jakenewmanbass

just remembered theres one pic of the flat back here: [url="http://www.michaelvineassociates.com/casablanca.htm"]http://www.michaelvineassociates.com/casablanca.htm[/url] if you look at the video on that page don't be put off by the sound it was a D.Id underwood (thank you tv engineers!*?!) it is actually 2 shows in edited into one so it has some footage of both basses

[quote name='Thunderthumbs' post='142446' date='Feb 18 2008, 01:35 PM']I played a charity gig on Saturday night for Kidney Research UK at Whitworth Hall in Manchester University. We had Nigel Pivaro ("Terry Duckworth", Jack & Vera's son in Coronation Street) on the dancefloor most of the night. Ooh if only Vera could've seen "arr Turry" and his moves.[/quote] Sorry Pete I just have to Corrie upstage you. I played at the 40th anniversay of the show so all cast past and present were there (shameless one upmanship) but it is corrie

Ok guys here's the 1880 [attachment=5713:HPIM0086.jpg][attachment=5709:HPIM0078.jpg] [attachment=5710:HPIM0080.jpg][attachment=5714:HPIM0087.jpg] [attachment=5711:HPIM0082.jpg][attachment=5712:HPIM0085.jpg] [attachment=5715:HPIM0088.jpg][attachment=5716:HPIM0089.jpg] the pics don't really show the dings there are what you would expect for this age, all cracks etc have been expertly repaired I will post some higher res pics when my missus brings the camera back from oop north EDIT: I don't know how to change the orientation of the images, sorry if its a pain. J

[quote name='Mr Bassman' post='142641' date='Feb 18 2008, 06:26 PM']Hi Jake, I would like to see some pic's please. cheers Keith[/quote] It will be a couple of days for the flat back as I'm waiting to get it back from a shop, sorry to have excited you and then make you wait, will take some asap. I'll take some of the swell back now, but also (limited) here [url="http://basschat.co.uk/index.php?showtopic=9308"]http://basschat.co.uk/index.php?showtopic=9308[/url] Jake

[quote name='warwickhunt' post='142449' date='Feb 18 2008, 01:39 PM']No you fool she said, [b]"Your bass player is a leg end"[/b][/quote] you mean a foot?

I'm in the process of trading two basses (valued at 3-4k each) for one better one. If anyone wanted to have a peek at either of them before they go off to the chap (Peter Tyler) for assessment I will happily post some pics if there are any interested parties. One is an 1880 swell back, ebony board, lovely dark tone the other is a turn of the century flat back stuttgart "factory" bass, also ebony board (factory means each part made by different makers and assembled in one workshop) Lighter tone bright and full Both have been expertly repaired/set-up by the genius luthier Roger Dawson Jake

[quote name='aj5string' post='142391' date='Feb 18 2008, 12:34 PM']I wrote that whilst drinking tea, and forgot to point something out... i'm currently writing my own dissertation, but mine is on the negative stigma surrounding the bass guitar in Jazz, so am kinda in the mindset of the bass guitar being a different instrument to the double bass. I totally agree with what your saying, and think with all dissertations etc. you have to put into place some of your own rules - 10k words (or whatever the OP is working to) is actually not a lot if your writing about something you are passionate about.[/quote] Perfectly reasonable answer and if the parameters of study are narrowed to the electric bass then you are absolutely right. Although it may still prove useful to the OP to contextualise it as jazz bass rather than electric bass in order to open the opportuniy to widen the historical scope (his choice of course) Jake In my mind the double and electric have equal validity in music and its history, and I think it a shame that there is a "stigma" to be discussed. as you can see from my sig, I play both professionally

[quote name='EBS_freak' post='142360' date='Feb 18 2008, 11:30 AM']Potentially... but things never quite work out like that... the personal gripes are bound to fly. If it were to happen, I would defo say it's a members forum. Not that it's difficult to get an account here... probably best to keep it from being cached in google though... Anyway, never did see the cash from the Oxford gig... but that didn't annoy me most. I'd paid for a ticket to see Eric Roche and of course, didn't get to see him or get a refund. Ah well.[/quote] Yes point taken. didn't think of it that way

[quote name='bassicinstinct' post='141941' date='Feb 17 2008, 03:39 PM']When our manager went to get paid after loadout, we were paid the princely sum of £140 (which, incidentally, didn't even equate to the door takings) on the basis that we had no written contract, so there was nothing we could do about it.[/quote] You [u]do not [/u]require a written contract, it is, however, helpful if you can prove to any degree that you are being truthful in the event of any claim being made (Iknow most wouldn't bother) in the small claims court. The most effective way of doing this is to use a diary as a day book to record what was agreed at the time of the bookng, just make a note of the main points when the deal is agreed. It is admissable. In my view we should all come down hard on these sheisters for that sake of all of us. Don't be messed around, it makes them think they can take the piss.

