mikel

Jools Holland Big Band on Thursday. Sublime stride and Honky Tonk piano, and Ruby Turner was as usual wonderful. The only blot on the proceedings? Marc Almond. The man can not sing, he could not carry a song in a bucket. What Jools sees in him is a mystery that has so far escaped me. Good gig apart from that.

I had the opposite. Back in the early 70s I lusted after a Gibson Les Paul, but finances would not allow, so I bought an SG instead. It was a lovely instrument but I never lost the desire for the Holy Grail, the LP. I started playing guitar again in the late 80s and I decided I would have my dream. I was in the local music shop and the guy gave me the LP standard and plugged it in. It was awful, I hated the fat neck, the weight was just silly and access to the top frets was difficult . I put it back with a rueful smile and saved myself a lot of money. Lesson learned, don't put anything or anyone on a pedestal without knowing exactly what you are getting. Or, try and check its for you.

I don't think anyone suggested it was. The issue for me was the "Just another". I think most people see a session musician as being able play what the songwriter or producer wants. Dont bring anything to the table. Copeland's style was so recognisable that you would only use him if you particularly wanted his unique style. If you wanted just a good solid drummer you would use a session guy. One of the most significant drummers, he swings and grooves and makes even the simplest of music interesting and exciting. Listening to him made me play the drums again, and made me a better bass player.

Quite. He argued with Sting because they both cared so much about the music. Without his drumming the Police would have sounded nothing like they did. I saw them at the Mayfair in Newcastle just after the release of the first album. Copeland was a revelation, the following weekend I went out and bought myself a drum kit. He inspired me that much.

He was most definitely not just a session drummer. One of the most innovative and influential drummers of the late 20th century. Listen to any of the Police album's and his drumming makes Stings songs stand out. Rhythmically inventive and exciting.

Lesser in what respect? Talent? That would be difficult. Notoriety? Possibly. Never got the hype over either of them. Legend???? Seems you dont need much to be a legend in the new century.

That's because as bass players we are regarded as solid and dependable, reliable and quick to learn. Or is that just me?

D'Addario's for me. Tried all the others over the years but always go back. Perfect strings for me but probably wouldnt suit everyone. Subjective, int it.

That's the one. I have two and with the right strings, D'Addario short scale, sound superb. I avoid Rotosound, on short scale, as for some reason the intonation seems to suffer. Might just be me.

Ibanez Talman. Great instrument and a steal for the money. Get one.

If I didnt like how a bass looked I wouldnt buy it in the first place.

I disagree re cabs. Try an A-B test with a 1 x 15 or 4 x 10 Hartke, and a 1970s Marshal 4 x 12. Chalk and cheese re tone, volume and attack. For me its Instrument, strings, amp, cab.

Well, you found out it needs a license, so why then go elsewhere?

Its not evidence of anything, it's opinions. A musician is a musician, there is no right or wrong way and just because semi pro bands rehearse does not mean they are pandering to someones ego. Have respect for fellow musicians and lower your ego.

I am aware of what "Impostor syndrome" Is. It was the highlighted lines of your OP I took issue with. The semi-pro's only rehearsing to stoke someones ego, or the Deping keeps it fresh and reminds me of what a "Real" musician is.

That's a bit of a sweeping statement. We have band practice once a week because we are not pro musicians. We have jobs and families, and have band practice so we can be tighter than a very tight thing and give the audience what they paid for, a decent nights entertainment. Being able to busk your way through a set is not the only measure of a musician. Being prepared to the best of your ability, however limited that ability may be, is the very least I expect from any band mate. I have busked through a gig, as a drummer, and I did not enjoy it as I spent all my time watching the other musicians like a hawk and trying to keep up. So much so the dynamics of the gig completely passed me by.

One thing strikes me about this thread, and also my own posts, the lack of almost any bands mentioned that have been playing less than 20 years. Are there no bass players on here under the age of 50? Are there no new(ish) bands worth going to watch?

The difference being JA stopped recording material back in the Stone Age whereas Cliff is still recording, so his stuff is relevant to his current feelings. Also he has not been a Rock singer since the late 50s so no anger needed.

Perhaps you are just bored with playing, I have the same thing once in a while. Now, I only practice when I really want to play, that way I am inspired and keen to do it. If I dont feel the Mojo I dont force myself and simply go through the same old same old just to say I have practiced. Find a genre of music you have not played before and with bass lines that excite you. Music should be fun and exciting not a chore or a box to be ticked.

Its been said before but worth re quoting..."You don't stop doing something because you get old, you get old because you stop doing something".

Nerves can be calmed, to a certain extent, by focusing on the process rather than the outcome. If, as you say, you are well prepared then focus on that fact rather than what might happen. Do what you know you can do, play the way you play and be friendly. After that its apples and oranges.

Is it a need though, or simply enjoyment in doing something? Physically draining pursuits would be too much for people in their 70s but singing is hardly one of them. Perhaps he is not int golf or lawn bowls and would rather spend his time singing and recording, sounds like a good trade off to me. I dont think it has to be a need, it might simply be a way to fill in his time.

I dont have much time for Cliff's music, he was a late 50s/60s artist to me, but to suggest someone should stop doing something they love seems strange. If what he was doing was important to well being in any way (Yes I know ) then yes, give it up, but its just music and if he and the audience enjoy it then why not? Its his job after all. My old man loved his work as a carpenter and did his job till he was 76, not cos he was desperate for the money but because he loved it.

I was at Prohibition in Gateshead last night to see "Radio Pensecola". Fabulous. Superb musicians playing stuff from the 20s, 30s and 40s, think Cole Porter, Cab Calloway, Bessie Smith etc. A real fun night with audience participation. The bass player was superb, a guy called Ron Smith, If you get the chance to see them do it, If only to see Mr Smith play bass.

And hooking up with a good songwriter helps.