peteb

[quote name='Lozz196' timestamp='1433542576' post='2792101'] I`d gig as much as possible as well Blue - just wouldn`t want to do it too often at the same venues, unless the band concerned had a big repertoire, so could avoid becoming stale. [/quote] Even with a massive repertoire I wouldn't want to overplay the same venue / area. You want a gig to be a bit of an event so that punters make an effort to see you, which they won't do if they know you will be playing locally in a couple of weeks time...

[quote name='EliasMooseblaster' timestamp='1432898657' post='2786002'] I think you have a very important point, and a noble ambition. As Mykesbass's blog post suggested a few weeks ago, I often see evidence of a similar risk with Blues as a genre. The risk manifests itself differently, of course - I've also been infuriated by the number of cynical sheisters who think they can pass off anything with a slight swing to it as "Jazz" (maybe Duke's classic should be updated to "It Is A Necessary But Not Sufficient Condition For It To Have That Swing") - but I'm sure we've all seen the "blues band" who are clearly just a vehicle for a guitarist to musically masturbate over. I am somewhat relieved to say that at least in London, for every unimaginative cutout "blues" band, I've seen a couple who put some thought into their set and did more than just flog a dead horse over a 12 bars turnaround. In any case, I fully sympathise! [/quote] I was going to make the opposite arguement about blues in this country. The is a hardy bunch of a few dozen individuals who turn up at blues festivals up and down the country, who have very definite views on what should be considered 'Blues'. They also run websites and are very active on social media and therefore become quite influential in what is a relatively small scene. The problem is that many of the general potential audience who need to buy tickets to make festivals viable have tastes that run more towards SRV And Rory Gallagher. If someone like Larry Miller is headlining a festival there is a very good chance of selling a fair amount of tickets and the event being a financial success (ie. breaking even). However, some promoters are wary of booking acts like him because it is likely to upset the purists...!

[quote name='blue' timestamp='1432863578' post='2785753'] Yes Pete I did experience the glory years. I was 10 years old that magical year of 1964. The year everything changed for many of us. And I was up and and gigging within 2 years 1966. It will be great next month going to see The Stones probably for the last time. Yup all us grey hairs will be there talking to each other talking about the way it used to be and [i]"I went to this concert and that concert "[/i]and [i]"we did this and we did that".[/i] Apparently there was some Pink Floyd concert in Milwaukee back in the 70s that they haven't gotten over yet.lol Yeah, it was great and we were young. Blue [/quote] The thing is that for me the glory years were 15 / 20 years later seeing Thin Lizzy, Rory Gallagher & then Van Halen. For many the glory years were the early nineties with Pearl Jam / Soundgarden and then later on for some it was Oasis / Stone Roses. There were different golden eras for different people dependant on age / tastes. The problem is that the recent years are less likely to have provided younger people with a 'golden era of rock and roll' in the same way. Their youthfull obsessions that they will take through life are more likely to take the form of RAP, R&B, computer games or gang violence or whatever...

[quote name='blue' timestamp='1432757919' post='2784749'] My initial post was worded poorly. This was not meant to be a dealing with drunks in pubs thread. It was meant to be a punters in pubs telling us "you guys playing in live rock bands in pubs & bars are history and no longer relevent" thread. Blue [/quote] I think that the problem is more down to the type of venue! If you play pubs / clubs that punters specifically go to see live music then you will be treated with respect (if you are any good)! There is still a decent audience who frequent those sort of places, but crowds are not as big as they were, say ten years ago, due to people having more options on how to spend their leisure time these days not to mention the them having less money to spend on going out due to the recession, etc. However, if you play town centre venues that are trying to provide entertainment for a passing crowd (i.e. to get them to stay for one extra drink because there is a band on) then you are pretty much bound to get a less knowledgeable audience who do not hold music and musicians in the same high esteem as those who patronise the more specialist music venues. The trouble is that the town centre venues tend to pay more…! In my recent experience, there are certainly younger people who do appreciate live rock music. However, there are definitely a lot less of them around than there used to be. Remember, people like you are fortunate to have lived thru the glory years of rock music where it was undeniably the most relevant form of popular entertainment. Rock music is just not as important to many younger people…

If you fancy an active jazz, you might want to try out an Xotic. Bass Direct generally have them in stock. You can find loads of clips of them online. They are really well put together, very solid and sound great - my favourite of the 'super jazz' basses on the market...

