Bilbo

[quote name='visog' timestamp='1418672342' post='2632237'] Don't listen to any Steve Bailey whatever you do then. [/quote] I did. Once. I also had that Epidemics LP and agree it was weak.

Just keep going. 20m pianists can't all be geniuses!!

EW had a stroke a few years ago (2010?) and I heard that he no longer plays (that rumour may be out if date). ECM released a recent album where someone (not sure who) had orchestrated some of his historic solo bass work. I have to say that I never really liked his work and found it a bit 'noodly'. His sound doesn't work for me either and I always thought that he sounded like a poor fretless player rather than a decent upright. I have a lot of stuff with him on, including some of his own stuff, but never reach for it when I want to listen to something. I feel he doesn't inspire me but is not quite in the league of a deal breaker (there are a tiny number of musicians who, if they appear on a recording, I will not buy it). That ECM period people are referring to had some real diamonds in there but there were plenty of 'fillers' also. I have an emusic account and can download ECM albums at 42p a track (regardless of length - some cds are 84p) so have loads of stuff from all sorts of ECM artists but some of it is just bland and meanders pointlessly. Weber's work is one of those I approach with caution!!

I think the two finger thing matters more useful when you are soloing, playing 'funky' bass or playing more active lines. If you are walking, even fast, one finger seems to help everything stay focus (imaging a drummer playing a fast ride pattern using two hands instead of one). THe way the sound develops after you pluck is an important part of the timbre and, if your second finger is already in place, it is going to have an effect. I use one and two finger techniques depending on the line but, for a walking bassline, it is mostly one finger. Try playing a walking line around 100 bpm, one finger, straight quarter notes for half an hour. It's zen-like.

Last wedding I did a 40-something lady guest asked if she could sing Nutbush City Limits. She was absolutely brilliant. To be honest, I am not a Who fan but you cannot deny Daltrey's credentials. I would let him sit in as a mark of respect.

+1for the Green and Werner books. An example: I always want to play like a monster and waste hours cocking about up the dusty end. Recently, I spent half an hour playing straight quarter notes at about 120 pm. The difference it made in the way I connect to the bass was astonishing!!

Didn't get anywhere near this this month, guys. Sorry. Just really busy at the moment.

This is not that new a phenomenon. Pat Metheny was teaching at Berklee at 17 and touring with Gary Burton/Paul Bley at a similar age. Tony Williams was with Miles at 17, Paul Chambers was 20 etc. I guess it's the idea that 'schooled' musicians are finding a place in 'garage' bands that raises the eyebrows. But the simple fact is that learning our instruments is easier nowadays in that there are fewer barriers (living in a rural area used to prevent access to mainstream recordings, never mind live music) and more resources (dvds, internet etc). Good gear is cheaper, colleges covering popular are much more widely available, home recording and video is cheaper (you can do a video on your PHONE nowadays. In my era, you needed a camera that weighed about 40 pounds and even then the results were dubious). It's all good really but I think some of us old folk miss the 'folksy' element of it all, the fact that pop music came from the 'street' and not colleges. The fact is, all art forms start that way and end up as academic subjects of some sort. It's a multi-zillion dollar industry now. Why wouldn't it attract learners?

All of the above!!

Just try and relax. It is not that hard (am listening to it now). You know it's hard and, as a result, I suspect you are tensed up, gritting your teeth and holding the bass neck too tight. Step back from it and let it flow.

I did that Audio Masterclass on-line thing and found it useful for my purposes which were very general. I learned some stuff I could use and have a whole bunch of reference materials I can go back to etc but I do hold the view that the the best way to learn is to be doing and having up-to-date gear (software, vsts, decent microphones etc), working with that gear and keeping a watching brief on developments via the magazines and forums referred to above wiill cover a lot of bases. I guess the first question is what is it you actually want to do with the learning? If it's personal stuff, you can go the informal route. If it's professional ambitions that drive you,you may need to find something more formal.

Haden was a massive, massive talent. If you ever read through any transcriptions of his solos, his rhythmic sense is astonishingly sophisticated. He lacks the chops of the gunslingers but his musicality is unparalleled.

I spent an hour and a half on this yesterday and came up with absolutely nothing so practiced my reading instead.

