Lowender

[quote name='BetaFunk' timestamp='1379779990' post='2216715'] Any of his recordings as a leader or with Gary Burton or Carla Bley are worth investigating. Probably a good place to start is with the 1960s Gary Burton Quartet LP 'Lofty Fake Anagram' or the 1970s Burton/Swallow duo LP 'Hello Hotel' on ECM and his duos with Carla Bley................... [media]http://www.youtube.com/watch?v=YkBU5aM_6zM[/media] [/quote] Okay, I'll say it. It's very nice. But nothing extraordinary. There are thousands of bassist who could play and solo as well and probably about three million guitarists. That's not to say it doesn't have merit. But I just don't hear the spectacular-ness. Or the jazz.

Okay, I'll go against the grain. I think neither Steve Swallow, Jaco or Gary Willis play what I would consider "traditional jazz." They're stylists. Out of the 3 of them, only Jaco swings (IMO) and swinging is where the tone of the upright seem to sound "right." For anything else "jazzy" , of course the electric is viable, if not preferable. Swinging electric bass is rare, but I believe it works just fine, as long as it's played well. Jim Fielder played great swing bass. Buddy has some great electric players. Lionel Hampton preferred it. Stanley is great, Bob Cranshaw, etc, etc. I think it's just a sonic thing. Can you play jazz guitar on a strat? Well, it's not the norm, but of course you can. Electric is great for jazz, but there is a snobishness against it. That's all it is.

Once I sell a piece of equipment, I don't miss it. If I get something better, I'm happy. I recently sold the first guitar I ever owned and it meant nothing to me. It'll make someone else happy. If I don;t use something, I get rid ot it. I come from a long line of "thrower-outers." But recently I was about to throw away an old tattered strap that was no longer useful. I had it for 15 years. I couldn't do it. Funny how that works. Is there anything that isn't really of value that you just can't part with?

If it were a matter of who put the most hours in than all old people would be better than all young people and that just isn't so. The greatest athletes aren't the ones who practiced the most. They all practice a lot. But some are better than others. Sure, anyone can become capable with enough practice. But then there's also creativity. Some guys with very little technique can be more creative than somebody who can tap and slap 64th notes. That's my long winded way of saying. "I disagree."

[quote name='pobrien_ie' timestamp='1379565893' post='2214210'] Maybe you're just more proficient with a pick. I know I was that way for a long time, although I think it's swung the other way now. [/quote] No, if anything I'm better with fingers. My point was that in terms of sound and feel, the pick just worked at more things than I previously realized.

[quote name='risingson' timestamp='1379545373' post='2214168'] Pick playing is one of the most widely misunderstood and underestimated means of playing a bass. It requires a completely different skillset and a lot more concentration to play dynamically. I would probably say it's the least researched means of playing the instrument insofar as only a handful of people have pushed pick playing to its limits. Like this man [media]http://www.youtube.com/watch?v=1rxYw7Y45Eo[/media] [/quote] Interesting to see Anthony with a pick again. Now if he'd only go back to 4 strings....:

[quote name='Donnyboy' timestamp='1379543409' post='2214138'] How's the hand? [/quote] It looked and felt worse at the time than it turned out to be. All better now thanks.

A while back I was on my way to a gig and I dropped my amp on my hand, slicing it open. I wrapped it and played the gig but due to the wrapping, all I could manage was to play with a pick all night. I use a pick on occasion and play guitar so it wasn't a tremendous challenge. But here's what's interesting.... I'd say 80% of the evening, there really was no difference between the pick and playing with my fingers. Maybe 10% of the time, I missed the fingers -- with walking bass especially. Another 10% sounded BETTER. And it wasn't just stuff that you'd think would require a pick. Funk, ballads, even a country tune sounded surprisingly good. Another "you never know till you try" experience.

I had a MM and it had that sound. The problem was, that was the ONLY sound it had. I couldn't get it to sound like a traditional J. Keep in mind his amp is also very hi tech. From what I understand, when Marcus had some repairs on his bass, instead of using a sig model, he used a Fodera . So I'm going to say his bass is simply especially playable and that ultimately makes a difference in the sound. And oh yeah, he's real good.

If you can't do it, then you should practice doing it.

I wish I liked Jamiroquai more since their basslines are always fun and grooving. I just think the music is horrible.

It's great. Yeah, an obvious splice and the song lends itself to redundancy but what he did with the major theme was really cool.

You might as well ask everyone's favorite flavor ice cream. It's meaningless. If you don't like the sound, go with the sound you do like. Personally, I think a J bass is the classic fretless sound, so J replacements would make sense. Then again, I have a parts J fretless and replaced the chessy mexi pups with Dimarzios and they sound great, but I wouldn't recommend going with something with which you're unfamiliar.

