Bilbo

Wal don't sponsor/give basses to anyone. If someone, even a celebrity bass player like Geddy Lee etc, plays a Wal, they bought it.

Try anything by Brand X (Product, Nobody Goes to Sweden, Wal To Wal, April). For me, it is the bass that allows you to sound like you. I have played my Wal Custom Fretless (4-string) pretty much exclusively since 1986 and have to say that I can't recognise a distinctive 'Wal' sound at all (but, then again, I can't tell the difference in sound between a Jazz Bass and a Rickenbacker 4001). What I do know is, if I hear myself playing, I know its me (so does my wife). For a jazz player, that's pretty important. Its reliable (no breakdowns (or broken strings) in 25 years), versatile (jazz/blues/funk/rock/shows. big band/duos/ live/studio) - it just delivers. Everyone who I play with is complementary about the sound and I pretty much always get called back. Some examples of the bass di'd into my PC (noodles, not proper pieces) [url="http://basschat.co.uk/index.php?showtopic=150684&st=0&p=1340108&#entry1340108"]http://basschat.co.uk/index.php?showtopic=...p;#entry1340108[/url] [url="http://basschat.co.uk/index.php?showtopic=42836&hl=wal+street+crash"]http://basschat.co.uk/index.php?showtopic=...al+street+crash[/url] Other stuff on my Soundcloud page (See below). If its me on electric bass, its all the Wal.

It doesn't change tempo at all but the first bar is a semibreve, the second two minims, the third is a triplet minim, the fourth 4 crotchets, the fifth 5 crotchets against 4 beats, the sixth two sets of triplet crotchests, the seventh is 7 against 4 and the eighth bar is eight quavers. |it then does kind of does the same thing in reverse but only half as much . Its a Jeff Tain Watts arrangement and it was done in 1986, 25 years ago. A simple but effective idea but one that cannot be replicated because it is too obvious.

I have used bags for 25 years on my Wal - it has fallen sideways, forwards, backwards, been left unattended on the road in a car park (for 45 minutes minimum) and been banged, wedged, stood on and spilt over. My bass is still in full working order although the pots are a bit scratched - serious mojo! Its a bass not a rare antique. Its gonna get bished and boshed. But that's all superficial. Hardcases are a pain.

Ugly little whatnots. They appear in Felixstowe occasionally, in a tiny little shop near the train station.

We are all actually in agreement but I just wanted to urge people not to deify the bebop/hardbop school of jazz - its potentially as cliche-ridden as any other genre. There is a lot to be gained from standards but more to be gained by looking outside of the cloisters of neo-classicism and out into the wider music world.

There are a while raft of influences bearing down on Jazz that could not have happened before 1965. A lot of the world jazz influences are new, hip hop rhythm stuff has come in, new instruments are being explored - I guess it depends on what you value and what you consider to be Jazz.

1.Do we need an agent/agency? No but it can't hurt (don't sign exclusively as they won't get you enoughwork) 2.How do I find a good agent/agency? Lift up any drain cover...... 3.What are the essentials for a website? Soundclips and contact details. Make it look classy. 4.What type of events book Jazz bands? Weddings, birthday parties, retirement dos, corporate stuff.. 5.Is it OK to do Jazz arrangements of Pop tunes (Kings of Leon, Killers, Gaga)? Yes, as long as you do it well. 6.What are the top tips for doing functions/events? Be on time and look clean and professional. Keep a clean band area (put cases in cars/out of sight). Always make sure the customer is getting what they want. Always discuss payment in advance (cheque or cash) so no uncomfortable silences on the day.

[quote name='risingson' post='1338962' date='Aug 13 2011, 06:12 PM']Wow, a lot of these guys couldn't be further away from what is collectively known as acid-jazz, I don't know where you got the list from but it ain't really right![/quote] That's the trouble with labels. Different strokes for different folks. You create the label, the next guy steps over the line. Many genres expand until they encompass sub-genres and sub-sub-genres. I grew up with Rock which morphed into Heavy Metal before it sub-morphed into death metal, speed metal, prog metal etc. Its all academic to 99% of the population, including the bands. Wikipedia, by the way.

There is a myth around that you have to start at te beginning at work your way through it all to get to the stuff we hear today. There is some value in the idea but it is not the only way to make sense of the concept of improvisation or of swing etc. As the path from King Oliver to the Glasper's of this world gets longer, its harder to absorb it all before you get to play something of value. The great American Songbook is not the only source and the fact that it is held in such high esteem is as much commercial as it is aesthetic. Some of those songs are bl**dy awful

Those kinds of frantic lines are seldom worth the effort, IMO On the age thing, I have to disagree. I am playing better now than ever (age 48). There are some things that I used to be able to do that I can't now (only because I have forgotten them) but, where there are recordings available, it would be fair to say they weren't nearly as good as I remembered them to be. I was clearing out some old cassettes recently and found several live recordings of some fairly heavy fusion/jazz rock tunes we used to do in days of yore. My playing was [i]very[/i] raggy and, although the tunes I was trying to play were hard, my playing of them was nowhere near good enough. Nowadays, I am much more aware of what is working and what is not and my playing is generally more musical as a result. And because it is more musical, the bits that involve technical flourishes tend to be more integrated.

Its hard because we are all compromised by the amounts that venues can afford/are willing to pay but I rarely play above a 5-piece and ususally 4. Some venues only pay for duos and trios. We can always make music but the choices around the size of an ensemble are seldom musical.

Did a doubler on Friday; jazz set in the afternoon (double) followed by two funk sets (double and electric) in the evening. The thrill of the day was playing funk tunes on double bass with a 5-piece band and having a great sound. THe electric parts of the sets were slammin'. Good charts, great drummer, good sound - what more can a guy ask for?

