peteb

[quote name='Bilbo' timestamp='1334141415' post='1611399'] The problem with these disucssions is that perspective is always determined by the listening and playing experiences of the individual. If a kid who is a rock player hears Janek as the first advanced fusion player he has ever heard, he will have a different perspective than someone who has hundreds of bess led fusion cds dating back to Jaco and Stanley Clarke or even Mingus and Oscar Pettiford. Rating a musician, be that Janek, Mike Stern or Marcus Miller requires not only familiarity with their work but also the range of alternatives that are out there. Can you place Joe Henderson in the lineage of tenor saxophone players if you don't understand Coleman Hawkins, John Coltrane, Joe Lovano, Michael Breacker, Chris Potter etc? Can you comment on the JoJo Meyer if you don't know Elvin Jones, Billy Higgins, Steve Gadd, Dave Weckl, Bill Stewart and so on? You can have a view, of course, but it needs to be tempered by some acknowledgement of perspective. I have my favourite classical pieces but would never argue the merits of Bach over Beethoven because I don't know the genre well enough. I would always look to the experts for a considered view and develop a perspective that way. The trouble with the net is everyone is an expert, whatever their knowledge or experience. Each contributor is given equal weight without any qualification. [/quote] Good post All I could say about JG comes from a YouTube clip for TC Electronics at a trade show, where there was an audience that was definitely listening but looked, well slightly bored! The next clip was Uriah Duffy playing at the same event, thru the same amp and to exactly the same audience, who were all smiling and clearly interested in what he was playing. Needsless to say, Uriah Duffy received MUCH more applause then Janek did......

[color=#222222]TBH - I think that you need a thick skin to function as a musician![/color] [color=#222222][/color] [color=#222222]Whenever you are going for an audition you always have to bear in mind that if one of their mates becomes available then the band won’t want to bother going thru an audition process, or if the first guy they try seems to be just what they’re after then again, they won’t want to hold a load of unnecessary auditions.[/color] [color=#222222][/color] [color=#222222]It isn’t a formal selection process like an interview for a day job (thank god) so just shrug your shoulders and move onto the next one……[/color]

That's ace....... Never heard of him before but always liked the occasional piece of flamenco - will have to have a trawl through youtube when I have some spare time Whenever I hear the phrase 'impossible guitar', I always think of this. Perhaps not as steeped in traditional values not to mention lacking in depth compared to Vincente Amigo and certainly a different sort of virtuosoity but still impressive and great fun..... [url="http://www.youtube.com/watch?v=aYlx5gW90Aw"]http://www.youtube.com/watch?v=aYlx5gW90Aw[/url]

A good drummer doesn't necessarily need outstanding chops but must have good time and feel and should also be able to ‘drive a band’ i.e. dictate the groove and make everyone play in time with him [quote name='Doddy' timestamp='1332947845' post='1595323'] I wonder how some people would go on if the drummer was to deliberately turn the beat around or displace the accents? If you don't have your time solid you'll end up with a train wreck. [/quote] But isn't that pretty much like saying if you intentially drive a train off a bridge then you're going to get a train wreck?? [quote name='essexbasscat' timestamp='1332962142' post='1595641'] Classical composers and conductors treat musical tempo is a flexible entity, as have some rock bands. For instance, 'WInd Cries Mary' by Hendrix occasionally stumbles along, but the whole band stumbles together, so the fluctuating tempo evolves into something many of call 'feeling the beat' or the song. Other songs almost make a feature of a granite solid tempo, such as Toto playing Rosanna. [/quote] There is a difference between someone of undoubted musicality and originality with a slightly suspect drummer and a top quality group of musicians with superiour playing values! The first example relies on a unique talent that few have ever equalled producing a performance so definitive that you can ignore a less than perfect rhythm section, whereas the second sets a standard that you as a musician can at least aim for……

I woujld think that south yorkshire will be as good a place as any for covers gigs (pubs or clubs) - not as good as it was a few years ago thru....

Just bought Donny's Nash JB63 - a nice guy and great to deal with......

[color=#222222] [quote name='louisthebass' timestamp='1332796548' post='1593369'] One thing that really comes through in Ed Friedland's book is that the bass rarely (if ever) gets called on to do a solo in a Blues band. The prime function is to hold it down with the drummer & highlight the vocalist / guitar / keyboard / harmonica's talents. [/quote][/color][color=#222222] [color=#222222]The problem that I have with the Ed Friedland book is that he keeps it a bit too simple! If you listen to Tommy Shannon or especially someone like Roscoe Beck (Robben Ford's old bass player), you will find that they like to keep a line moving and the stuff they are playing is not necessarily [b]that [/b]simple in execution, even if the basic concepts are![/color] [color=#222222][/color] [color=#222222]I would make sure that you can cover all the basic feels (slow blues, shuffles, etc) and practice as many ways of playing thru the I-IV-V changes in a slow blues as you can think of, until it becomes second nature to be able to vary your lines slightly for each chorus…..[/color][/color] [color=#222222][/color]

[quote name='marleaux62' timestamp='1332528796' post='1589733'] Went to see them last night at Newcastle, fav tracks: Walk On By / Nice And Sleazy / Hanging Around JJS base sounded better than ever. So much so, thinking of getting a Shuker!!! [/quote] My favourite JJB moment is playing the riff to Peaches on his Shuker bass earlier today!!

