XB26354

Very sorry to hear this, my condolences to the family. Any musician lost makes the world a duller place.

Pick a mid- to late-70's funk tune that goes on for 10-15 minutes, with a bass line that repeats with little or no variation. Play along with it and don't improvise. Repeat again, and again. Jazz improvisers may think that playing the same thing twice is not being creative but it's important to be able to repeat what you've played. I've been in the studio where I've come up with a great improvised part but something else was wrong, and I couldn't recreate the feel. To smoothly develop an idea requires you to know (either by ear or feel) what you have played. Try playing along to a track and nailing the [i]exact[/i] bass line - it's hard! However, as long as you are hitting the main notes of the groove, then a bit of improv gives a part a more human feel.

As Doddy says, the key in both cases would be considered E major, with the D♮ written as an accidental. Writing an E blues with an A key signature would be confusing, as it makes E7 look like a V7 chord, instead of being a I7 chord. Note also that on the V7 chord (B7), when writing in A major there needs to be a D# accidental, which would be included in the E major key signature. In any case the IV chord (A7) wouldn't fit either key signature as it has a G natural! The Blues is really an exceptional case as it is based entirely around dominant 7th chords, but the key remains the same as there is a root note and a major triad present. In jazz lead sheets (where chords can go all over the place) the key usually refers to the melody.

Didn't he do some of the string arrangements as well as being the musical director on tour? I'm sure I read that in some blurb next to a transcription in Bassist mag years ago. A great bass player, and surprising that he's not more well-known, considering the number of hits he played on.

[quote name='Huwberry' post='721311' date='Jan 22 2010, 03:34 PM']Point noted on the vibrato in that solo, but what everyone is forgetting to mention is how young Tal is. She's what - 23, maybe 24?[/quote] Although his name seems to be mud around here, Jaco recorded Bright Size Life when he was 24, His solo album at 25 and Heavy Weather at 27. Anthony Jackson recorded For The Love Of Money when he was 20. Jeff Berlin's best work was in his early to mid-20's. Age has got nothing to do with it really. Great players are exceptional from a very young age. She [i]appears[/i] to have it all, but I have this nagging sensation when I hear her play that I'm listening to someone else but can't quite work out who. I hear her playing very well in time but something is missing, perhaps it is feel. This is odd as I have quite strong views on just about every other musician I've heard!

Not going to get much interest listed them under Guitars->Accessories->Tuners

I would come on Saturday as the Gallery is shut on Sundays!

[quote name='drewie' post='719540' date='Jan 20 2010, 08:49 PM']+ 2 on the Yamaha's[/quote] Definitely - the BB615 is excellent. I had one in black and it had a decent B and a very nice P pickup tone. Quite lightweight too.

[quote name='Linus27' post='717292' date='Jan 18 2010, 10:51 PM']This is quite a bad move I think by Warwick. A lot of people buy the superb entry level Corvette Standard as its a nice price, is made in Germany and has all the features and hardware of the more expensive Warwicks. Customers know they are getting a proper German made Warwick. Now they are made in Korea, I think Warwick are shooting themselves in the foot by taking away one of the biggest appeals to this bass, not having it made in Germany. It probably makes very little difference in terms of quality at the end of the day but the whole point for people getting their first Warwick is they know its come from that famous German workshop. Really glad I ordered my Warwick Covette Standard at the end of the year making it a German model. I have waited 21 years for this bass and if it was going to be made in Korea then I would not had bothered.[/quote] +1 to this - the corvette standards were excellent. Perhaps this will push up s/h prices? That thumb single cut - what is that fugly bit of birdseye maple doing near the fingerboard. Is Warwick trying to fool casual observers into thinking it is a double cutaway? And no cut and cover thru-neck, despite costing £4K! Yuk!! The best joke of all is £6.3K for that hideous Adam Clayton monstrosity - give me a [s]Spector[/s] sorry Streamer any day of the week...

My Romance from Bill Evans' Live at the Village Vanguard - Scott LaFaro. In fact, the whole album is full of amazing (double) bass playing.

Well the bass isn't playing anything like a traditional tumbao and the rhythm section doesn't have any classic salsa structures (guiro or clave patterns, keyboard montuno etc). Having said that African and Cuban music do have elements in common.

To my ears it's more African than Cuban feel-wise. It's on the beat too much to be salsa. It does have a 2 feel though...

Play the first note. Play the second note and immediately damp the E string with your other plucking finger - i.e. if you start with index, play note one with index, note two with middle, damping straight afterward with middle. There is a short gap 'til the next note, giving you time to readjust your plucking hand.

I wouldn't be in any hurry to change either. What is missing from the sound? I have a USA '75 reissue and even with the bent tin bridge there's nothing wrong with the tone. Perhaps a hotter set of passive pickups will help, but once you stick a circuit in a passive Fender you are changing the basic tone quite a bit - nothing wrong with that, but something to be aware of.

Excellent! How about 20,000 Prayers from the album Crossroads (not that I'll be able to play it)? - still one of those tracks that makes me feel like a beginner...

An 11th is a perfectly acceptable interval over any minor chord as there is no major 3rd to clash. The fourth or eleventh is one of the nicest notes you can play against a minor 7b5 chord too. It fits when using the whole-step/half-step diminished scale as well. It generally works better as a passing note between chord tones over chords with a major 3rd as it is a little too dissonant if held against a chord for most ears. If you use strong beat/weak beat (i.e., play a chordal tone on beats one and three and a scale or chromatic approach note on beats two and four) you'll soon get out of the habit of playing the fourth where it may not sound it's best. Chordally speaking, as long as you voice the major 3rd above the fourth you can have both in a chord and it sounds quite nice, eg (on C) C-F-G-B-E If you hold the F over the chord and the piano/guitar player is hip to it you can have some nice open harmony: F-C-G-E It works better as a pedal point than holding an F over 2 bars of C7 however

That's funny, because I always prefer straight eighths written as swung. The dotted eighth-sixteenth looks cumbersome and even though neither rhythm is technically correct, it's much easier to look at when there are long passages. I always thought that classically trained musicians wrote it that way, and lazy jazzers used straight eighths so you learn something new every day...

[quote name='maxrossell' post='699346' date='Jan 3 2010, 11:40 AM']Sorry, but that's just... Lame.[/quote] It's your opinion. Here's mine. It may not be to your taste but it is not lame. If you believe that you don't know what you're talking about. I've never met a truly good musician (or person) for that matter that doesn't keep an open mind. Criticise the style or the choice of material but not the ability or the execution. It's not particularly to my taste either but saying it is lame is a lazy cheap shot. I'd also add that you seem to attract replies that seem to end up getting personal. Go back and read some of your comments on this thread. Maybe what was said in response to your initial post above was uncalled for, but some of what you've put is condescending and arrogant. I really don't care whether the mods here approve or not but it has to be said, in my very humble opinion. Nothing [i]personal[/i].