dlloyd

As far as click bait is concerned... I really don't care if the content is good. The more people watching the videos, the more the advertisers pay the person who uploaded the video (something like $2 per 1000 views) and the more chance there is that more videos will be made. Aimee Nolte is a great example of someone who is uploading fantastic material but getting around 5 to 10 thousand views... that doesn't make for a sustainable income. I've no idea if re-titling her videos "How not to suck at jazz" would bring in more viewers though... Just to put it all in perspective, counting up his video views, Davie504 has uploaded 312 videos in the last 6 years... roughly one a week. They've drawn an average of 580k views and, in total, he's had 181 million views. If the $2/1000 view rule applies here (and it does vary depending on the channel...) he could be taking $60k per year gross.

Which brings up another point (can't remember if it's covered in the videos above)... If your left hand fretting is inaccurate and you're stopping the string too far from the fret, there will be a natural tendency to use more pressure to avoid fret noise.

I find them a bit annoying... but looking at his videos and the number of views they've had, he's made serious money pulling dumb clickbait faces.

https://www.youtube.com/watch?v=VRkSsapYYsA For left hand technique

Right hand... make sure you have good technique in the first place... moveable anchor is a great place to start: https://www.youtube.com/watch?v=hDzRqeS0ruQ Build speed up with the metronome... you'll find you're not relying on strength to make your finger move faster. Left hand... The thumb should not be squeezing the neck, just supporting it... try playing scales without the thumb touching the neck, just as an exercise.

I left my band in the Summer. There had been a number of niggling issues, but the worst of it was the self-appointed band leader was putting political posts and conspiracy theories on our band's facebook page, posting as the band... The last was some dumb conspiracy theory about the BBC covering up the actual death toll from Grenfell Tower.

Chuck Rainey's Complete Electric Bass Player is a pretty good introduction to learning to read music... https://www.amazon.co.uk/Complete-Electric-Bass-Player-Book/dp/0825624258 The basics are fairly easy to get down... to develop fluency you need to be practicing it on a daily basis.

I don't think you can get better than this...

[quote name='The Jaywalker' timestamp='1509028200' post='3396157']I have no idea why modes always seems to be the initial "go to" for music theory for folks from a rock/pop/band background - when it's of such little practical value and causes no end of confusion by being poorly (or incorrectly) taught in most material I've come across.[/quote] I'm guessing you're young enough to have missed the worst excesses of the 1980s then. Modes were all over guitar magazines, particularly the American magazines like Guitar for the Practicing Musician. People thought, because Steve Vai and Joe Satriani talked about them, that they were the secret of shredding... then missed the point entirely and tried to apply them to diatonic theory in general.

[size=4]I don't listen to a lot of free jazz, I do kind of understand what is going on most of the time. The video in the OP doesn't really sound like free jazz to me... it sounds like he's playing clusters of random notes over a random drum machine pattern. Free jazz drops some of the norms of mainstream jazz, like regular meter and diatonic harmonic structure, but it retains musicality. Listen to Ornette Coleman or Albert Ayler and you can hear that they are accomplished musicians, even if you don't understand what they're doing... you can hear that they are in control of what they're doing. The video in the OP is a long way from that but I guess he's having fun. Curiosity led me to click through to his YouTube channel, which revealed his name... googling that came up with this: "[color=#545454][font=arial, sans-serif]Quit playing guitar about 1978, started again in Sept.,2011...never played bass before."[/font][/color][/size]

[quote name='Graham' timestamp='1508954690' post='3395628'] Guessing it was this one? If so he's had it a while and not the Jaco bass [/quote] It's a Nash "Flamethrower" bass apparently. "[color=#545454]I like Bill Nash’s basses too. Nash makes great retro-style basses. [/color][color=#545454]One of my favorite basses is the “Flame Thrower.” This bass was actually in a fire and, I kid you not, it practically melted in that blaze! It’s so punk! And it pretty much play’s itself. [i]Totally thrashed! [/i]It’s one of my favorites!"[/color]

[quote name='Hellzero' timestamp='1507825402' post='3388251'] Steve Hillage is in great condition and playing so close to the spirit of Mike Oldfield... :-) Looks like the Gong gang was a favourite of Mike Oldfield. [/quote] Mick Taylor is there too, as are a couple of members of Soft Machine.

