lowdown

Haha...Brings back memories. In my youth at college I would do that with Brecker solos on a Sony Walkman (on Cassette tape). Not sure why though....

Check out some of Chris Potter solo transcriptions on YouTube. Terrific transcriptions, great for chop practice.? Makes a change from the Parker Omni Book.

Yeah, I agree with that as well.

Absolutely. Any of those top Bassists from that era always give a nod to Jaco about being influenced in some way. I suppose, slightly contradicting myself, Marcus did go for a Jaco Fretless tone back then.

I thought they both arrived about the same time? I know Marcus started doing low key (jingles & tv) sessions in 75/76 and Jaco with Weather Report about the same time, along with his solo album. Of course he had been recording with Pat Metheny a couple of years earlier. Marcus really started doing all the big stuff at the later part of the 70’s. No doubt though that Marcus already had his own style underway when Jaco joined Weather Report. I remember listening to Jaco before Marcus. The first album recordings of Marcus I heard were with Lenny White (1977/78). I should think that there were other ‘name’ recordings before that though (Hubert & Ronnie Laws spring to mind). I love both Jaco and Marcus and don’t really hear any similarities between the two. I have heard Marcus do some pretty decent Bebop solos, so not all slap and tickle. He played a lovely melodic, Fretless solo on Dave Grusin’s version of ‘Friends & Strangers’ in the late 70’s. Not that any of the above matters, or is correct of course. Just a friendly pub type chat about Bassists. Carry on.

Blue Maqams by Anouar Brahem.

Maybe he played the lower notes and got someone else to play the octaves. **

flipping hell, you're brave...

Sandin Wilson is a terrific player, he has been around quite a while. His playing with Gino Vannelli was top draw. As far as I know, he is not with Gino Vannelli anymore. Another terrific player has been doing that gig, Damian Erskine, who is also worth checking out. (his uncle is Pete Erskine).

Wey hey...change your user name to 5below.

I did a Rhythm section workshop for a show earlier in the year, for a couple of weeks (just a five piece). The production company wanted to experiment with iPad Air, so hired them in with foot switch page turning. Problems we had were with things like DS al Coda and repeats etc (when there were 5/6 pages), going back and forth, you couldn’t see the DS and Coda’s. Of course doing it a few times you knew how far back and forward to go. Not good for deps though in the panic of battle. One iPad also died, just shut down. Also the Keyboard players didn’t know if they were coming or going - Volume pedals, sustain pedals, page turn pedals, patch change pedals. I do know shows that have used iPads/tablets, so I suppose they might become the norm in the future. Intial set up and supply for an Orchestra or large band would be expensive though. I definitely prefer analogue paper charts myself.

Pencil Changes can sometimes be made for a performance, or during a performance even (Illness, understudies, tech problems etc), then reverting back for the next performance or so. Not a regular happening, granted, but it does happen. But there are PDF apps that you can amend and add markings etc. Changes/cuts mainly happen at the rehearsal stage, so that's when they usually need to be changed. Or if on a pro show, the arranging/scoring company will amend and print a new chart during the rehearsal. But of course, if that's the case, you are using their charts anyway, not something you would have converted to a PDF yourself.

Try convincing a fixer, musical director/conductor or musical supervisor when they specified Upright though (P45). I presume that is you, Ambient ? Are the middle strings raised high enough to accommodate the radius required for bowing, or do you just use the B & F strings? Curious really.

Have you tried legato bowing with a Bass Guitar?

So what’s the tip then?

I would also recommend using a volume pedaL. Even if you don't use it for dynamics, it's a god send for on/off between cues. You don't want to be clanging your strings during quite passages.

Found this picture from a Bernard Herrmann film session (The Day The Earth Stood Still) 1950/51. Not sure what make instrument the Bassist is using, but I didn't think those old EUB's were used in anger. (assuming it isn't just a promo of course). Love the Combo !

Part of the appeal of that Bassline for me, is that funky, punchy, in your face Thumb & Pull (slap) tone from Nate Watts. Great Bass line.

Doris.

No, I hadn’t seen that. Lovely stuff Thanks for posting.

Hard to just pick just three, but these three always get a regular outing in my house. West Side Story - Dave Grusin. Kind Of Blue - Miles Davies. Michel Camilo Big Band - Caribe.

On Electric, Tower Of Power/Steely Dan. On Upright, any band with Wes Montgomery leading.

From the OP. "just for giggles"

Hey Villis. Top playing on ‘Don’t Funk With Me’, excellent stuff.

Always liked Sting, his playing/singing and composing. He is still singing ok as well these days. Huge talent. Must say though, the Bass (to me) needs turning up in the OP video, it sounds very week in the mix, muddy, indistinct, with no attack at all (just my opinion of course). A good friend of mine has just had a book published about Sting and his history. (Actually he has written a good Zappa book as well). http://www.reaktionbooks.co.uk/display.asp?ISB=9781780238135