Bilbo

I just dial in a sound i like and that seems to work for everything. I guess if I was playing lots of different basses in lots of different genres and using lots of different techniques, that may not work but I plat fretless bass fingerstyle (no slap, pop, tapping, plectrum etc) so get what I get. I play jazz, funk,.rock/pop and Latin music and, in short, a good sound is a good sound and, in my epxerience, transfers easily.

PS checked my fake book and it is in Ab in there!

I always love his 'Self Portrait In Three Colours' from the same 'Mingus Ah Um' album. [url="http://www.youtube.com/watch?v=mkJfL6KQ058"]http://www.youtube.com/watch?v=mkJfL6KQ058[/url]

Just saw this on Amazon - 8 Paul Chambers related cds for less than £7. Amazing value for money. http://www.amazon.co.uk/8-Classic-Albums-Paul-Chambers/dp/B006UFCFPW/ref=pd_ys_qtk_general_recs_2

I always send people to Mark Levine's 'Jazz Theory' book but there are plenty of others that will do the trick. In truth, there isn't that much to actually learn. Its the application of what you learn that takes the time to absorb. That and remembering it all.

You can, of course, change the key signature throughout the chart. It works best when there are disctinctive key changes in a tune and can get really confusing in transcribing Jazz solos but it is an option.

I did a piano trio gig once where the band was in the middle of diners. The drummer was so close to the punters that his cymbales were nearer them than they were to him. I was watching him at one point and he was hitting his snare drum so quietly that the snare (which was on) wasn't actually ratlling! Its all about control. No instrument is inately loud; it is up to the player to control volume.

I'll try to explain. When players call a 12-bar blues in Bb, it is not actually in Bb, it's key centre starts in Eb major the key which the Bb7 is the dominant chord in. When it goes to the fifth bar, the chord of Eb7 is the dominant chord of the key of Ab major, so, whilst the tune is 'in' Eb, it isn't. THe head of the chart, however, will have a key signature that tells you which notes to play sharp or flat, it does not tell you that the key changes at the fifth bar etc.

Try Ja-Hed by Kenny Garrett (African Exchange STudent) or Impressions by John Coltrane - they are both based on the same chords as So What

Depends what key you play it in The original is 'in' Eb, IIRC, but the chart is all over the place and a monster of reharmonising and whatnot so you need to think outisde of Eb in terms of the harmony. Remember, the key signature at the start of the chart only refers to the notes on the stave and NOT the chords above it so, if the chart is 'in' Eb, it doesn't mean the chords have to diatonically relate to Eb major.

I find that the stuff I play on electric and double bass are completely different. With very few exceptions, I see very little commonality, conceptually, between the two instruments and lines that work on eb are different to those that work on db. I am hearing a different thing entirely.

It's the music that matters and the means by which you make it are less important. All the greatest jazz musicians also play(ed) piano (Miles, Dizzy, Coltrane, Mingus, Jack De Johnette, Pat Metheny etc). Many more play more than one instrument (saxophonist Chris Potter plays guitar as does drummer Omar Hakim, whilst guitarist Birelli Lagrene also plays bass). There is simply no need to choose, you play both (besides, you can't learn how NOT to play so, even if you do not have a bass at any given point, you are still a bass player and can always go back to it). What is important is that you are involved in the creation of music in whatever way makes you happy and prodictive. I have to say that I could spend all of my time composing on Sibelius, I love that part of the process so much. Its all good.

I saw a chunk of it and it felt a little bit lame, if I am honest. To be blunt, it wasn't their fault but I think the BBC didn't get the sound together at, at least for the bit I watched (all vocal and no band) - I saw the start to the appallingly cringy bit where Rolf sang Two Little Boys to fill some space. I could bear it no longer.

Bill Dickens had one I think. And these guys popped up on youtube. [url="http://www.youtube.com/watch?v=29mrAEw_8sE"]http://www.youtube.com/watch?v=29mrAEw_8sE[/url] [url="http://www.youtube.com/watch?feature=fvwp&v=hUc2lGRXm7Q&NR=1"]http://www.youtube.com/watch?feature=fvwp&v=hUc2lGRXm7Q&NR=1[/url]

One of the aspects of Jamerson's playing that is seldon commented upon is the gift he was given of harmonically relatively sophisiticated songs like this. His concept was fairly narrow in some ways but the material he was required to play on gave him a huge canvass on which to weave his magic. A great player in the right place at the right time.

We did an outdoor one last night under a gazebo but the rain got really bad so we were moved inside and finished the gig in someone's dining room! We have another tomorrow and, so far, no mention of cancellation (Kent way).

Did two double bass gigs in one day, yesterday, one in Petersfield and another in Hayes. 4 x 50 minute sets over about 7 hours in total. A bit sore by the end but, after a night's sleep, all is well and certainly nothing is out of the ordinary. Just as well because I have another gig tomorrow

That's am awful lot of girls for one band. Can't be right

Your video linked me to this l;ovely version of Body And Soul. Nice sound bearing in mind the tiled wall! [u][color="#0066cc"][url="http://www.youtube.com/watch?feature=player_embedded&v=YaLwx7iwchY"]http://www.youtube.com/watch?feature=player_embedded&v=YaLwx7iwchY[/url][/color][/u]

Never too late. It is possible to write more than one book at a time!

A minute to learn and a lifetime to master. Step One: Play the relevant scale. Step Two - Step seven million - Break it into thirds, argpeggios, broken arpeggios, pentatonics, repeated notes, chromatics, passing notes, rhythmic pushing and pullling,,,,, this list is endless and pointless. What you need to do is to listen to a zillion bass players, transcribe a zillion walking lines and experiment. Gradually, over 30 - 60 years, you will see an incremental improvement in the quality of your lines. You need to relate your lines to those of the other musicians around you; if they go up, you can go up or down or stay where you are; it doesn't matter what you choose to do, only that you choose to do it (i.e. it is not random accidents). There is no right way, just [i]your [/i]way. Don't be afraid of repetition; it is inevitable, You just need to disguise it by changing what comes before and what comes after. Learn which notes sound strong and which sound weak. Don't start every bar, two bars or four bars on the root note. Think across bar lines occasionally. Just enjoy the creative process and make great music. Simple.

I listened to a 1974 live recording (Fly By Night era) the other day. You can see why they took off.

The decision is made and I have some really exciting news about it. But I can't tell anyone!! AARGH"!!

Give your self the day off, mate . You have it faster than most sax players you will ever work with and have probably learned all you are going to from that exercise. Playing at those tempos is shallow showboating and serves little or no musical purpose. As I said elsewhere here, just because you can, doesn't mean you should I thought these guys were more mature than this. Clearly not

I have a German and French one. One cost about £200 the other was 'free' with the bass. I can't really tell the difference yet. My point is that, until you have some emblance of ability with one and some insight into what they are supposed to be for, it is hard for you to make an assessment. I say get one of this starter bows and plunge right in. Endorka, on here, has one of the Yita bows and swears by it as do several others. I say try one and then, when you are nailing it, you can try out one made of unicorn horn and angel's hair and know where best to spend the money.