[quote name='White Cloud' timestamp='1379259765' post='2210460'] If Chris thinks he sounds good but you don't then who is right and who is wrong? I would say that your assertion that Chris is not a good soloist is purely subjective. Your criteria for a good bass solo will be different to mine etc etc. We all hear things differently. Personally I think that any rock bassist that takes the time to take a solo slot live needs a reality check...but that's just me - and that's another story! [/quote] My opinion is based on the fact that he's a brilliant player but his solos are generic and uninspired. I'm not alone. I also recommended Squire to a bassist who was unfamiliar with his work and he checked out a solo and thought he was awful. I then played a track from The YES Album and then he realized how good he was. Yes, music is subjective but why make it an issue at every turn? The point is, not everybody can do everything equally well -- even great players.

[quote name='JapanAxe' timestamp='1379235251' post='2210014'] Dammit I can't even tell what that girl's RH fingers are doing. YouTube slow-downer anyone? She has a nice tone too. [/quote] She's doing II: index/index/middle/index :II It works, though II: index/middle/index/index:II falls a little easier for me.

[quote name='White Cloud' timestamp='1379254284' post='2210357'] Simple...Chris believes that he is a good soloist! Plenty of non bassist Yes fans probably agree............... [/quote] You said a good player can become good at anything, not THINK they sound good. Some fans may like it because they simply want to like it, though a lot of musicians realize it's sub par. And if you want to introduce the brilliance of Chris to someone who's never heard him, playing one of his solos is likely not going to do it.

[quote name='White Cloud' timestamp='1379251702' post='2210313'] Nothing that I find useful to me as a musician eludes me. I would suggest that the famous players that you have named fall into the same category. For example i am quite certain that if Anthony Jackson decided that becoming proficient at slapping would be worth fitting into his "map" of bass playing then he would decide to work at nailing it! [/quote] Well, Chris Sqiure has been doing a solo at YES shows for 30 years and he still stinks at it. Meanwhile his time is impeccable, his tone is god-like, he has chops to spare and his sense of voice leading is one of the most brilliant I've ever heard. Explain that.

To the OP. You should appreciate it. : ) Ode To The Five String Bass (My apologies in advance to my 5 string loving brothers) There once was a time, when 4 strings were fine, and an E was as low as you’d go. But the desire to go deeper, turned out to be a “keeper” and they added a B – as you know. I too joined the crowd, the mantra was so loud “The five is the one that will last.” But after many a gig, trying vainly to go big, my love of the B was soon past. The notes didn’t speak with the clarity that I‘d seek. And I found that I’d use it less and less. It just got in the way, I keep thinking an E was an A, Till finally asking… is this for the best? It wasn’t for James or Jaco or Chris. Victor Wooton and Steve Harris never fell. Jeff Berlin said “Nay” and hoped it’d just go away and Sir Paul would eschew it as well. The Ox took a stand, amid the demands – an did John Paul Jones and Flea. Rocco didn’t veer and Sting just sneered -- unimpressed -- as was Pino and Lee Claypool went back, and accepted the fact -- it was good enough for Bootsy and Clarke As did Osborne and Kaye, heading the way, and forever making their mark. Then again, there was Anthony, who played mighty fancifully -- with even more strings than six! Yet there are those, who still propose...he should stick to a four and a pick. Of course there’s a case, within the right space, to add some well placed low “D’s” But these days if that’s needed, I’ve finally conceded – I’ll just play it on the god damn keys.

It's called "getting older." You become more discriminating at the same time there's less opportunity. You also tend to be set in your ways and have little patience for incompetence and stupid opinions -- of which there is quite a bit in bands. I believe if it isn't something you do for money, you better REALLY love working with who you're working with, or just do it for kicks and giggles now and then -- otherwise, yeah, why bother?

[quote name='xgsjx' timestamp='1379176312' post='2209537'] I'm sure someone has a Billy Sheehan quote in their sig? Something like: Interviewer "have you thought about playing a 5 string?", Billy "You should only play a 5 after you've spent a bit of time on a 4", Interviewer "how long's that?", Billy "at least 20 years". I've been on a 4 for almost 30 years. [/quote] So that means it takes at least 20 years of playing bass before playing 6 string guitar? : )

Here ya go. Even a girl can do it. : ) http://www.youtube.com/watch?v=u_AI2v-4DTs

[quote name='mcnach' timestamp='1379195144' post='2209811'] We were not talking metaphysics, but a very common bass technique [/quote] I'm not sure the statement was metaphysical in an way. (?) I just heard the tune. It can be played with either thumb or fingers. But yeah, it takes some technique. So the short answer here can simply be "get better." : ) Seriously, if not using the thumb, I think it would be best if it were fingered -- index for the low, then middle and index for the octave, and then the index AGAIN for the lower note. That seems like more movement but it's actually falls more naturally. (To me).

What's the tempo?

Thumb on the downbeats.

[quote name='Coilte' timestamp='1379142026' post='2209044'] Having a natural talent is generally just the rough diamond. This has to be cleaned, polished and shaped by years of practice and hard work. Any of the bassists whom we consider to be at the top of their class, despite their natural talent, were not like this from the moment they picked up a bass. [/quote] Not really. Some guys take to an instrument or a style very quickly. The moment I picked up a bass I got a better sound than the bass player in my band. I couldn't play much but SOMETHING was there. Meanwhile, I've heard that flute was easy to play but after practicing for several weeks I could barely get a sound out of it. Everyone has their natural talents and natural shortcomings.