Bilbo

Chris Squire, Geddy Lee, Steve Harris, Percy Jones, John Giblin, Jaco, Jeff Berlin, Jimmy Johnson, Marc Johnson, Dave Holland, Charlie Haden... but nowadays it is not bass players but composers.

I remember many years ago a pianist friend referrng to the strained nature of the double bass and the way in which it sounds like a singer reaching for a note just out of reach. This creates a tension that the absolute accuracy of the electric doesn't share. Absolutely accurate intonation is rare and that nearly but not quite adds something to the mix.

[quote name='mtroun' timestamp='1380124058' post='2221199'] 'Trio 2000+1' (though the piano player on that record may get on your nerves!) [/quote] Just a bit..... chuffin' irritatin. Ruins the album for me.

Stop it, the pair of you, or I'll start deleting posts

Reel it in guys. Swallow is a master musician who cannot be easily defined by one track. Try Shoe Dog, Alfie or Away, 3 tracks he has done with John Scofield. The secret is not to be able PLAY the solos but to be able to CONCEIVE them. There are few as musical as Good Citizen Swallow.

Wow! Have the book but this is fantastic.

Cool!

My first 'proper' bass was an SB700. 1981, IIRC. Recorded all my Heavy Metal stuff on it. My brother still has it hung on the wall in his studio. It is a piece of s***

[quote name='KevB' timestamp='1379945682' post='2218527'] Ian Paice on brilliant form on the title track, what a way to start an album! [/quote] He shines throughout that album.

I got my arse kicked last night. By a girl. Did a trio gig with pianist Kate Williams. Great tunes and great arrangements but some seriously tough charts including Dienda by Kenny Kirkland (its in the Chuck Sher Real Book if you want to see it), a chart from Eliane Elias and one from Michel Petrucciani. Her website is here: http://www.kate-williams-quartet.com/

Deep Purple - Burn. Had forgotten how good the album is.

[quote name='alyctes' timestamp='1379369674' post='2211991'] jazz on Radio 3. I keep trying, but I still don't get it [/quote] Stop trying and just let it in.

You and me both, Skol. Trying to get a date for completion as we type. Next month is all but a write off for me BC-wise as my new studio arragement is to be an outbuilding that is not yet built!! October's entry could be a Zoom H1 recording of me humming an idea!!

Some lovely instruments on display here. I doth covet.

Take a photo of it with you playing it and we will all either reassure you that it is not a half size or we will all point our collective finger at you and laugh. Seriously, what are the dimensions?

You have to listen to what you are playing rather than rely on position playing. If you can't hear your notes, you can't guarantee your intonation. Make sure that, when you are playing your fretless, you can hear it. Practice listening. Sounds stupid but it isn't. And remember that you never get a day off of agonising over your intonation. Ever.

I had a great e perience last Sunday, playing with saxophonist Gilad Atzmon. Gilad has a reputation for furious tempos and high energy playing and, although he was not nearly as intense as his reputation suggested, it was a roast. I was required to play some of the fastest tempos I have ever experienced but got through the night all but unscathed. Nevrrtheless, expecting the worst, I had brought my Wal and played the encore, Georgia On My Mind, using the electric. Our usual drummer, who I have gigged with extensively and who has an enviable cv, was not on the gig due to back trouble but he was in the audience. He is very supportive of my electric playing but, for once, had the chance to listen from an audience perspective. His feedback was positive and included a comment I want carved on my gravestone! He said he couldn't hear much difference and that, like Steve Rodby, he heard only the music and not the change of instrument. I have spent a lot of time thinking about the electric in Jazz and, to my ears, it rarely works. Steve Swallow has it covered and there are others but there are recordings by Jaco, Gary Willis and 100s of other fantastic electric players playing Jazz but it so often lacks the depth I associated with the bass in this music and sounds, errr, pingy. Its not about technique, there are plenty of monster tecnicians out there, but about tone in context. Most electric sounds don't work that well for Jazz. What does everyone else think?

Customs do this all day every day. You are doing it once. What makes you think you are going to dream up the perfect plan? My advice? Don't even think about it.

Lots of great music in the 60s. Doubt you'll be playing any of it tho.

I know where Floyd is coming from. I am estranged from the electric. Not because of any innate flaw in the instrument, just because the gigs where I need to play it are my least favourite due to the nature of the music played.

Didn't know he had been born, let alone died. Guess he had never hesrd of me either.

I get a certificate.

Another Evah Pirazzi Weich user here. I use them because they sound like bass strings. To me, anyway. That's all. And they do a high C.

Crect.