I think it would be a great idea to post a recrord of poor treament at the hands of sh*t bag promoters and dodgy Landlords. If the treatment is really bad The Musicians Union can get involved to recover unpaid fees or to ensure people live up to contracts, written or verbal. NB. to access that service from the MU you must be a member. I've had several cases taken on for me by the union and they have always got me my money by threatening legal action. The thread should IMO be limited to proper breach and NOT personal gripes. (no bad mouthing cos you're pissed off)

[quote name='aj5string' post='141934' date='Feb 17 2008, 03:26 PM']I guess you need to decide how he was unique and how he wasn't. He was doing things on the bass that no-one had done before, but arguably, also doing things that other musicians hadn't done before. He took the bass and really pushed it to the front of the music - i think he was probably the first 'jazz' player to do that. Also, you need to take into account the fact that he was playing about 30 years ago; sure his approach isn't unique now, but it was very different at the time...[/quote] I agreed with most of your post but the bit I have quoted above is a little off the mark. It's true that Jaco was the first really high profile bass player, who is still known today, to do the things you said (mainly because weather report were a stadium act, unheard of in the early jazz era) but there were many bass players playing solos and being more involved upfront before Jaco came to fame. The obvious examples, going way back, are Jimmy Blanton an amazing player who had a very prominent role in Duke Ellingtons orchestra, there are recordings of him playing a very 'up front' role. Scott LaFaro who played an almost telepathic joint front position with Bill Evans in the great trio recordings of the 50s and 60s. To a slightly lesser extent you could say that Ray Brown played more up front than many other predecessors but that was mainly due again to the almost telepathic relationship he had with Oscar Peterson, Ed Thigpen and Herb Ellis, which meant he flowed in and out of accompaniment and solo roles effortlessly. To refer to the OPs question the above are just three examples of many players pre Jaco who were significant and prominent in the music and its history, and I think it would add depth and integrity to your dissertation to explore the true beginings of the bass' solo role. FYI the recordings with Jimmy Blanton go back to the very early Ellington days, he played with him for 2 yrs from 1939 a full 37 yrs before Jaco really made an impact with his first solo album of 1976

[quote name='Thunderthumbs' post='139560' date='Feb 13 2008, 03:02 PM']I must admit, if I've got one [b]really[/b] bad habit, it's that I don't spend enough time doing it slowly (no Finbar Saunders jokes please). I build up my speed far too quickly, so therefore am not doing it as effeciently as I suppose I should. I think it comes down to having not a great deal of patience. I'm the same with DVD players, etc. I never read the instructions, I just plug it in and expect it to work. [/quote] slow is soooooo important (and my wife agrees ) your muscles/brain develop abilities by muscle memory (ever seen someone who is really good with Nunchakas) If bass playing were an equivalent martial art lots of us would be dead or at least concussed. Of course the real threat to playing is less likely to be injury than just not doing something very well. so slow is sooooooo important, give your muscles a chance

[quote name='nash' post='139870' date='Feb 13 2008, 09:20 PM'][url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=250215893006"]Metal[/url][/quote] I thought the title to this thread was in Welsh.... And I'm from Cardiff originally???!!!?!?

[quote name='Thunderthumbs' post='139233' date='Feb 13 2008, 02:01 AM']Is that the one with 1st finger 1st fret, then 3rd finger 3rd fret, then 2nd finger 2nd fret, then 4th finger 4th fret on alternate strings, then repeat switching strings (e.g. 1st and 3rd on D string, 2nd and 4th on G string, then 1st/3rd on G and 2nd/4th on D) up and down the neck. Then repeat it two strings apart, then again three strings apart, etc? If so, damned good exercise that. Do it myself...but nowhere near as often as I should.[/quote] that is indeed the one. most important aspect is doing it in time. so metronome

By Proxy When I relocated South I took a job as an onsite maintenance contractor for computer companies until I settled into getting freelance gigs in my new area. (finished now thank god) I was exchanging and reformatting a hard drive for a barclays customer in bournemouth a very nice lady, when I got chatting to her I revealed that the job was a stop gap and my real job is as a bass player.... she says 'what sort of music do you like' so I listed some of the things I listen to, she seemed to know a bit so I mentioned quite a few things including Weather Report, at which point she says hang on, and left the room, a few seconds later she returned with her wedding photo (former husband) it was Alphonso Johnson (for those who don't know he was in Weather Report BEFORE Jaco) Jake

[quote name='Josh' post='138847' date='Feb 12 2008, 01:55 PM']My ears do decide what sounds right but like I said I just like it to look right at the same time, the same goes with basses, both aesthetics and tone will affect my decision, but hey that's just me and if that rubs people up the wrong way well then oh well. I'll guess that some people have looked at the videos and immeadiatly disliked the drummer because of the way he's got his kit set up, we're all turned on and off by certain things musically , be it little such as not the right grip or in some cases things such as Hi-Hats that reach above the cymbals, or in a bass perspective, small things such as if the player doe's or dosen't move his/her thumb whilst playing or to stuff like "Correct" or "In-Correct" slap technique.[/quote] of course aesthetics allowing, its horses for courses, each to his own et al. Point taken.