The Hal Leonard series are good. https://www.halleonard.com/product/viewproduct.action?itemid=697319&lid=1&seriesfeature=&menuid=437&subsiteid=7&

[quote name='Evil Undead' timestamp='1507403342' post='3385301'] I've found that I hardly play bass any more, and wondered why, so I picked up my only bass, plugged in, and found the reason straight away. It sounds like crap.[/quote] You're not playing it very often? Are you in a band?

[quote name='police squad' timestamp='1507297948' post='3384613'] I'm sure I remembered something about jaco pulling the frets and using a tube of plastic wood to fill the gaps. (not sure and haven't googled it. I'm just going by memory) This was in 1990. I had bought a USA '62 reissue P bass and decided to do the same. Pulled the frets and filed with tube of stuff. Worked a treat [/quote] This is what I did... It's all covered in cyanoacrylate anyway so you can't really tell what it is.

And if you want to know what they sound like, don't watch this review... [media]http://www.youtube.com/watch?v=skk0pi78k4I[/media]

I spent a lot of time obsessing over theoretical concepts that have little application in most music. There are a lot of people who sell instructional materials that offer a magic bullets that are nonsense... there is no substitute for getting out there and playing. It's particularly bad with jazz where people obsess about scale choices to go over chord changes (because that's what a very popular series of books say you need to do) and they end up sounding like they're playing scales over chords.

Biel Ballester... [media]http://www.youtube.com/watch?v=3Nz7AGxKjLo&list=PLA9FF71FBCBFC6F7C[/media]

Go on then... Bireli Lagrene... [media]http://www.youtube.com/watch?v=2yfQN8-tVlQ[/media]

This is interesting... [media]http://www.youtube.com/watch?v=VS71fFMQOB0[/media] (first song is In a Sentimental Mood... layla comes later)

I'd be looking for something with a dual piezo/internal mic system. I'd personally be happier to start off with a guitar I liked and to add a K&K Trinity Pro system (do not pass GO)... they're really, really good.

[quote name='Yaanmengk' timestamp='1505922345' post='3375266'] Was just in a music store and came across this 1995 Stingray with a birdseye neck. Plays amazing and in immaculate condition, GAS'ing pretty hard and I was given the price of 1600 euro which seemed quite a bit more expensive than what i'm seeing on the 2nd hand market. I'm sure if i'm very serious about it i could bring it down a bit but I just wanted some feedback from anyone who's more experienced with the pricing of the Stingrays? [/quote] That price would be ballpark for something like a 20th anniversary Stingray... way too much for a standard one.

Sometimes it's just down to the mixing. A classic example is Layla by Derek and the Dominoes... original riff is D minor pentatonic, but sounds like Eb because it was sped up to give a bit more energy.

[quote name='lojo' timestamp='1504875518' post='3367957'] Sure , but can you explain why a D on guitar is an E on sax , I'm ignorant? [/quote] I explained it above... Sequential addition of fingers on main buttons with no sharp/flat modifiers = C major. We keep that convention for all saxes. C melody sax sounds just like it's written. Nobody owns one of those though. My feeling on saxophones (a latecomer) is that Bb and Eb became the convention because horn sections were already predominantly Bb and Eb.

Jamerson both improvised and sight read parts... I don't know if you're aware of the Carol Kaye/Jamerson where Kaye claims credit for some of the Motown hits that Jamerson is said to have played on, but part of your question is answered by some of that argument: "[color=#000000]Improvised vs. Written Parts - Her claim to "Reach Out" is based upon her contention that "discerning musicians can hear that the parts weren't improvised. It was a written part". James Jamerson regularly improvised and sight read parts of that complexity. Part of his genius was that he could take a written part and make it sound as if it was his. Regardless of this argument, I have a photocopy of the original Union contract from the "Reach Out" session. It's dated July 6, 1966 (the year of the tune's release), it lists James Jamerson as the bassist (for which he received the princely sum of $61.00), and Detroit's Hitsville studio is indicated as the place where it was recorded. Carol herself admits that she never recorded in Detroit. "[/color]