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You're probably at a level of consistency with your playing that you still played well even though you weren't "feeling it" on the night. This is a good thing I think....Whereas when I think the music I'm playing is crap, that's because it usually is It could have also been that the sound that you were hearing on the stage wasn't great for some reason, which made it sound like the music wasn't hanging together, even thought it was.

Before I found a bass that I liked in Dublin I considered the train/ferry thing. I think it's do-able but I think that you might want to check with the train and ferry companies first that it's OK to bring the bass with you as a foot passenger.

+1 to what XB26354 says above. One pattern that I use quite a bit is using the first inversion of chords when you're playing the root on the D and G strings. So for example, if you're playing over an Eb major chord, then you have the root (Eb) on the D string on the first fret, the fifth (Bb) on the A string on the first fret and the third (G) at the third fret on the E string. If it's a minor chord, then the third is instead at the second fret (Gb in this case). This pattern will work all the way up the neck. What I like about this is that if you're walking, then you have the first three notes immediately available (root, third and fifth, although not necessarily in that order). Then, depending on the next chord, all you have to do is choose a fourth note that leads to that next chord (either chromatic, scale or chord tone). I'm not saying that you should use this all the time, as it'll quickly sound pretty mechanical, but it's a useful pattern to have available under your fingers.

Congratulations Dave, what a great way to celebrate Christmas! Hope mum and baby are doing well.

[quote name='ubassman' timestamp='1387286732' post='2310220'] Could you and your brother join forces and suggest that "to make sure that the set is really polished" , that you do an acoustic unamplified rehearsal? If the singer hears the songs and they sound great unplugged he may well go that way live or at least turn down. If the singing is shockingly bad ...well theres your reason why the volume gets cranked up! [/quote] +1. Being able to play well quietly is one of the most overlooked musical skills IMHO.

It depends on what kind of tunes you're looking for. If you mean "afro-cuban or bossa tunes that are often played by regular jazz bands", then the list is reasonably short and many of these tunes are included in the various real books that are available. Examples here include:- Manteca, Night in Tunisia, Caravan, The Girl from Ipanema, Favela, Desafinado However, if you're looking for a list that you could use to start a salsa band, then something like the Latin Real Book will probably be the best place to start as there are thousands of tunes to choose from. As an aside, the Salsa Guidebook by Rebeca Mauleon is a fantastic read if you want to get more into the history and overall feel of afro-cuban music. Sorry, I didn't really answer your question, but hopefully some of the above will be helpful.

[quote name='ambient' timestamp='1387204607' post='2309280'] I got an intellitouch PT10, it cost about £10 from Amazon. Also changes colour to green when you're in tune. [/quote] I've got one of these too - works fine for the low E and the colour change makes it really easy to read on a dark stage.

This book is a pretty good exploration of modal jazz and its influence on other music. http://www.amazon.co.uk/gp/aw/d/0571245072 I'm not sure if it exactly answers your question but I bet it comes close. ..

I have the tascam dr05. It's very solid and works very well, with a straightforward interface. I like it a lot for recording practice sessions etc. From reading the reviews it's very similar to the H1, but has better build quality and is a bit bigger.

[quote name='discreet' timestamp='1385907026' post='2293393'] So difficult to get hold of a decent drummer. The really good ones are always busy, so... it's a whole new thread in itself really. [/quote] I'm sure there are equally scathing quotes about bass players, but here goes anyway:- "It takes a pretty good drummer to be better than no drummer at all." -- Chet Baker

I agree that reverb doesn't sound like the remedy, but she might not be a million miles away. From her email it sounds like she's looking for a slightly bassier, 'dirty' sound. I obviously have no idea if her comments are valid, but it sounds like she's being constructive and polite so I'm not sure if the negativity from some posters is justified.

[quote name='Rabbie' timestamp='1383855470' post='2270128'] Brilliant tip, no shame in getting a bit of help with intonation on the gig: nerves and adrenaline can really do funny things to the old fingers and ears... Well mine at least. [/quote] +100. The fingerboard can seem huge and featureless when the pressure's on or when you can't hear yourself properly!

I'm using a Bass Max pickup directly into a GK MB150 combo. I'm sure that there are better pickups and amps out there, but I don't need much volume for gigs and I can always get a sound that's usable. I used to use a Fishman Plat Pro as well, but since I got the GK I find that I don't need it - the EQ on the amp is pretty good and allows me to 'dial out' the nasty mid range pickup growl mentioned by @mtroun. I think my next investment will be a new pickup but the Bass Max, while a bit unsubtle, works pretty well for me.

Cheers Clarky, it's always nice to get recommendations of stuff to listen to, especially duos and trios featuring DB. I've just found that album on Spotify so I'll be giving it a listen as soon as I get a chance....

[quote name='Bolo' timestamp='1382364545' post='2251199'] Jazz appears to be a field where highly skilled musicians prove to be very poor songwriters. [/quote] Do you mean actual writers of songs, or composers? If the latter, then I disagree - there are loads of beautiful pieces that have been written by some great musicians.

[quote name='bassace' timestamp='1382295579' post='2250329'] ...But a typical reaction often is 'I don't like jazz but I like what you play'. [/quote] A related thing that people often say is "I like some jazz but I don't like the really busy stuff". I think a lot of people like some jazz (ballads, slower standards with tasteful, short, solos etc). But everyone has a different threshold for when things get faster and more rhythmically and harmonically elaborate. That threshold can change with time - some of it is down to 'educating your ears' in that you can discern a bit more of what the musicians are doing whereas before it might have sounded like noise. But everyone has their own level IMO. The other thing that puts people off is the impression of elitism, but I have to say that although some people who talk about jazz can be knobheads, most actual musicians that I've ever met are extremely humble individuals because they realise that learning to play the music is a lifetime's journey.

I bought a tascam dr05 recently and I'm really happy with it. The reviews all suggest that there's nothing to separate it from the zoom H1; I chose it purely because the build quality is a bit better. The recordings are great with it (the sound quality, at least. The playing is another thing. ..).

That's some nice playing on that tune. My only comments aren't really related to the recording itself, but more to do with the music. Like lurksalot says, there is a lot going on in the tune and IMHO it would benefit from a montuno section in the middle where you settle into a groove (piano playing a montuno, bass playing a straight tumbao, congas and bongos more prominent in the mix etc). But maybe you're not going for that 'classic salsa' arrangement, in which case ignore what I've just said

[quote name='Coilte' timestamp='1380892000' post='2232007'] Miles' electric period divided his fans and critics alike, but he was never one to stay in the same place for very long...always had to be experimenting. [/quote] That's a good point - the "Plugged Nickel" live CDs are a great example of this. He took the standards that he'd had such success with, tore them apart, turned them into something new and then drew a line under them and moved on.

I like the album a lot, but I have to say that I much prefer Miles' last acoustic stuff that preceded it - the "second great quintet" albums like Miles Smiles have never been bettered by anyone IMO.

[quote name='neepheid' timestamp='1380887932' post='2231921'] I'm glad that you feel it's working out for you and you should definitely keep on doing what you feel is best, but seeing your band live would irritate me because I would be hearing sounds that I cannot attribute to someone performing an action of some sort other than pressing a play button. Sorry about that. That's all I've been saying all along. [/quote] I agree in that I usually find bands with backing personally irritating to listen to...having said that though, I was at a New Year's Eve function a few years back and the band (backing and all) were excellent and I had a great night. So maybe there are times when I need to bury my "inner muso" and just have fun

Of course, the only way to be 100% sure is to immerse your DB in water and measure the volume of the water that's displaced