[quote name='Josh' post='138343' date='Feb 11 2008, 05:36 PM']Bad thing is it's gone a tad bit too far on me, by which I mean, if I hear a great drummer, perfect sound, great fills, the lot and then I see them live and his set-up is all off and his technique is shoddy, I just can't accept to liking them. I just love to see a drummer hit hard, with a nice flat set up and just making the song that bit better.[/quote] Some very notable players have "bad" (I think its relative) technique eg Pat Metheney hangs his thumb over the top, but have you heard what he can do?? I think its a shame that you let your eyes decide whats working for you, use your ears man.

Got a kit in the garage play it regularly, not well but with good feel and solid time (technical limitations allowed for) Got a piano can busk chord charts and read slowly (decent knowledge of voicings) Got a guitar so have a reasonable knowledge of chord shapes (although my harmonic knowledge is far stronger than technical ability) got loads of percussion (not bad with an egg, can keep a nice groove with a cahon) I sing (not well but I have a very good ear for harmonies and can usually pick them out better than some singers) All of the above adds tremendously to my position as the core (read bass player) of the band which I'm grown up enough to say I do very well. I'm solid, musical, dependable, not too loud, and care more about the whole sound than what people think of my abilities. There are many better players in the world than me which is great cos it means I will have a challenge hopefully until I die, preferably (although I hope not to distressingly for others) on stage. Jake

[quote name='Mikey D' post='137434' date='Feb 10 2008, 02:20 AM']I got this from a Satriani article yeeeears ago...has also helped my r/h for string crossing. Along with 'Patitucci's' spider exercise, these two helped my left hand the most.[/quote] +1 for the spider very good for even practise due to the similarity of the movements by each finger

there was a time when I'd have been blown away by that and I aspired to that level of facility (I don't have it) now I'm nearing old fartdom I'm not really reached by it. For me the balance between ability and emotion/feel is too heavily weighted to ability, urgo use for uses (not musicality's) sake I think they are all great musicians and admire their obvoius dedication, and I can see, and have no problem with why others really dig it... But not for me, sorry Bilbo Jake

[quote name='Thunderthumbs' post='134927' date='Feb 6 2008, 12:13 PM']In fact, thinking back.....the day the bomb went off in Manchester was a pivotal part in bringing about the Manchester we have today. I'd hate to say it was a "good" thing......something like that never can be, but Manchester's a much different place today to what it probably would have been had that not happened. Cheers, Pete.[/quote] Its an ill wind as they say I heard the bang (was in the garden in Middleton) some friends of mine were rehearsing in Chets which suffered some damage they were slightly deafened for a while, the bizarre thing was a hole was blown in the floor and a violin came flying through it followed by a very confused looking tutor... although he used a more conventional method of entry ..... the door. Manchester is a great city, I lived there for 10 years and it has a fantastic music scene and some of the country's finest musicians and indeed bands. Jake

I bought a bass from Beaver/Grasshopper, they were helpful, accurate and friendly and will do good deals. The bass arrived when they said it would and was perfect in every way. I wish I could find that service more often in the UK.

[quote name='ped' post='132947' date='Feb 3 2008, 12:10 PM']There is no 'limit' to a good groove. Nobody can reach the level where they cannot groove any more because they are too groovy. A groove is a feeling, something unquantifiable, natural and primal, which is why they have existed since the beginning of time and will continue forever. Peace out[/quote] exactly

Before you rant on about how the whole thing needs to change, make sure you are at the pinnacle of achievement with what you've got. Stand on the shoulders of giants to push boundaries otherwise you sound like you're desring change for changes sake. and dare I venture because you are bored with what you do? Are you any good? Qualification: lest I cause offence those questions are rhetorical and NOT, i repeat NOT, personal. (cos I don't know you) Jake

[quote name='chris_b' post='132537' date='Feb 2 2008, 12:59 PM']In these 2 links the bass and drum aren't locked together, they're superglued!!. Of course, it's New Orleans funk. [url="http://www.youtube.com/watch?v=FKsjJnJue7I"]http://www.youtube.com/watch?v=FKsjJnJue7I[/url] [url="http://www.youtube.com/watch?v=pSKIHXM8rxQ"]http://www.youtube.com/watch?v=pSKIHXM8rxQ[/url][/quote] great grooves