Bilbo

I recorded an album last year with a bluesy rock gtr/bs/Dr trio. I did all my bass parts in my shed. The other guys did theirs in other studios. Sounds awesome. Not released yet.

Key signatures and keys are seldom definitive in Jazz transcriptions due to passing notes, blue notes and chromaticism. Most Jazz transcriptions are littered with notes that are not in the 'stated' key.

Bugger! Now it will be at least three days until the next picture appears.

[quote name='mikel' timestamp='1501527862' post='3345316'] Depends what you mean by good. Define good music. [/quote] Definition is irrelevant and subjective. My point is that the belief that Level 42 is manufactured as a means of expression whereas Whigfield is pap is arbitrary. It's all manufactured pop, even if the purpose of it's manufacture is less immediately commercial. Ritchie Blackmore, Gregory Porter, Stevie Wonder, Van Morrison, Rick Astley, Metallica, Ed Sheeran, Duke Ellington, Janek Gwizdala ... they all want one thing. To move units.

It's all Pop, really. Having been watching these things for decades now, I am firmly of the view that the concept of Art for Art's sake where the music industry is concerned is almost entirely rhetorical. Obviously, we all recognise the 'manufactured' pop of Stock, Aitken and Waterman et al but the reality is that the same 'gimme the money' ethos drives most of the music business. The details differ but the drive for sales is pretty much universal whether we are talking Miles Davis or David Bowie, Van Halen or Pink Floyd. Having a hit is media driven (exposure and image) rather than content driven and how good something is musically is almost entirely academic.

I have to confess that I have long since become frustrated with the recording process i.e. vsts, sequencers, drum machines etc and I only put together pieces I can actually[i] PLAY. [/i]Hence my composiutions are tending to be limited to the standards of my guitar playing which is pretty poor. I could easily play more complex bass parts but this would rarely work against my weak guitar parts and even weaker percussion. I would love to update my music IT (I am still working with Windows XP so a lot of the modern stuff is incompatible) but there is never enough money, is there, and, when I do come into money, it tends to go on upgarding guitars etc not hard or software. I find that there is an uneasy relationship even a tension between one's ability to compose and one's ability to perform what one composes. The IT available today helps with this, undoubtedly, but I think there are limits depending on what genres we are working with. As I favour genres where sequencing is all but non-existent, I feel that am limited to what I can do with 'real' instruments that I can actually play. My choice, I guess. I really do enjoy these challenges though and don't really mind where I finish up in the voting.

I suspect she is not going to be suitable. If she is that advanced a reader, she is probably steeped in the classical tradition. Maybe she could handle a show but playing alongside less formal players, I would expect her to sound clunky and idiomatically suspicious.

Almost as irritating as Moondance.

It was. I would be interested in the price. PM me if you like.

I communicate in metaphors. Think acting. Reading a script out loud is doing that and nothing more. The acting equivalent of Musicality would be in making the words mean something, communicating the emotions and intent of the author etc. One is mechanics, the other is Art.

My wife has bought me a Harley Benton 12 string guitar for my birthday. Once again, I am astonished at the quality of these guitars for the money. I have tuned it up and recorded a couple of minutes worth and it is absolutely fit for purpose. It's not a Taylor but, as a piece of kit for occasional recording etc, it's a very nice instrument. https://soundcloud.com/robert-palmer-1/harleyh-benton-d200ce-12-bk

I have bought every instrument I own on-line or, in the olden days, by mail order. Never had a problem until I bought my Ovation Custom Legend from Thomann but they sorted out a replacement without any difficulty. My experience suggests that the risks associated with buying on line are about who you buy from.

[quote name='pete.young' timestamp='1500484695' post='3338196'] That would be Murray Collins. Josh himself is not bad either. [/quote] I did a support gig with them and we talked up ⬆ didn't get his name. Josh introduced himself to me as a.bass player when we first met so I knew he played but I have never heard him. They are working all the time.

I have one of these. Great Amps, perfect for double bass.

Top 40? Wedding /corporate? Party? What's the difference? And what is a Jazz covers band when it is at home?

There is a slap guy in or around Ipswich - plays with JS and the Lockerbililes. I am sorry but I don't know his name. May be worth you getting in touch with him if you want to try slapping. PM if you can't find him and I will put you in touch with the bandleader whose details I do have.

An attractive instrument. I hope you enjoy it.

You gotta love it. http://youtu.be/QxIWDmmqZzY

Ya beat me, Pops. https://soundcloud.com/robert-palmer-1/tango-approximata

I think that there are other factors at play here. Many popular musicians end up looking for greater challenges such as Jazz but, depending on the level of their earlier successes, turn back to more popular genres in an effort to recapture their early financial successes. Gary Moore was never an A lister so always sought a means of generating income. His rationales were little more than justifications. Miles Davis wanted to achieve the success of Hendrix. It wasn't a musical driver, it was socio-cultural. He wanted the status and kudos. The guys who started Earth, Wind and Fire were ex-Jazzers. The Stranglers were a Prog band. It is the lure of financial success that attracts. There are people who were successful in Pop who moved into Jazzier genres who never really went back; Elvis Costello, Andy Summers, Colin Towns, Georgie Fame etc. There are others but I am typing on a phone and can't be arsed.

I had a good day yesterday, reading some Ralph Towner transcriptions I found on-line. My treble clef reading is starting to come together.

Yes it fits. Proceed with caution, however. If you get the angle wrong, you will crack the windscreen. I did it yesterday. Fortunately, the MOT is due next month and an existing chip plus other scratches meant that a new windscreen was on the cards anyway but, for those pondering the great mystery, you CAN get a 3/4 double bass in a Smart if you are careful. Ironically, I didn't NEED to do it as I have a bigger car. I just wanted to try.

Reading 1981 (I think) shortly followed by Donington and Port Vale (Frank Marino, Ozzy w. Randy Rhodes and Motorhead). Not sure of the line ups as I went several times and can't remember which year was which.

[quote name='Elfrasho' timestamp='1498424871' post='3324561'] ....Ed Sheerhan and a guitar has its limits imo. [/quote] Fixed.

I am not the world's best reader by a country mile but I can get by through most reading gigs with a little preparation. Or at least I could.... I have started playing more guitar (at home). Not because I want to gig per se but because I am not getting the gigs I used to on the electric or double bass and so practising the bass is a little bit thankless. Anyway, I decided that I want to improve my reading of guitar music and bought a book reading exercises. So I worked on that for about an hour, making some progress and starting to find the notes under my fingers. When I finished the first few exercises, I got my Bach Cello Suites out and, whaddaya know, I can't read bass clef any more I am sure there are people on here who can read both (I know there are some horn/bass doublers etc). Can anyone reassure me that this is a temporary state!! I know pianists read both simultaneously so it must be possible but it is an uncomfortable feeling finding yourself re-entering conscious incompetence when you thought you left it behind a while back!!