Bilbo

Andy and Mike are both great players and great teachers. You can't go wrong with either of them. I am in Felixstowe and I don't teach so take the above as a recommendation without prejudice.

Get well soon, Dad. Now, where is the January picture?

You didn't play Moondance. Everything else, I can forgive.

Bass-wise, I am home and dry but, if I can sell my Gibbo, it's two Ovation electro acoustic guitars for me!!

I do not have this problem. My wife bought me a surprise guitar for Christmas.

Listen to the whole video; Marion Montgomery is not mentioned very often but has a great touch but Dudley is a monster in every sense. Absolute magic. Who said Jazz can't be entertaining? http://www.youtube.com/watch?v=CS8Va_z-2bA

The suspense is killing me!!!!

People need to understand that there are more ways to engage an audience than eye contact and posturing, more ways to create a show than flashbombs and smoke machines and more ways to move people than facial cues and staring into the middle distance. Not all audiences want to dance.

Yes. An early influence in my NWOBHM days.

This was RhysP's post [quote name='Bilbo' timestamp='1482837428' post='3202949'] This year, I have mostly played bass with Steve Waterman, David Horniblow, Simon Spillett, Andy Panayi, Martin Speake, Jacqui Hicks, Tony Kofi, Cameron Pierre, Georgina Jackson, John Etheridge, Julian Stringle, Tommaso Starace, Stewart Curtis, Nicolas Meier, Asaf Sirkis, Hannah Horton, Nigel Price, Josephine Davies, Kate Williams, Kevin Flanagan, Chris Ingham, John Parker, George Double, Russ Morgan, Alex Best, Andy Watson, Mark Cecil, Simon Brown, Paul Higgs, Zak Barrett, Dan Banks, Mick Hanson, Gione da Silva, Myke Clifford, Gary Leach and a bloke called Ron. And all without leaving Felixstowe. I learned that it you can improve exponentially just by ensuring that all of the people you play with are sh*t hot [/quote] You played with Asaf Sirkis? Wow!

RhysP. I am sorry. I think I deleted your post whilst quoting it.

[quote name='RhysP' timestamp='1483031801' post='3204316'] You played with Asaf Sirkis? Wow! [/quote] I know. And at the same time as Nicolas Meier. It was as good as it sounds. :-)

14 entries. 14 votes. We are playing with ourselves, guys.

Don't run before you can walk. Try the Bach Cello Suites. They are all in different keys and working through them one at a time can be a great way of getting used to the issue of key signatures. What you are describing is just another thing that needs concerted practice.

My Mum passed away on 14th January, 2016. She never really 'got' my musical ambitions but, like my father, was accepting of it and did not discourage me. In fact, Mum made the purchase of my Wal Custom Fretless possible when, in 1986, she ordered the bass from Monkey Business on her credit card which I then paid back over several years!!! They also put up with me practicing for hours every day in my late teens. We take them for granted but supportive parents are an absolute God-send.

No. Massive difference in size. Double bass is designed to 'double' cello parts a octave lower, hence the name.

This year, I have mostly played bass with Steve Waterman, David Horniblow, Simon Spillett, Andy Panayi, Martin Speake, Jacqui Hicks, Tony Kofi, Cameron Pierre, Georgina Jackson, John Etheridge, Julian Stringle, Tommaso Starace, Stewart Curtis, Nicolas Meier, Asaf Sirkis, Hannah Horton, Nigel Price, Josephine Davies, Kate Williams, Kevin Flanagan, Chris Ingham, John Parker, George Double, Russ Morgan, Alex Best, Andy Watson, Mark Cecil, Simon Brown, Paul Higgs, Zak Barrett, Dan Banks, Mick Hanson, Gione da Silva, Myke Clifford, Gary Leach and a bloke called Ron. And all without leaving Felixstowe. I learned that it you can improve exponentially just by ensuring that all of the people you play with are sh*t hot

7 joint firsts!! Am lovin' it.

Keep the piano. Write some great tunes. Make a million. Buy the basses.

I got it LAST Christmas and only started watching it yesterday :-D

Reading these threads for a decade or so, one can only conclude that there is never a best way, only a different way. Each has strengths and weaknesses which need to be explored over time.

I have, JJ. I absolutely love it. There are other great trios Swallow did wit Lee Konitz, David Liebman and, my favourite, Ohad Talmor. Swallow is my man.

That Lincoln Center Cuban album is great. There is a brilliant cd by David Murray in this vein. Also worth checking out Miguel Zenon's Identities are changeable project.

Mine feels like a good idea badly executed this month. It sounded a lot better in my head and I wanted so much more from it percussion-wise but the time ran out and I can't do any more before the deadline so here it is. https://soundcloud.com/robert-palmer-1/have-yourself

100% agree re: Pino. A perfectly competent player but nothing particularly exciting that couldn't be done by most of us with a bit of rehearsal. Wooten I never got. A juggler rather than a player and when I hear him in a band context (say Mike Stern), I hear a competent played who, when he solos, well, juggles rather than expresses anything. Stanley Clarke - I want to like him, I really do, but I just think he sounds clunky and un musical.