a promotor's 'charity gig'

Certainly when you are happy with your amplified sound it gets a lot easier. If you can relax it gets easier too. My Kindle has just turned up 'An Alexander Technique Approach to Double Bass Technique' (not exactly a catchy title) by Ethan Kind. I haven't read it yet but it may be helpful.

[quote name='Big_Stu' post='1115387' date='Feb 4 2011, 02:51 PM']I've been "strongly recommended" by my future father-in-law to catch a gig by "Spats Langham & his Hot Combination". Which is, as many married guys will know, akin to a royal command. This could well be along with him & my g/f's Mother. I've checked out a couple of tracks on his site which are OK/great & his style is apparently in the style of New York 1920/30s jazz. Anyone able to tell me any more? Educate me if you can?[/quote] Sorry nobody's replied to your post, Stu. Spats is one of the best pickers around (gtr/bjo) he'll sing songs you've probably never heard of, as you say, coming from the 20s/30s. There'll be some Fats Waller in there somewhere. Not sure who he'll have with him but watch out for Norman Field on reeds. He is a true eccentric - I worked with him just before Christmas. He plays a simple system clarinet, which means it hasn't got the number of keys and levers that others have. But you wouldn't notice. You'll enjoy the gig very much, I'm sure, and stay in father-in-law's good books.

The man's a complete fool. Piano Covers are good too.

Just the ticket!

You'll see from my sig that I have a few speakers to play with but I've been using a single Wizzy 10 a lot recently. It works well even with drums and can fill quite a large hall. Putting a second 10 with it gives a lot of headroom and I sometimes find that I have to eq some of the bass out.

Be true to yourself, your playing and your style. Don't be over-awed by the theorists; in fact, ignore them if you can. If you find someone whose playing you admire try to get close and learn as much as you can from them. Oh, and buy your round, otherwise people will talk about your parsimony long after they've forgotten how you play.

Some good suggestions here. You say that you have a good ear and that is a good start. There are those on this forum who are very good on theory and this is a good place to graduate to. For now, I suggest you use your ears to the max by immersing yourself in some of the suggested jazz CDs. Spotify is a very good source. My suggestion to you is to listen to some piano trios. Nice and simple, you will hear how the pianist states the tune in the first chorus and then builds up his improvisation. Then listen to how the bass and drums play along with him. Anything by Oscar Peterson will do nicely and of course most of the time he will have Ray Brown on bass - nice solid bass lines.

That sort of money would buy quite a nice double bass. I used to play a blonde Fender Jazz in '62. Wonder where it is now.

Great vid! Sounds of Aaron Copeland. Did the blonde play the guitar or did she use it just for the walk?

I've had a double bass in a Micra. It'll go in anything, however small, as long as there is a rear opening. Coupes are good because their two doors are usually wider than a four-door. In fact, the question should be phrased what car [i]can't [/i]you get a double bass in. Porsche Cayman perhaps not. When I started out I had a little Standard Ten (my first car) and the bass went on the roof. Doesn't bear thinking about.

That must be everybody except Jet Harris.

[quote name='BurritoBass' post='1079195' date='Jan 5 2011, 09:26 PM']My Dad was a Jazz drummer in the 60s and likes Art Blakey's stuff a lot. He was always trying to get me to listen to the bass. I'm sure he loves having a dumb rock n roller for a son! It all sounds very impressive to me these days, whilst not strictly being "my bag". RIP[/quote] BB, did your Dad play in the Berks area during the sixties? I might have known him.

If someone told me he had 57 basses I'm not sure what my reply would be. I don't think it would be nice.

I've been reasonably abstemious during 2010 (exept for a Phil Jones Super Flightcase) and I'm going to be cutting down on gigs during 11, so not a lot of dosh to spend. However I'm looking towards getting a QSC K10 powered speaker to go with my Headway and DPA mic on the double bass for the more intimate jazz gigs. Good luck and best wishes to you all, especially the guys on this thread who will be playing their DBs.

The Kristin Kolb track is very good for demonstrating how jazz improvisation works. You can hear her sing the Whirly Bird theme in the first chorus. Then she goes into improvised choruses. You can still hear the underlying chord sequence (as you should). The tune is a Neil Hefti composition and is off The Atomic Mr Basie LP/CD. Kristin's improvisation is straight off Eddie Lockjaw Davis's tenor solo for the most part but is no less noteworthy for that. Her vocalising is a lot better than most as well - I don't really enjoy vocalese much. If you haven't heart TAMB you should, even if you're not a jazz fan. The tenor solos are some of the most robust you'll ever hear, even in rock!

Oh dear................

I read an article in this month's Musician, The MU magazine, that Bill Bruford hasn't worked for two years because he doesn't feel up to the job. He just doesn't want to play. If Bill's not up to it what hope is there for the rest of us? Anyone else heard this story?

I've constructed a large cupboard/wardrobe out of OSB at the back of my garage. It can take two double basses, stacks of cabs and heads. The tight door ensures that climatic nasties (cold, damp etc) don't get in. And it's very convenient to load the gear into the car.