Faithless

Errrr, but there werent any English songs sung in Lithuanian,except the "Voice" hymn, which wasnt on this show anyway.. Maybe there was a lithuanian tune, similar to some tune you may know? As for UK, in this show, they MUST have a band, because one of the main points in this show is live playing throughout the whole thing (Blind Auditions; Battles; Live shows) Thanks for the heads up, easy L

Hey peeps, I know that "The Voice Of..." Show is gonna be run on TV in UK soon, but we've already started Lithuanian one, and for anyone who wants to check out what the heck is it, here's the link to the Episode no. 1 of the show - I'm holding the bass chair at the pit-band. http://www.lnk.lt/video-perziura/1430/lietuvos-balsas-2012-01-29 Enjoy, I'm looking to hear your thoughts,peeps easy L

Just bought Boss LS2 out of AJ, and while pedal's journey from UK to Lithuania wasnt so smooth (damn post services), AJ was extremely helpful and easy to communicate with - he even offered me a refund if the pedal would have been lost by post services! Top bloke, will deal again! easy L

Hey Penguin, Thanks for the Treble clef version, though I had to commit myself learn this in Bass clef, as[i] [i][font=times new roman,times,serif]I had to do an graduation exams rehearsal last week- it turned out ok, but the way Patitucci's phrasing and holding the 'breath' is just unbelievalbe - so hard to imitate...[/font][/i][/i]

Thanks, but I need a 'no-bass' mix version of this tune, which is not on iTunes - although there are a few playalong albums there, but not the one I need... thanks L

Hey peeps, NAMM 2012 must have ended by this time now, but there's usually lots of cool Youtube stuff from the show to check out, though I havent found anything on BC this year.. I'll start with Jazzy content - it's Janek Gwizdala and Mike Pope doing "Moment's Notice": http://www.youtube.com/watch?v=3UPy17gKmBI Feel free to post anything cool you've spotted from the show.. Any BC'ers actually been in NAMM this year maybe? easy Laimis

65 seems a bit crazy.... Scott, thanks for the effort anyway, I really appreciate it! easy L

Hey peeps, I'm really desperate to find this play-along book and CD of Caron's album "[i]Rhythm 'n Jazz" - [/i]I want to do one tune, "Fat Cat" for my college graduation exams, and Amazon doesnt have that book in stock, and it doesn't seem it will have anytime soon, I guess it might be out of print.. Anyone can help me with that? I'd be happy to buy it off you, or something... EDIT: This play-along book is really out of stock everywhere - it has been discontinued to publish many moons ago. easy Laimis

I know Anthony Jackson used to play with Stern, but he plays a 6string, doesnt he..

[quote name='gjones' timestamp='1327227115' post='1507911'] I was in New York in 2006 and got talking to Kim Thompson who was playing in a band in a little bar in the village call The 55 Bar. She was backing a guitarist (who I didn't realise at the time was Mike Stern ex Miles Davis guitarist) and she and the band were really cooking. She told me she was playing the next week with Beyonce in LA and I have to say I assumed she was pulling my leg and telling porky pies. But no there she is in your video giving it waldy! [/quote] A bit OT but, who was on bass that night, wasnt it Janek Gwizdala? And yeah, Stern uses to play in 55bar all the time.

well, synth bass is ok, but I'm referring to the overall programmed/synthetic sound, that is dominating in most pop studio stuff.

[quote name='risingson' timestamp='1327175396' post='1507535'] I expect most people's answer on a site like this would be the same, but I think everything in pop music should be done like this. Live musicians is always where it's at. If you've got the money behind you like Beyonce has then it would be totally shameful to be singing live to tracks. There's no musical integrity to be had from it and your everyday Radio One listener has become totally numb to this fact. They're much wiser to it in the U.S than they are to it here though. You just don't get the same level of importance placed on live musicians in the U.K anymore, and it's so very depressing, considering our popular musical heritage. [/quote] Well, what I'm trying to say, is that I'm wondering why most of big artists stick with programmed/synthetic stuff when making their [i]studio [/i]stuff - CD's, Singles, etc. I know it must be down to money and time (good players are busy, and it's hard to get them together in one place for a record, of course) to a certain extent, but maybe this is something to do with the audience they're selling to - programmed stuff has pretty much taken over the 'studio' music (most of the pop stuff we hear on radio), so maybe listeners are more used to that, rather live-sound based music? I'm just guessing, but I'm not keen at all on this stuff, which probably relates to music-production, so I'd be really interested to hear from guys, who may know more about this.. best- Laimis

Is it just me, or this [i]sort [/i]of music sounds so much better when performed Live rather than the 'studio' versions with programmed drums, effects, etc? But then, I wonder why do most of artists stick with this 'synthetic' type of sound approach in studio applications - keeping in mind, that they certainly are in command of what's needed - the right money and right musicians to do the [i]real [/i]thing... Any thoughts on this? I was thinking of pop/RnB acts who uses real musicians in studio environment to cover most of the music (drums, guitars, keys,effects,etc) , and couldnt think of anyone else, but only D'Angelo... Any more?

