Bilbo

Just bouncing off Heathy's 'Sgt. Pepper' thread, I was just thinking whether I had ever tried to learn the basslines off a whole album. I learned quite a bit of Alphonso Johnson off Face Value, Steve Harris off Iron Maiden's 1st, a lot of Chris Squire off Tormato, a wodge of Jeff Berlin off Feels Good To Me, Gradually Going Tornado and One Of A Kind, lots of Jaco bits etc. But I don't think I have ever put work into getting a whole album learned. My own thoughts are that the learning gained from working on tunes is going to vary song to song and some of it will be not be time particularly well spent. Learning the bassline of Mull of Kintyre because it was on an album would, imo, be wasted effort, for example.

That'll be an hour well spent

Keith bought a K&K Sound Double Bass pick up off me. Quick payment and good comms. Would deal again anytime without hesitation.

I have absolutely no idea.

Believe it or not, I have just listened to Phil Collins Face Value cd (I read somethign about it yesterday). Its actually very nicely put together.

[quote name='Wil' post='1219979' date='May 4 2011, 03:44 PM']Is this considered jazz?[/quote] If you want it to be. Jazz Funk about covers it.

F*** it - its my thread so I can say what I want (health warning: I am being deliberately provocative and should in no way be taken seriously ). In my entirely irrelevant opinion, Jazz is 'better' because, in the main, it is infinitely more nuanced than most pop/rock. Most jazz musicians can (and often do) play pop/rock, either out of financial necessity or because they quite like it, whilst most pop/rock musicians don't or can't play jazz. Doesn't that tell you something about the skill sets required? Most jazz musicians have gone through rock/pop etc and moved on because they are bored of the same old same old. the endless repetition, the tedious three chord songs, the two dimensional arrangements, the plaguiarism, the tedious backbeat, the leaden bass drum (all beat and no groove), the lack of dynamic range. Most rock/pop musicians have never played jazz so can't really shed any light on what makes it tick other than to winge about us elitists. Jazz' main failing, in terms of audience, is its immediacy or lack of. Takes a little time to get past first base. But that applies to most stuff that is not on the mainstream radio/tv channels and isn't experienced by osmosis before being actively sought out. This is all, however, completely irrelevant. The point that was made was that you have to be a musician to love it. You don't. You just have to like the noise it makes. You don't have to understand how to produce CGI to enjoy Avatar, you just watch it and form a view. You don't need to know jazz theory to like Sketches of Spain. Just listen to it. Its not great because its hard, its great because its beautiful. But making something that beautiful is hard. And as for dancers? Its all about context. Play Glenn Miller to a room full of old folk who lived through WWII. They'll dance.

You don't have to be a musician to love Jazz. You just have to want to like it. And hip hop in Jazz is cool if it comes off. [url="http://www.youtube.com/watch?v=AfnR0v0AxDY&feature=related"]Kenny Garrett - Happy People[/url]

[quote name='PeteinKent' post='1219393' date='May 4 2011, 12:42 AM']I have nothing against Jazz per se but I am sick to the back teeth of the many members of the jazz fraternity who are dismissive, even contemptuous, of rock and pop music in general and its musicians in particular. Aware that I am going to be accused of gross generalisation it is still my experience that jazzers....... A. Want to be elitist but are resentful if not jealous of the popular acclaim enjoyed by rock/pop musicians and .... B. Are more concerned with impressing each other than with entertaining an audience. Yes there is nothing wrong with music being interesting or challenging or complex or unorthodox but that does not make it better and certainly not more sophisticated than a piece of music that has a simple but pleasing melody and/or an infectious , danceable beat. Some time back I was having the rock/pop Vs Jazz debate with two good friends of mine, a married couple . Both were jazzers; he a upright bass player who came from a pop/rock background and she a Pianist who came from a classical background. I was arguing that jazz often distorted the basic principles of rhythm, melody and harmony beyond recognition. She replied....'there are some wonderful harmonies in jazz music. You just have to be a jazz musician to understand and appreciate them' case proven M'lud[/quote] Get off my thread. Start your own

[quote name='ShergoldSnickers' post='1209037' date='Apr 23 2011, 11:22 AM']Just put an Iain Ballamy LP on - Balloon Man - and I'd forgotten how good it was. [/quote] An absolute stonker of an album. I played with Iain once and it was him that gave me my mantra 'Learn To Read Music'.

For reinvigorating my enthusiasm for the music I love and for moving me into circles where the music is richer and better [url="http://basschat.co.uk/index.php?showtopic=93958&st=0&start=0"]Bilbo's Double Bass[/url] For helping me massivley with my composing (which has become more important to me than my playing) [url="http://www.sibelius.com/home/index_flash.html"]Sibelius[/url] For helping me record some of my ideas and subsequently get an audio recording qualification [url="http://www.steinberg.net/en/products/cubase/cubase6_start.html"]Cubase[/url]

I have no such transcriptions (dots but no fingerings) but wanted to raise something that Neil Tarlton mentions in his beginning scales books, something I found really useful. IIRC, he calls it 'preparation'. In a nutshell, it relates to the movement of the relevant finger to the appropriate position [i]before[/i] it is needed not when it is needed. So, if you are in half positon and playing an Eb on the D string and the next note you require is a G on the E string, you should move your thrid/little finger to above the G so it is ready to play it as soon as possible. I found this concept resulted in a firmer time feel to my lines and phrases. In terms of the OP, I find the actual [i]search[/i] for fingerings to be one of the more substantial learning activities available and am not sure I would want to be shown the way. Each to his own

I saw them at Stafford Bingley Hall on the Moving Piuctures Tour (in the middle of the mob) and at Wembley on what was, IIRC, the Signals tour. I got a front row seat in front of Geddy Lee for that one. Happy days.

Coould never make it work.....

We do Ain't Noboby with Kayona (a function band I play in) and it doesn't sound anything like this (I think, on balance, your's is probably a little more together) Great sound. Am loving the fusion guitar sound. Some interesting arrangement ideas (just before 2nd verse, the break etc)

I am not going to get the Beiber gig because I am 25 years too old but, that aside, I am pretty confident that any MD worth his salt would recognise that I was not actually interested and my presence would be a negative influence on the band dynamic, even if I was up to the gig playing wise. But, if it was my choice, I'd walk anyway

Nice. I'm hearing a lot of Robben Ford and Larry Carlton. What's this kid going to be like in 10 years time?!!

Taking it out of the car sideways and it must have clipped the side of the car door (Rear door of a three door Jimny). Carelessness on my part.

Finally got it booked in. My luthier (Steve Laws) was on holiday and only got back last night. I have to take it to him on 28th April and leave it there over that weekend (I am away anyway so won't need it any quicker). What a palarva!

Can't help re: rockabilly sounds etc but, if you are going to get the bridge adjusted, I would recommend you ask a proper luthier to do it rather than hack away yourself. It will only cost about £40 but may save you some grief later on.

I'm not the oldest!!!!! Welcome

[quote name='Alfie' post='1207034' date='Apr 21 2011, 01:17 PM']This type of thread is becoming a Basschat cliche. Things are sh*t, it was much better when I was younger, when you get to my age etc.[/quote] You'll see.....

There is a whole lot of credible stuff out there, mate. I got a Crafter starter bass for my nephew for £50 and he's buzzing. Keep your eyes peeled and something will come along someday soon.