Bilbo

Wow! What a fantastic line-up!

Got a new audio interface and that hum has gone at last!!!!!!!

Some people just don't understand how language works, how it develops and grows. I would rather 'So...' than 'Forsooth...' Grammar nazis? Worserer than apostrophe nazi's.

Try Holst's 'Planet Suite' and Rimsky-Korsakov's 'Scheherezade'. Both stunning pieces of music that I have adored for decades.

There are plenty of world/folk musics that can do that, scalpy. A lot of world music carries dual meanings such as the Brazilian saudade which means is a sort of melancholy happiness. The blues is the same; 'we sing happy things because it helps us cope with being sad' kind of thing (I Know Why The Caged Bird Sings). Flamenco does it. Argentine Tango does it too, and reggae - I think it is more common than these perspectives indicate. I also suspect that Tilson Thomas may have a bias

I find I submit shorter posts nowadays as a lot of what I have said has been said by me before and I get bored typing it. To be honest, I only go to the threads I monitor (Performance), Gen. Dis and Off Topic unless something catches my eye. A lot of it is to do with devices and what I can use on my mobile devices as opposed to PCs (eg my mobile and kindle won't play posted videos). The biggest problem I have is I can type quite quickly on a keyboard but these touchscreen devices really slow me down and p*** me off so the points I make are often quite brief now.

A blog on how to play Moondance? I think I will write one on why you shouldn't.

I was assuming you were talking about beginners who were coming to Jazz fresh. I think that understanding the context of a walking bass line would be easier to explain/comprehend with RB and PC (who studied with RB) than, say, Marc Johnson with John Abercrombie or Dave Holland with Circle etc. I don't think that most beginners would be overly concerned with [i]sounding[/i] like PC, GP or anyone else for that matter let alone whether their strings were gut or otherwise. That would come later. For the first six months, they would be trying to get through a whole song without bleeding!!

[quote name='notable9' timestamp='1427105080' post='2725697'] ha.. can anyone actually play TT apart that is from Will Lee... [/quote] Richard Bona. Actually, the trouble with Teen Town is that everybody learns it but never plays ot so, when, ten years later they try, their chops aren't up to it! For me, it would be Charlie Parker heads. Something like 'Cheryl' or 'Dexterity' (at the Paul Chambers tempo, not the Parker one) works nicely. Or sometimes I go for the head to Charles Mingus's 'Dry Cleaner From Des Moines' which works well down low (as Charlie Haden played it with Mingus Dynasty. That's three blokes called Charlie in one post. Marvellous.

13 entries? How cool is that? No tag on Soundcloud. Skol just posts links to everyone's individual track.

Interesting that the two tunes you mention are both featured in films as I think the best comparison in contemporary music is film music. A lot of classical music was written under commission by the church or state and it could be argued that the modern equivalent is the multi million pound movie industry. Who else can afford to commission orchestras etc. There are also parallels with conttemporary Jazz in that the music is art as much as it is entertainment. Try Maria Schneider for instance.

Yes but what has that got to do with this thread?

Break a [s]finger[/s] leg

This list of great players is endless but, if you want to understand Jazz, I seriously recommend you got back to the giants. Sart with Ray Brown, Paul Chambers, Doug Watkins, Scott LaFaro, Charlie Haden, Ron Carter etc and, when you move on to the cats Jaywalker is talking about (who are all monsters and amoung my favourite players). it will make more sense. I think if you start with Gary Peacock, you may struggle with the kinds of gigs you are most likely to start with

I am glad 😎

Not a brilliant effort this month but I had a lot on and am remodelling my studio space so couldn't find the time to spend on the piece (some dodgy notes in there that I would prefer to have dealt with but it ain't going to happen!!) [url="https://soundcloud.com/robert-palmer-1/lucky-bastard"]https://soundcloud.c...1/lucky-bastard[/url]

I have finished writing mine but have tried to get a drummer friend to add real drums instead of my crap VSTs. Trouble is he is busy so I probably won't get it done in time so will have to submit my iffy version. Fingers crossed.

https://www.youtube.com/watch?v=4tUTsZ78xIw Open Your Eyes, You Can Fly - Flora Purim

[quote name='fretmeister' timestamp='1426691330' post='2720865'] I've always played both I can't say that one has helped the other. In fact as I've recently (2 years or so) started to read music jumping between the Clefs is doing my head in to the point that I'm thinking of concentrating one 1 instrument only. [/quote] Stick with it, bro. Piano players do it all of the time.

An couple of examples of my guitar playing.... https://m.soundcloud.com/robert-palmer-1/turkey-three-ways https://m.soundcloud.com/robert-palmer-1/salome

I am intermittently quite a credible guitar player (depends on how much I have practised recently) and have gigged a few times on the instrument. I think the important thing to do is to understand the roles of the instruments and the sounds of chords etc. a knowledge of guitar and/or piano/keyboards has got to be good but a wider knowledge of horns etc i also useful. Composers and arrangers have to learn very early on about all instruments, ranges, tessitura (how notes work in different ranges), Transposing details etc etc. All knowledge is useful.

All sorts. It is like any pyramid of ability. More people at the bottom, fewer at the top and a gradient in between. There are absolute ('I have had a bass three weeks; which end do I blow into') beginners through to major pros. The level of playing is equally varied. The art is to understand who has the most sensible and mature answers to any questions. Remember, good teachers are not necessarily great players and great players are not necessarily good teachers. What you get here is a wide variety of opinions and abilities and, by trawling through each thread, you get a concensus. It is always interesting to hear what people on here are doing but it is also important to recognise when what you are seeing is someone's party piece not their basic level of competence. In truth, there are plenty of people on here who are better than most of us and plenty who are worse. It doesn't matter.

Ordered an audio interface from them on Monday. It arrived early Tuesday. Easy and cheap. Like me.

It is a symbiotic relationship between the artist and her/his tools. There is no perfect instrument and no bass player ever made a great recording without a bass It is not about the musician or the instrument, it is about the musician AND the instrument, the goal is to achieve the perfect symbiosis. This can be achieved with cheap gear or expensive gear and is unlikley ever to be a consequence of just 'shopping'.

The Jaco/Alphonso debate has raged for decades now and it is no more than a groove versus flash discussion. Some prefer basic groove playing, some the intense technical playing. In truth, most of us are somewhere on a continuum between them and, indeed, move back and fore. The simple fact is that you don't have to choose. A preference is a pointless position. You can love it all. The simple truth is that producers are generally drawn towards the groove playing because it is more in keeping with the narrower concepts that define 'pop' music. This is, in turn, because 'pop' music is generally 'dance' music and the lyric is king. A complex line a la Rhythm Stick is not remotely offensive if it makes a contriution to the tone of a song but creating a line like that for a pop song is harder than routine 'doink, doink' doink' lines and requires exceptional technical writing and performance skills on the part of the bass player. Unless the bass player is the composer, the bass lines are likely to be less sophisticated. A lot of Jaco's complex lines are contaiend within his own tunes whereas his best groove playing is in Zawinul and Shorter tunes. Alphonoso's compositions with Weather Report are all fairly bass-centric and would not have been written by JZ or WZ who both favoured more routine bass lines (I accept this is open to challenge). Nevertheless, AP is right; no-one ever made any real money by featuring a bass solo.