[quote name='Bilbo' timestamp='1431334942' post='2770005'] We got talking about the concept of a musicans 'fantasy life' versus their 'real life'. I have spent decades playing music and, thoughout that time, have invested a lot of time and effort in developing my technique. I listen to the best players and try to emulate the best qualities of each. Whilst I generally fail in the absolute sense, this is more a case of 'if you reach for the moon, you may get to the stars' (or whatever the saying is) and that, whilst I cannot quite cut Jaco, I can play most of the more difficult stuff within reason and, with proper rehearsal, can usually nail the rest. The problem is that I never will. In 'real life', I live in an East Anglian seaside town with a population of a few thousand. The quality of local Jazz is defined pretty much by me in that I put the main gigs on around here and no-on else is doing anything in which I am likely to be (or even want to be) involved. There are a couple of guys working locally who are cool players but they are certainly no better than I am. The other (non-bass playing) musicians are just doing their thing and mostly use double bass players like me; no better and no worse. All of them require functional bass players and never write/arrange anything that requires Neils Henning Orsted Pederson quality playing, just the usual quarter notes with the occasional written part in arranged sections. We came to the concusion that, as we live in the sticks, we are never going to get called to dep on a Weather Report gig or the replace Matt Garrison with Herbie Hancock, nor are we likely to get Miguel Zenon turning up with a set of charts that massively catch us out. These 'fantasy gigs' are for London players, New York players, people whose lives have taken them to the large population centres where these tough gigs are born. For the kinds of gigs I do, I probably had the requisite technique when I was about 20. Knowledge of music, knowing what works in making good music, is much more important than chops. (For the record, last night's gig was a real pleasure). [/quote] Or is it that the guys who get the ‘fantasy gigs’ are those who made the commitment and relocated to the big music cities, then had to up their game to keep up with the competition, got the chance to study with the right people and eventually got lucky to land the big gig that made their career and established them at the top table?? Obviously you have to have the potential to be that good and I would imagine you have to have a fair share of luck to get the breaks and make it big in such a competitive field. But you have infinitely more chance of getting lucky if you live in New York or LA than if you live in a small coastal town in SE England…

Has anybody got any recommendations for sweat proof 'behind the ear' type in ear earphones for going to the gym?? About the same price range.

The MXR bass pedal videos are not too bad and give you a good idea of what the pedal sounds like.

[quote name='toneknob' timestamp='1431263298' post='2769350'] +1 for Procell - recently rebranded as Duracell Industrial. Get them from Babz Media on eBay for best price and fastest delivery. Here's the 10 for £8 pack, [url="http://www.ebay.co.uk/itm/10-DURACELL-INDUSTRIAL-9V-ALKALINE-BATTERIES-MN1604-PP3-MN1604-REPLACES-PROCELL-/150518690146"]http://www.ebay.co.u...L-/150518690146[/url] [/quote] Same for me - I always have one pack in my gig bag (for emergencies) and another pack at home

[quote name='chris_b' timestamp='1430480364' post='2761813'] To much choice is a bad thing, as I found out when I was in the duty free trying to decide between very large bottles of Gin or Tequila and almost missed my flight. If you discount pedals, the many tones of JJ Burnel, James Jamerson, Pino, John McVie or any other top bass player makes a very short list. My take on basses is get the best sounding one you can afford and be happy that you sound good. The people who matter [u]will[/u] notice. PS If you sound good and you play well, everyone will be happy you sound like you. [/quote] Word...! Pick one decent bass sound that works with the type of stuff you do and concentrate on your playing...

Wife's birthday coming up in a couple of weeks - tee-shirt duly purchased...!

[quote name='blue' timestamp='1430357680' post='2760660'] if you pick someone that is in another band it will cause and there will be scheduling conflicts. And scheduling conflicts means one of the bands is going to lose $$$. All bands do not have the resources to bring in a sub. Also, when auditioning or getting an offer to join I would want to know if any other members were in other working bands. If there were, that would probably be a deal breaker for me. [/quote] It's just a situation that you have to manage if you want to attract the right players. I am currently in 3 bands (2 of which don't gig that regularly). There has not been any major problems with this until the coming weekend when I was double booked and can't do a blues gig at a festival in Scotland. We had a dep sorted out and unfortunately he managed to injure his hand and can't do the gig, hence a load of scrabbling around until they could find a guy playing at the same festival who is happy to put in a double shift! The guitarist in that band (who is a top player and makes the band) is also in 3 bands and likewise they book gigs around his diary and when he can get reps for his other bands. Generally there are no insurmountable problems, but occasionally something out of the blue can happen. Let's face it, if I was doing the gig and got injured I would have to pull out at the last moment, just like the dep.

The rock covers band is playing the Farmyard Party in Helmsley - a big bikers bash playing to maybe 1,500 to 2,000 people on the main stage. I played there with other bands (when the main stage was actually bigger) and it's always great fun. The originals blues band is playing a handful of blues festivals, including a main stage at Maryport. Bottom of the bill, but still...