Thematic development is a real art form and there are so many options available if you start to think about it and investigate it. My earliest substantial memory of music was hearing Ravel’s Bolero which is really only a very short theme re-orchestrated a couple of dozen ways as it builds (and it builds because it is orchestrated in several different ways). One of my recent Basschat composition challenge entries was a tunes called ‘Salome’ which was written with this kind of thematic development in mind: It sort of went: Theme One Theme One by new instrument plus first counterpoint by first instrument Theme by new instrument, first counterpoint by second instrument, second counterpoint by first instrument and so on (I think there is a fourth counterpoint as well but I think one of the others is dropped before it appears). Counterpoint is another area which I think is under utilised. It is marvellous what you can achieve when you invest time and thought into these areas of composition. The Jazz rhythm section and soloist approach is very limiting and a lot of popular music is only really a variation on that; drums, bass plays bass line, guitar/keyboards play chords/riffs, horns/voice on top. My biggest epiphany as a result of these composition challenges has been the recognition that ‘composition chops’, like playing chops, is improved with practice and that there is a LOT to be said for taking time to think and plan and work on your pieces in depth. A lot of the great classical composers took years to write their greatest pieces. We expect to sit down with a guitar and come up with something beautiful in a couple of hours. It can happen (I understand that ‘He Ain’t Heavy, He’s My Brother’ was written that way) but, as the saying goes, it’s mostly 1% inspiration or 99% perspiration. I have a couple of friends who are professional composers and they talk about writing ‘7 minutes a day’. They call it factory work. It’s a skill like any other and improves with usage!!

Lush Life. The OP's question is a legitimate one. Given all of the variables, it doesn't matter whether the groove is more important than the notes or the 'feel' etc. One can readily assume that when we say ' the hardest', we are looking for what is the 'hardest' tune in which to get all of these factors to work together to create an identifiable whole. The argument is like saying which building is the tallest and responding by assuming so buildings have taller storeys so will be taller whilst having less floors. It's irrelevant. For me, the simple truth is that, in strictly musical terms, if it is hard to play, it does not become a standard. In my experience, none of them are hard, They are just different and you either know them or you don't. The observation that they all look pretty easy is entirely accurate because most of them are. I once worked with a chef who, in his 30s, bought a guitar and an Oasis songbook. After one weekend working with his new toy, he came to me on the Monday morning and said 'Is that it'?

But why?

[quote name='Roland Rock' timestamp='1415866611' post='2604534'] Dood, it kind of looks like there are rivits on the top edge - I assume those are reflections? [/quote] Uplighters....

[quote name='RoRi' timestamp='1415722382' post='2603050'] To argue about taste is senseless. Some people like to listen to modern music and others still like to listen to Deep Purple, Mud and Staus Quo. That's okay by me. [/quote] I have never subscribed to the idea that there it's all good. Some isn't and I hear nothing of any depth in this guy's work. It's an opinion. Ignore it if you wish. It is worthless.

I discovered that Kuhn trio earlier this year. Absolutely fantastic.

I have never been impressed by this guy. Doesn't seem very 'together' as a player to me. Lots of 'wicketty woo' but not a great deal of content. Please signpost me to anything that proves me wrong.

I am thinking of the image rather than it's title. Two people can be dancing to any form of dance music and not just disco so that really opens it up.

Haven't even thought about it yet!!! Been shedding for a reading gig last night. Now that is done, maybe I can get to it!

Love it. Those Sei basses all sound so good, Mike, so clean. Perfect for what you are doing.

These guys all look so young! For some reason, I though Israel Crosby was white. Maybe I was getting mixed up with Chuck Israels (this video of him with Bill Evans opens with a lovely shot of a fag toting John Le Mesurier in the front seat of the audience!!) http://www.youtube.com/watch?v=XMHsz5VqLhM

For me, Chris Squire's sound has always been one which makes me go 'wow'. I only have two Yes cds on my ipod, the first two LPs, and the bass is superb. It changed over the years but always kept that growl. I never tried to copy it in any way shape or form and the only Yes cover I have ever played was Wonderous Stories which I played on guitar not bass. My 'go to' tone was always Jack Bruce's sound on the Cozy Powell LP 'Over The Top'. His intro solo on Sweet Poison was an unconscious reference point for years and my second bass was an Aria SB700 because it was as close as I could get to the SB1000 Bruce was using at that time. In 1986, I then got the Percy Jones/John Giblin/Wal bug and bought the Wal Fretless I still use as my only electric bass today. My sound now is probably a kind of Bruce/Giblin mix with strong references to Steve Swallow in my electric Jazz playing. Other bass sounds that I love include Jaco, Bruford era Jeff Berlin (hate his sound now), Jimmy Johnson, Steve Swallow and Anthony Jackson. I never really tried to emulate the tone of any of this group, though.