tinyd

I'm contemplating an ultra-light setup of an Ear Box plus a small amp like a BAM 200. I'm always surprised at how loud the DB is acoustically when someone else is playing it so I figure that if the Ear Box works for monitoring then I can ditch the combo at some gigs.

@Bilbo Sounds like you're happy with the Ear Box - do you find it helps with intonation? Reason I'm asking is that I struggle to hear myself at gigs and end up playing down the low end of the neck just to be safe. I have a Realist pickup so I was thinking of taking getting an Ear Box and taking it out of my GK combo for small gigs.

Nice! The live album Alone Together is just the two of them and is a lovely example of duo playing

Good choice. I really like his playing on all those Coltrane Impulse albums - Crescent also has some really nice stuff, as does the recently 'rediscovered' Coltrane album, Both Directions At Once

Anything with Christian McBride is well worth hearing. There are s couple of recent recordings with him playing with Chick Corea that are excellent, but his own bands are also really good. The Bad Plus are also great, lots of stuff on YouTube...

Some of the best recordings I can think of are the Miles Davis ones from the late 50s, Cookin', Relaxin', Steamin' and Workin' (you can get them all on one compilation called "The Prestige Sessions" I think). They were all recorded at the same couple of sessions and they're mostly standards with the incomparable Paul Chambers on bass. For learning walking bass I'd say they're better than Kind Of Blue because the tunes are more typical of what you'll play at a jazz jam. Somethin' Else by Cannonball Adderly is also a lovely album with the definitive version of Autumn Leaves. There are hundreds more but these are great to start with.

It's worth checking out to see if it works for you. Scott has a lesson where he talks about it:

It could be worth trying Simandl (1-2-4) fingering where the little finger is always supported by the third. It'll require some adjustment in your playing but it's a well tested technique and it'll work on any bass guitar since it's designed for double bass.

I think the 'cultural appropriation" argument is a bit of a strawman - most examples of this are usually drummed up by certain papers trying to get everyone angry about "PC gone mad" etc, whereas in reality I can't see anyone objecting on these grounds. I think what's more relevant is whether you feel that your band call pull off a song like this, given its very dark subject matter. Maybe have a listen to some of the other versions and see what kind of arrangements they've done, and see if one of them feels more comfortable to play?

As an aside, you can make a BG sound more like an organist's left hand by using an octave pedal

The upper chord extensions also give you a guide as to what scales will work over the chords. So for example, a #11 means that it'll be one of the Lydian scales, whereas a 7b9 chord means that a half/whole diminished scale will work. I'm not saying that you should just run up and down the scales for your bass line, but I find that it helps me to have the scale 'under my fingers' when I'm playing a walking line.

I think it's worth listening to what he wants from the bassline, but then explaining that the detail is down to you, plus you reserve the right to try things that are completely different.

The Vox Amplug is not a high-end piece of bass gear, but if you just want to noodle around on your bass when you can't be arsed to plug in a proper amp it's fine.

Regarding funk, I like long sections that stay on one vamp, but the art is in keeping the music developing at the same time. It's the same as the montuno section in Latin music. If the band don't know how to change things during the section then it does indeed become boring. It's funny, I've often tried to figure out why I like jazz and funk, but never really got on with prog. I think it's the opposite problem. To me, prog tends to change feel/tempo too often and doesn't stay on one groove long enough. Maybe there's a gene that controls one's groove Vs boredom tolerance...

I've always loved anything with Sly and Robbie, I learned a lot about bass playing from playing along to their stuff It's not strictly reggae, but I discovered this recently:

In terms of recommendation, there's some great Brazilian jazz from the 60s that has some lovely DB playing. The Sambalanço Trio are worth listening to. I'd agree with the comments above about playing DB though - latin bands tend to be less picky about DB vs BG so it makes sense to use the BG at first in the new band until you're up to speed on the upright.

This video is good: There's a lot of discussion about the difference between authentic Brazilian bass and the bossa styles that have been incorporated into mainstream jazz.

Interesting. I'd always had it as Ron Carter because he's officially credited on the album sleeve, but it looks like there's disagreement... http://www.organissimo.org/forum/index.php?/topic/35065-albums-with-ron-carter-on-electric-bass/&page=2

I'm pretty sure it's Ron - Wikipedia says so as well, but both Wikipedia and my memory are not flawless so I'm prepared to be corrected....

Excellent choice, with the added bonus of the great Ron Carter on bass.

I recently came across a great Android app that seems to work pretty well - "Complete Rhythm Trainer". It has exercises where you tap along to rhythms and it scores you accordingly. I'm sure there are other out there but this one works well for me.

Pedant alert - LA Woman (album) has bass guitar and I think that quite a few of their other tracks have bass as well (you can't get rid of us that easily )

That's the thing - no one cares once they've seen you play - the Elbow wikipedia page says that they chose the name because it was described as a "lovely word". So to straddle that tricky line between pretentious and wacky, I reckon it's best to pick a random word that you like the sound of, but otherwise has no special meaning.