[quote name='blue' timestamp='1430270712' post='2759735'] Pete, I'm still working the 70s rock and roll look and for the most part it ain't working at all. Now that I think about it, when I think I'm dressing for the part, I'm probably merely dating myself. Blue [/quote] I'm guessing that if there is a problem it might be that you're coming across as trying too hard. It helps to have a bit of an image going on thru it doesn't hurt to update it a little from time to time. However it should all come across as being effortless and just a visual representation of what you are. People are gonna notice if it seems a bit forced or you are trying too hard! Still not sure about going to those lengths to dress for the Peter Noone audition but I take your point - I might take the suit but leave it in the car...!

[quote name='BigRedX' timestamp='1430261748' post='2759712'] I find the phrase "smart casual" hilarious since the men wearing it invariably look neither smart or casual. [/quote] And it is hardly very rock and roll, even for a function band...!

[quote name='blue' timestamp='1430242509' post='2759440'] This would be an audition, not a rehearsal. If I researched the band and found they performed in tailored suits depending on the caliber of the band I would consider wearing an appropriate suit. To me it's the best way of saying ,[i] "this is the complete package, this is what you would be getting if you hire me."[/i] I can give you an example, if I were auditioning for sideman position with Peter Noone, I might wear and Edwardian style suit. Blue [/quote] Yea, but does Peter Noone turn up at his own rehearsals wearing an Edwardian suit?? The best is to stick with your strengths and play the ageing rocker card (you’re in the same boat as me there)! I would suggest that you are trying to give off a vibe of an experienced musician who has been round the block a few times. I wouldn’t worry about the age thing; it’s hardly a boyband that you’re trying out for! When it comes down to it, the only things that they are bothered about is can you do the gig and will you fit in with the band (both musically and personally). Just make sure that you know the stuff, be friendly and show that you’re interested in the gig without being too over the top. Personally, I would put more thought into what bass you take to the audition than what clothes you are going to wear as they are more likely to judge you on that…

[quote name='GreeneKing' timestamp='1429861947' post='2755580'] I saw Ben Poole last night. I get a bit blasé about hotshot guitarist blues bands but Ben is pure class. He built on perfect timing and awesome technique to simply blow me away. An unexpected treat. [/quote] Yea, BP has a bit of fire about his playing that helps to make him stand out from the crowd. I know his old bass player, Baz Pethers, who is a great player and a nice guy. I take back what I said about Bonamassa a bit as well - his last couple of albums have been great...

An Xotic 4 string jazz with both pick-ups on, passive tone fully open & active bass slightly boosted into a MXR compressor (always on but nothing excessive) and then into a Boogie mpulse with the ‘driving rock’ factory sample EQ setting in the manual (but with slightly more low-mids) into a Bergantino HS410. I also use a Mark Bass LM3 with all the knobs pretty much at 12 o’clock (including the filters) accept for a slight low-mid boost and a treble cut. For the hard rock stuff I play a Warwick Stage 1 tuned down half a step with the onboard EQ set flat.

[quote name='Marvin' timestamp='1428683442' post='2743798'] Jamming to me means making stuff up on the spot, not playing covers...that's a whole different thing. It's why i don't bother with jam nights, because they aren't what i feel are jams, they're untidy open mic nights [/quote] I would say that you are not playing covers but using a tune as a structure for a jam, which should never be the same twice but can go in whatever direction that the players care to take it...

Having played in the house band at many jam sessions, including a couple at pretty big blues festivals, I would say that the format is generally as follows. You have a house band with a leader (or maybe two) who has a suitably large repertoire of suitable songs. The band may or may not play a couple of songs first then the leader will call up people to join the band / replace members on stage, etc. The newcomer may or may not assume the mantle of leader for that song. The leader will call out a song along with the basic structure (key, chord changes, feel, etc) and then lead the band through the piece, calling on featured soloists as and when. The ‘arrangement’ will change on the fly according to how it develops / how inspired the players are feeling. These changes will be communicated by a series of hand signals, nods and when all else fails, shouting in each other’s ears! When the leader has had enough or feels the song is coming to a natural end he will give the signal (usually by raising his arm) and the band will attempt to work out a suitable outro and finish. The leader then thanks the guest musicians and calls up the next players to the stage. Whether this type of jam works or not depends on how good the players are and how adept the leader is at getting the best out of them but when it works it can be great fun to participate in and even quite entertaining to watch! It certainly sharpens up your playing no end. As neither a fan of Hawkwind or freeform jazz, I find the idea of someone randomly starting to play something then everybody joining in using the power of telepathy to be rather unappealing and certainly not to be inflicted on members of the public! Of course, someone may bring an unformed idea to a rehearsal and then use it as a basis of a jam to develop material (such as the way Deep Purple Mark 2 used to write), but I am not convinced that is necessarily the best method of songwriting. You could even bring fully formed songs to the rehearsal room and then jam to work out the arrangement, which may mean the song sounds nothing like the way it was conceived (for good or ill). According to Stewart Copeland, this was one of the main reasons for both the success of the Police and the cause of their eventual demise…