Bilbo

You don't want to know!!

I think the ones I have heard mostly sound like fretless basses rather than double basses but the technology is moving very quickly and there may be EUBs which I have not heard but which do sound convincing.

58 (mistype). Which freaks me out a little as I had John SCofield Lps with him on from 1980. I hadn't realised until now that he was only 25 when he recorded those!!!

I have a Finale Carbo Fiber (sic) bow I got from String Emporium (mine is French but they do a German one). It worls fine and is, I am led to believe, as good as much more expensive wooden bows. To be fair, though, I also know a master bow maker and he won't talk to me any more!

Rob is right. Low G (first line) is the third fret on the E string whilst the high G (top 'gap' between the top two lines)is the open G string, 5th fret of D string, 10th fret of the A string or 14th fret of the E string, all of which are the same note. Notation not only tells you which note to play as in G, it tell you which G to play. Otherwise, you would be all over the place.

My 28 year old Wal Custom Fretless 4 string. Does everything.

I was just listening to The Impossible Gentlemen's latest CD and it occured to me that the relative ages of the individual members is incredibly wide. Steve Swallow is 74, Adam Nussbaum is 38, Mike Walker 50 and Gwilym Simcock 33. That is a a 41 year difference between the oldest and the youngest members. And the music is still incredibly cutting edge. I love the fact that this music is still accessible to people at an age when other genres would seek to dismiss them as yesterday's men.

Been a fan of Flim since I was a teenager (now 50). I bought an LP called Grasshopper by the Wayne Johnson Trio. This recently appeared on youtube from 1982. Follow the link and htere is loads more early JJ. An amusing aside, the drummer, Bill Berg, is not a pro musician. He is a Disney animator and drew Beauty from Beauty and The Beast and, I think, some of the lead characters in The Lion King. http://www.youtube.com/watch?v=7k5EQWfqVOQ

I will get to it this week, mate (I have a gig with Steve Waterman next Sunday and want to 'sound my best' ). Osian now lives about 15 miles outside Prague in a converted Granary with his wife, kids, 3 chickens and his late mother in law's old dog! I will mention those names to him when I next speak to him (which will be soon as I recorded the gig and he wants a copy - it was a monster!!).

Sometime it matters, sometimes it doesn't. Sometimes it matters a lot. If it is a massive note in the middle of a quiet passage, it may matter a lot. If it is a passing note in a string of sixteenths, it probably won't matter as much as the overall phrasing. If you are still learning, as it would appear you are, I wouldn't worry too much about it. The issue will become more relevant as you progress.

I have been agonising over my double bass sound (as we all do) since I got a double bass. Last night, I was playing a great gig with an old friend, tenor saxophonist Osian Roberts, and the bass sounded as good as it ever has. All except the high C string. The rest of the strings sounded warm and full but the C sounded clanky and thin. Then a light went on. When I last had my action adjusted, the luthier broke the C string. I replaced it temporarily with the one that came with the bass and ordered a new High C Evah Pirazzi from Golihur to match the other four and which duly arrived. I never got around to fitting it. Eeejit.

Carles Benavent - well known to Nuevo Flamenco fans but rarely mentioned in the hallowed halls of Basschat. A pick player with chops to die for. http://www.youtube.com/watch?v=texmxqhxGHI

Kermit Driscoll, bass player with Bill Frissel. One of those guys with no showboating techniques but who can play his ass off when he needs to. I can usually hear it is him in two notes. http://www.youtube.com/watch?v=pDqp9bnh77U

I like to be in the same room as the rest of the band. If I can.

[quote name='jakenewmanbass' timestamp='1391779681' post='2361188'] But as was once said to me, 'it's more important to be kind than right' [/quote] In politics, that is impossible.

I can't get over the carnage caused in the 90s by all those petrol stations exploding because people used their mobile phones on the forecourt. It was bedlam. I am all for risk management but sometimes....

[quote name='Coilte' timestamp='1391508757' post='2357822'] I dont know if anyone ever told you but.......bass playing is supposed to be fun ! [/quote] Don't forget how much fun it is to work hard, to study and to learn. The best fun I have ever had has been because of the work I have done, not just because I 'played' at something.

It doesn't matter nearly as much as you think. I have been playing for 34 years and rarely see any parts that require either technique as an absolute requirement. It is the sound of the phrases that matters not the means by which you achieve them. As for disabilities, look up som youtube videos od Django Reihnardt. He only had two fingers on his left hand (the other two were fused together in a fire and were useless) and he ripped s*** out of his jazz guitar, defining a genre in the process. Your disabilities shoudl not define your ability to enjoy playing, they just change the nature of the problems you have to solve when learning how to make the noises we call music!! When I taught, I used to show people who were agonising over this how fast they could play with just one left hand finger and most people are surprised at how sophisticated your lines can be with only one digit.

I don't think Blind Lemon Jefferson gave a flying f*** These blue notes are an approximation of the vocalisations of early blues singers. In truth, they were rarely either major or minor but more like a slur up or down. The transfer to conventional European notation came after the fact and the major and minor blues scales are what they are; a five note scale with a chromatic addition slipped in for effect. The D# or Eb are, as was said above, both correct. I guess it is about context really and how confusing a series os accidentals would be when you try to write things down.

We have just finalised our March/April line-up for our Jazz East at The Fludyers project in Felixstowe. I am going to get to play with Roger Beaujolais, Georgia Mancio, Josh Kemp, Alan Barnes, Pete King and, get this, in a sax-bass-drums trio with Dave O'Higgins!! I love Jazz, I really do

In answer to the OP, it is just a case of getting used to playing whilst listening to your intonation instead of just assuming you are in tune, the way a fretted bass player does. You don't nbeed to 'practice playing in tune' you need to 'practice lsitening to your intonation'; the difference is subtle but significant. Same with a double bass.

[quote name='ambient' timestamp='1391377754' post='2356563'] This beauty . [/quote] OMFG! I just .....

One bit at a time. Only way.

It matters a lot less than people think. I find I almost never play a line where I need to play anything quick or sophisticated enough to need OFPF tecnique AS OPPOSED to 124 fingering. Certainly, phrasing using OFPF is a lot harder than it need be.