Well, those gymnastics look a bit ridiculous, though the grooves were really tasty, and that Jazz sounded fabulous, For those who were not touched by the band's playing - it's a little something Beyonce's drummer does after she finishes rehearsing with BC..... I know it's not everyone's cup of tea, but it's just a proof, what kind of monsters sit behind all these RnB/pop stars.. Gospelchops allowed. [media]http://www.youtube.com/watch?v=8SZhyuB6xl8[/media]

[quote name='billyapple' timestamp='1327149764' post='1506991'] Aye, it's OK, but, I like the other version where they're dressed in swimming cozzies [/quote] can we get our eyes on that one, please? It's good to hear you guys are diggin' it. I've just got myself some instrumental tracks from her Live performances, and those ladies are tearing it up.... wicked. easy L

[b] [url="http://www.youtube.com/watch?v=AcFvt1sLpis"]http://www.youtube.com/watch?v=AcFvt1sLpis[/url][/b] Some wicked playing from the band... and it's all ladies in the house, mind you... And check out that synth bass, the sound is just out of control.. enjoy, Laimis

Most of jazz standards are made of II V I's, so you might wanna think in these chunks, rather than separate chords. Lets say, first 8 bars of Autumn Leaves, there are 5 individual chords, but you can think of them in this way (lets say, tune is in Gmaj): major II V I (in Gmaj) IV chord (Cmaj) minor II V I (in Em) The B Section of the tune is pretty much the same thing, there is one 'additional' chromatic section, which can be converted to short II V patterns, that still work on the basic changes of first 8 bars. Laimis

[quote name='Bilbo' timestamp='1326741478' post='1501406'] Just looked at Joe's exercise. Useful for a relative beginner, I guess, but I had that nailed about 25 years ago!! When I was starting out, I saw a video of Victor Bailey w. Weather Report (Domino Theory, Live In Japan) and watched him jumping around all over the neck and I realised then that I needed to learn where the notes were if I wanted to do this properly. The real skill is doing it without looking at the neck i.e. when you are reading. [/quote] The real deal is to do that exercise at burning tempo (fluidly) - 110-120pbm or higher, non stop till you do all the 12 notes. Anyway, as Joe mentioned already, he knew some guys who've played for 16 years, and couldnt do it; I showed this to my friend, a local session guy, badass player, who's been up for 12-14 years, and he couldnt find those C notes properly even with a metronome off so I'd say that this can be applied even for intermediate/advanced players. What about not looking at the fretboard - this comes from memorization, which means shitload of practice, so there's no shortcut around this drill.

[quote name='phil625sxc' timestamp='1326729545' post='1501126'] I probably couldn't to be honest, not all the way across the bass but, that doesn't really bother me - I'm probably never going to play the 2nd octave B on the 24th fret of the B string in my entire life !! :-) That's not to say it's not a great thing to be able to do, but it's not really relevant to my question - I know the notes in the areas I play on the neck ok-ish, probably not as much as I should on the C string but mostly I'm ok. What I was asking for was advice on improving my sight reading, as I have limited free time to practise - maybe I didn't phrase the question properly - thanks for your replies anyway though ! :-) Best, Phil [/quote] how about you get a little 'stand-up' section written in Treble Clef, which implies the top of the bass range? Anyway, one of the main purposes of that exercise is to know the available options when under pressure (on the reading gig) - most guys, who dont know they axe properly, when see a C note, chooses the A string (3rd fret) to hit it, but there also one on E string (8th fret), which could be a better option if the following phrase is an ascending thing, so that you should have to do little hand movement, or not do it at all, depending on the stuff. Speaking of that, you can't be fiddling with these options on the gig (because there's risk of failure, and you have to nail the gig, right) - that's why you want to practice this at home, with metronome (which implies time = pressure), so that you can conciously choose what works best on the gig, without the risk of failure.

[quote name='Bilbo' timestamp='1326672139' post='1500420'] Your points are valid, Faithless, but I put a lot of store in practising the art of reading in real time because all the practice in the world won't prepare you for dealing with the dots passing in front of your eyes in reai time in a 'sh*t or bust' fashion that is demanded by a reading gig. Agonsing over each bar is important and the stage I am describing won't be possible without having learned how to read the dots but learning to read several bars at a time, across bar lines, as you glance over the page, whilst the tune is being performed and whilst there is no time for reviewing and slowing down to nail it perfectly can [i]only [/i]be learned in 'performance' mode. [/quote] I'm not saying that reading shedloads of stuff isnt a good thing, but, the most common issue about reading for all musicians is rhythms, and there are certain groupings (not too many in total,tbh) that are met over and over again, so what I'm trying to say is that its worth spending time only with rhythms and memorize the most common stuff. Now, about pitches (by the way, can you do that Joe's exercise, Bilbo? ) - its a very big issue for guitar-instrument players (unlike, piano players, for example), because there are lots of note duplications on the fretboard, and most guys arent familiar with them.... not to mention that this stuff is one of the most fundamental things to know about your axe. easy Laimis

Hey peeps, I've got myself a Boss LS-2 in the end, so the Leem AB Box is up for sale - I got it only for a few weeks, its in brand new condition, and working perfectly! http://basschat.co.uk/topic/164288-fs-leem-ab-switch-box/

I know what you're saying, though, can you do that Joe Hubbard's exercise? I know he had pupils playing both 6 months and 16 years, and none of them could do it properly at first time. It's all about knowing your axe. I'm also doing the stuff I mentioned though I could read to an ok level already - its all about learning the most common possibilities rhythm and note wise, so that you can nail it first time. Remember, that there will be times where you wont be able to get the chart and bring it home to learn, that's why you want to have your reading chops up to date. In the end, my point was that we should be learning [b]not [/b]in the mode of performance, that is, not with the metronome on, and brushing through the real-book, nevermind, if there were any mistakes or not - we want to make the mistakes in the practice booth, not on the bandstand, right? Anyway, see what works best for you, I hope that was a bit of help, mate easy Laimis

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Bought a Boss Volume pedal out of Mat- XB26354, the deal was a smoothie, he didnt mind posting the thing abroad, and Mat was a pleasure to communicate with. Thumbs up! easy Laimis