Bilbo

I have never really experienced nerves in a playing situation. My self talk is appalling anyway and I am always aware of how I am playing but I don't really care what anyone else is thinking at any given moment. If I am not happy and someone says it was great, it doesn't make me feel any better. Likewise, If I think it was great and someone says it was sh*t, I'm inclined to dismiss them.

Couple of nice moments but I have never bought any Floyd and never listen to it by choice. I just find it all a bit bland harmonically and rhythmically. Some nice melody, I'll give you that, but even that can be a bit samey. I think I just got to them too late in my listening career. Does it matter that I have never been pissed or stoned?

Lots of useful thoughts here, guys. Thank you. I have my own thoughts, of course. Just one point, in response to the 'all these cats are dead and American' point. Very true but people who are alive are not always willing to cooperate with projects like this or may be involved in something themselves (Steve Swallow is working with another biographer, for example) so the dead guys tend to be less 'complicated' in terms of putting the material together. Dead people are also less concerned that you leave out the embarrassing bits so you can sometimes get a more complete picture (there were a few people I wanted to speak to during my Chambers research who refused to coppoerate with the project as they had wanted to 'protect' PC in some way or wanted to carry on with their lives without opening old wounds etc e.g. a couple of ex-girlfriends, one of PCs sons, some musicians who wouldn't speak to me etc). The Amercian bit is certainly a factor (although Vitous (Czech), Gomez (Puerto Rican), the two Lopez' (Cuban) and Holland (UK) aren't American - that's 33% of the list) but I guess that s an indication of the genre we are discussing. I also need someone who has a sufficiently substantial career to warrant the research - someone who has done three cds probably isn't going to fill's a book!! I also need to consider who is sufficiently interesting to warrant the research. A book on Basingstoke's leading bass player is not going to get published, even if he's brilliant!

Are you serious? Have you missed the other massive thread on the youtube version of this? Its stunning....

There are already books on Carter and LaFaro (both fairly recenr releases). Dave Holland not old? He's 66 this year, not ancient, I'll give you, but certainly twice as old a Paul Chambers was when he died

Jazzers almost never use clicks.

Wall hangers for the basses?

Ladies Night In Buffalo - Dave Lee Roth Higher and Higher - the bloke that sings Higher and Higher (load of old tosh)

[quote name='leftyhook' timestamp='1330677623' post='1561273'] I remember Cubase having a 'humanise' option to it's quantise. it simply adds more feel by imitating a human drummer [/quote] I pressed that button once and my PC got off with the guitarist's girlfriend and was sick in my gig bag. Never again.

NHOP!!! Didn't think of him!!

Some of the 'starter fodder' ones that were around in my day were: Peaches - The Stranglers The Chain - Fleetwood Mac (theme from Grand Prix) Can't Hurry Love - Phil Collins Dallas 1 P.M. - Saxon

[quote name='jakenewmanbass' timestamp='1330607457' post='1560226'] As someone who worked with Frank Zappa material and Alumni in the 2 years following his death I would say keep one eye on the owners of the estate!!! [/quote] Very true. Fortunately, few Jazz musicians HAVE any form of estate!!

True but there are always stories to tell (and like the world needs another jazz and drugs 'crash and burn' story).

[quote name='daz' timestamp='1330604750' post='1560121'] Never heard of any of them, sorry. Surely you cant make money on selling books that the majority of the population have never heard of ? [/quote] Money is not the only driver, Daz.

I am not aware on anything being done on Ray Brown. Percy Heath was bass player with the Modern Jazz Quartet, Miles, Dizzy, Milt Jackson and the Heath Brothers. 'kin heathens.....

[quote name='waynepunkdude' timestamp='1330601750' post='1560019'] Matt Freeman [/quote] Is there a 'shudder' emoticon?

The various artists route has done several times, Len. It would disappear into the ether and be competing with loads of other publications. A stand alone biography has the potential to find its niche more readily (I should add that I have no real ambitions to sell millions of copies; if I did I wouldn't write about jazz bass players ). There is another aspect to it, Jake. Writing about living people means you can offend them and get sued. Its is harder to offend someone who is no longer with us and they tend to be less litigious !!

The imminent publication of my Paul Chambers biography leaves me wanting to start my next piece of research and I have not yet decided who to look at. I did want to write Steve Swallow's story but, having discussed it with him, I discovered that someone else has that in hand. So, who do I look at? Haden would be my first choice and Holland my second. I am also interested in Pettiford, Watkins, Lopez Sr and Clarke as subjects. Hinton is a possibility but some of the others are less likely to gain commercial attention? Anyone got any preferences? Who would you like to read about? PS Mingus has been done several times and far more comprehensively than I coudl hope for.

True but in 1986, Wal was a new company and their basses were not being given away as part of a sponsorship deal (never were, if I am correct). Same with Eden; they were a new company back when I got my Eden. I say look at what your people actually use rather than the adverts. When I say 'if its good enough for them...' what I am actually suggesting is that mastering your instrument is only partially about the kit and more about your ears and mind. If your bass is, for want of a better word, 'good enough', why stress about that detail; spend some time on the music.

Commitment. That's all it takes. Buy a decent professional quality bass of a similar type to the ones your favourite players play (could be a Jazz, a Fodera or a Wal or whatever; its your call) and stop looking at everything else until you learn how to play the one you have properly. I bought my Wal (£740 mail order) because Percy Jones, John Giblin and a few other players I liked had them. That was in 1986 and I have not really looked at another bass since. Same with my amp - if its good enough for Gary Willis etc, its good enough for me. Everything else seems like chasing rainbows.

I have this irrational fear of low tension strings. I have convinced myself that the best way to build up technique is to deal with the more demanding action of a bass with higher tension strings. I have this idea that, if I go for really light strings, I will have the r/h technique of a big girly wuss and sound like a lightweight.

Try looking at Slonimsky's Thesaurus. Its not an expensive book and really gets you thinking outside of the box.

Yes, I had noted that but thought it was a nice moody image, very much in the genre of 1950s/60s jazz photography. I had other clearer images that were just not 'front cover; material. There are 18 or so images in the book including a photo of PC age 14 and 17 and one of his wedding photos, one with the kids. And, of course, a few with Miles, Coltrane, Stitt, Pepper etc. There are 3 images I really like from Val Wilmer (who I really rate as an author and photographer so this is a real buzz for me). take in London in a bar. Very informal and human.