Hi Gus I use a Minotaur strap live these days, which is great and a bit cheaper than some of the other top quality leather straps! I did have a Comfort strap for a while, but never really got on with it.....

[indent=1]I don't think that plagiarism necessarily stops a band from being authentic - it's happened throughout the ages in all musical traditions![/indent]

Just scratching the surface: How Many More Times, Trampled Underfoot, In My Time of Dying, etc, etc Still for my money, the best rock band of them all........

[quote name='silddx' timestamp='1332201112' post='1584885'] Well quite. But the object is not determinism, but self examination. I think. [/quote] Which just goes to show that the academic study of recent popular music can easily become faintly ridiculous and a bit pointless IMO

[quote name='silddx' timestamp='1332200632' post='1584877'] I have a feeling the assignment is based on THIS definition [url="http://en.wikipedia.org/wiki/Authenticity_(philosophy"]http://en.wikipedia....ity_(philosophy[/url]) In which case I think it is far too wide a question. Probably more interesting to get into specifics like is Guy Chambers' songwriting 'authentic'? [/quote] Much as I personally don't like the heavily manufactured modern day Opportunity Knocks stuff, this type of arguement can quickly fall apart and become meaningless. Who are we to say that Guy Chambers' songwriting isn't 'authentic'! He wrote good pop songs that connected to a huge cross-section of the public, who bought them without being told to by Simon Cowell! Surely that makes them authentic pop(ular) songs?

[quote name='Bilbo' timestamp='1332173411' post='1584274'] I think it is a case of manufactured over organic. If the impetus comes from the creativity of individuals who are in the bands, then there is a level of integrity that is missing when the 'band' are the front for a corporate hit making machine. [/quote] Back on topic - I would agree with Bilbo.....

[quote name='EssentialTension' timestamp='1332198392' post='1584842'] As has already been pointed out, 'authenticity' is going to be a contested concept. If one were considering the 'authenticity' of Led Zeppelin, it might be worth examining the sequence: Muddy Waters, You Need Love (credited: Willie Dixon) [media]http://www.youtube.com/watch?v=pM8_HuQ0b34[/media] The Small Faces, You Need Loving (credited: Ronnie Lane, Steve Marriot) [media]http://www.youtube.com/watch?v=cpnF62TNYoM[/media] [/quote] Actually, you could say that Led Zep were authentically following in the tradition of their blues forebearers by stealing earlier songs and making them their own! I mean, who wrote 'Dust My Broom', Elmore James or Robert Johnson?? Answer, neither - Johnson adapted the song from some earlier bluesman (and who's to say that that guy didn't get it from someone else) and adapted it just as Elmore James adapted RJ's version! This has always happened throughout the history of music.....

Just sold my Stingray to Gus - nice guy, easy to deal with, nae problems at all..........

[quote name='Lfalex v1.1' timestamp='1332099924' post='1583321'] Odd that Bonham gets all the attention, given that Bill Ward was clearly no slouch. [/quote] To be fair, I don't think that Ward was really in the same class or as influential as Bonham

Both great, not too mention influential bands - LZ in particular are probably my favourite band..... Funnily enough, every decent drummer that I know seems to worship the ground that Bonham no longer walks upon!

I've had a Mesa Boogie mpulse amp for the past 10 years or so, which is certainly the best amp I've ever played thru and possibly the best that I've heard! An old all valve Ampeg Classic that a mate of mine used to own comes pretty close but I would probably slightly favour the Boogie For many years I used various old SWR cabs, which were great. These days I've got a Berg HS10, which is excellent I've also got a little Mark Bass LM3, which I use for a lot of smaller pub gigs or when I can't be bothered lugging a rack around. It's a nice bit of kit but certainly not as good as the Boogie.....

[quote name='Mark_Bass' timestamp='1331819608' post='1579403'] Nothing hardware related, its never let me down and plenty loud, but i just cant seem to find the right tone so i spend more time tweaking the parametric eq than possibly just trying to enjoy the amp. So i was looking for something simplier, im very tempted by the Genz Benz Streamliner 600. I like the notion of being able to use that and the TC RH450 at home with just a pair of headphones, i have tried the TC Rebel Heads and they've got a tonne of fantastic functionally but found the treble a smidge harsh sounding and also i dont think id every stop tweaking the dials lol [/quote] The trouble with the mpulse is that there are loads of options for tone shaping - some great sounds but if you are not careful some horrible ones! I would suggest that you look at the factory sample settings in the manual before you give up on it - I slightly tweak the 'driving rock' one, which just sounds great and should suit the stuff that you're playing A lot of the amps that you are looking at here are fine, but not a patch on the mpulse if you can find the right eq setting!

[quote name='Pete Academy' timestamp='1331762078' post='1578630'] Try locking with the hi-hat. It's more fun. [/quote] That almost sounds like you're playing jazz! Beware, it's a slippery slope.......

I would be very loathe to leave the pub in the lurch if its a good regular gig and you have a good relationship with the landlord, but 3 months is plenty of notice for the pub to rearrange the gig and get another band for the night