Knock yourself out, Faithless. I never buy standards cds and am reluctant to buy any cd with even one standard on because its lazy programming. If anyone has anything new to say on Autumn Leaves, let me know. Until then, I stick with 200 versions I already have and listen to some of the new stuff!

What happens if I press this.......

Eden Metros are going for £500 second hand and, if you ever want to gig it, it will do anything you want it to.

[quote name='lobematt' post='1334979' date='Aug 10 2011, 01:32 PM']But as you said, if I learn them changes well I can gig for the rest of my life on them and in a toss up between earning money for playing my bass and the risk of boring seasoned jazz musicians I know which way I'm going to go with it.[/quote] I was being facetious. The material we are discussing is getting more and more tired and there are fewer and fewer places that will tolerate it. Most credible jazz venues are turning their backs on this 'model' of jazz in favour of more contemporary forms. All you will be left doing is playing retirement dos and 80th birthday parties. If your motives are entirely mercenary, form a tribute band.

[quote name='lobematt' post='1334953' date='Aug 10 2011, 01:21 PM']Not that I'm particularly well educated in jazz but I'd have to disagree with that. Surely making the changes your own and what and how you choose to play through them is what jazz is about?[/quote] Yes and No. In the course of researching my Paul Chambers biography, I interviewed a guy called Dan Pliskow from Detroit who had the same teacher as Chambers. He sent me his own biography which included the set list from his very first gig in 1953. It consisted of Stella By Starlight, Autumn Leaves, All The Things You Are etc etc. THe model of taking standards and 'making them your own' has some legitimacy historically but the reality is that most people who play these tunes are regurgitating cliche after cliche. As a listener and jazz fan, it bores me rigid. For the lay person, I can see why they would walk away. The best traditions of jazz are of improvisation, innovation and exploration. The 'repertory' movement will turn Jazz into a museum tour.

You will, of course, bore everyone senseless and become part of the problem that is killing jazz in the provinces: stagnation. Learn them then never play them again.

Summertime. Actually, the past 5 posts give you the requisite material to gig successfully for the rest of your life.

[quote name='Muzz' post='1334867' date='Aug 10 2011, 12:37 PM']Moondance! [/quote] I can delete posts, you know

Best ones in bold..... [b]12 bar blues (thousands) Rhythm Changes (thousands - I can name 48)[/b] All Gods Children Got Rhythm (5) [b]All The Thngs You Are (6) Cherokee (9) Confirmation (5)[/b] Fine and Dandy (6) [b]Honeysuckle Rose (8)[/b] Sweet Georgia Brown (6) Back Home Again In Indiana (5) [b]What Is This Thing Called Love (6)[/b] Love Me Or Leave Me (6) [b]Out Of Nowhere (5)[/b] Lady Be Good 6) [b]How High The Moon (6)[/b] Pennies From Heaven (5) Acknowledgement to David Bakers How To Play Bebop

Snowboy is a credible percussionist but what little I have heard of his records, its a bit repetitive - lots of two chord vamps, endless grooves on one chord etc. Ok but I don't find it that engaging. If anyone knows differnt, let me know.

Key artists A Tribe Called Quest Brand New Heavies Brooklyn Funk Essentials Corduroy Count Basic D*Note Digable Planets DJ Krush Erik Truffaz Erykah Badu Funki Porcini Gang Starr Gilles Peterson Groove Collective Incognito James Taylor Quartet Jamiroquai Jazzanova Kruder & Dorfmeister Liquid Soul Ronny Jordan Stereo MCs St. Germain Thievery Corporation United Future Organization Urban Species US3 VASSY Young Disciples Azymuth The Asteroids Galaxy Tour Bernard "Pretty" Purdie Bird Blazzaj Blue Six Bonobo The Cat Empire Clazziquai Directions In Groove DJ Cam DJ Greyboy Dodge City Productions Dreamlin Drizabone D'Sound DZihan & Kamien Elektrotwist Fat Freddy's Drop Five Point Plan Freak Power Four 80 East Greyboy Allstars Gota Yashiki Heavyshift Jaga Jazzist Jazzhole Jazztronik Jestofunk Kanda, Kodža i Nebojša Koop Kyoto Jazz Massive Liquid Soul Luke Vibert [7] Los Amigos Invisibles Marius Kahan Mark Farina Medeski, Martin, and Wood Melvin Sparks Mojack Moloko Moodymann Mondo Grosso Monday Michiru Mr. Scruff Muki Noel McKoy Nicola Conte Nujabes Omar Lye-Fook OutKast Paolo Achenza Trio Paul Moran Phil Davis Praful Reuben Wilson rad. RJD2 Skalpel Smoke City Snowboy Soulive Swing Out Sister S-Tone Inc. The Cinematic Orchestra Wax Tailor Xploding Plastix I think I have heard of 3 of these For the record, the link between Jazz and Acid Jazz is pretty loose and the scenes are not linked up much at all. Medeski, Martin and Wood are pretty cool and Azimuth has a history but a lot of this stuff is not really on the radar of the average Jazzer.

I just don't get this gear thing. A bass is a bass. If I turn up and the bass player has a Fender I don't give a rat's a***. If he has a Ken Smith I may think 'ugly f****** bass' but I still don't give a rat's a***. Its the music that matters. I once went to see a jazz gig at the South Bank Centre foyer (October 1987?) and whilst sat there waiting for the gig to start, noticed a guy in a thick spectacles, a tweed jacket and pyjama bottoms. He was carrying a mashed up guitar case which, when opened revealed an SG that looked like it had gone 10 round with Angus Young and lost. When the band started, turns out he was the leader. Massively creative gig; Billy Jenkin's Voice of God Collective. Intensely creative and brilliantly funny. Listen with your ears. Your eyes will stitch you up something chronic