Doddy

I do kind of agree with Bilbo about players playing out before they are ready. My first gig was given to me after I was recommended to the band by a friend who is a pro keys player.Likewise my first theatre show was depping for my then teacher. These guys must have thought I was ready for the work otherwise they wouldn't have recommended me. Before that I'd spent a long time practising and doing occasional things with mates,but never playing out because I didn't feel that I was ready,and was very nervous. As far as Jazz goes,before I took a jazz gig I was invited to a regular jazz jam at a guys house.I was the youngest one there by many years(three of the players have since died ),but they were all retired pro's who would write new charts each week and we'd just play for hours-mostly standards. They all took the time to give me advise about playing and it really kicked my ass. I then started sitting in on some tunes with a quartet at the Jazz night at Keele Uni (again,all pro players),and was eventually offered a dep with them before subsequently taking over the bass chair all the time.So once again,I studied and practised hard so I was ready for when the gigs came. I really don't think that people like putting the work in now,and consequently many are out of their depth when they start playing out, and are happy to stay within a very small circle of players who will blow smoke up their arse and say how great they are regardless of their own short comings. Sure everyone starts out weak,but you can gain playing experience away from the stage if you look outside your comfort zone. Of course,sometimes you have to play with below par players,but you just grin and bear it. You never know what may come out of it at a later date,and like I said earlier,it's better than working in McDonalds.

Another plus one for Simandl and Reid books. Rufus Reid has also done a very good DVD to accompany his book,also called 'The Evolving Bassist'. Ray Brown's Bass Method is a good book too. I must check out those Neil Tarlton books-I was talking to Reggie Hamilton about doubling on electric and upright and he recommended a couple of books to me for bowing by the principle bassist of the London Phil,only I couldn't remember the guys name,but I think these are the ones.

It's a really cool site. I've been featured in the player spotlight on there

You can get a really good 'boutique' instrument for under a grand if you look around- I have anyway. You can pick up a nice Fender or Musicman for well within your budget.

I always use passive DI's by EMO Systems and never had any problems.

[quote name='bassicinstinct' post='919699' date='Aug 9 2010, 03:24 PM']It's also remarkable how quickly the novelty of theatre gigs wears off and you begin to hanker for a "proper" sweaty/noisy pub gig - but then you have to accept the cut in income, so I suppose you pays your money and you takes your choice.[/quote] I wouldn't say that. I'd much rather play in a theatre on a nice big stage through a decent PA,than play in a pub with people falling over your pedals.

[quote name='derrenleepoole' post='919642' date='Aug 9 2010, 02:09 PM']But this thread harks back to the discussion we had on another thread about compositions that are 'bad' jazz (for want of a better term) - so tunes like Moondance etc. While having to endure music like this, or indeed musicians who don't have the skill required to deliver a good performance, it reminds us that mediocrity in all its forms is vitally important, and shouldn't be stamped out. Why? Well, simply put, without mediocrity, how do we judge truly great art? You can't, there is no bench mark. So while poor, or under developed musicianship is killing live music, it does mean that when the truly great stuff comes along, it's immediately obvious that it is and more enjoyable for it.[/quote] I disagree slightly here. I don't think that alot of people do understand the difference between 'truly great art' and mediocrity. I think that,unfortunately,mediocrity has become the norm and that anything that is only slightly above average(or not) is being hailed as 'genius'. In this time of instant fame,people don't want to work at their craft anymore,and will happily settle for mediocrity,both in themselves and in others.

[quote name='JTUK' post='919347' date='Aug 9 2010, 10:23 AM'] again...does the band read? Does the drummer..? Many 'reading' bands get into a bigger mess this way. I can recall Diana Ross playing her new hit on a tour..I think it enterted the charts very late into the tour and the band played it as an encore from charts.. Didn't work [/quote] Then again,I play with a band where the MD(the drummer) writes out everything for the band(usually an 8 piece,but sometimes larger). Even though the band has moved away from the charts,if a new tune is added or there is a dep,there is no need to mess around with rehearsals. If anything,there may be a quick run through during soundcheck. The band grooves like mad and is as tight as a gnats chuff,by the way.

The thing with tribute shows in theatres is the fact that the vast majority of the time the,the show has to hire out the theatre at a fair cost,so unless they have great ticket sales they will struggle. At the same time,there is very little expense to the actual theatre,so they can put on shows cheaply. That's one of the reasons that they have these kinds of shows. Also,these type of tributes have to be full on 'shows' rather than the kind of tribute band you see in a local club. There is a large cost in producing one of these shows that does not always guarantee a good return. As far as earning £50k for a Motown tribute show,it's entirely possible,but there may be a little exaggerating going on.

You don't have to spend a fortune to get a 'boutique' instrument. In my experience,many custom instruments don't have particularly good resale value.If you look around you can find £2k instruments for under a grand on the secondhand market. I love having nice fancy basses,but I still find myself reaching for a trusty Fender more than anything else.

[quote name='Golchen' post='919505' date='Aug 9 2010, 12:32 PM']You're a jazz prostitute????[/quote] Haha. Seriously though,I am a musical whore.

I know what you mean,but I'd still prefer to do a bad gig than work in McDonalds. I'm lucky at the moment because I have managed to cut out the 'bad' gigs,however if I have a quiet week and they offer the right money I'd still take it.I think my situation is different though,because I earn a loving from playing. As far as bad jazz goes,while there are players who are not particularly good at it yet think they are,there are way more in the rock/pop world,often with larger 'wannabe rock star' egos aswell.

Nice one. I particularly like the opening notes Seriously though,it's really cool.

Generally in the lower positions you will be using fingers 1,2 and 4 with the third finger supporting the forth. At least that's what I was shown and what most people I know tend to do. The forth finger,being weaker, needs the support more than the second.

[quote name='Bloodaxe' post='918751' date='Aug 8 2010, 02:14 PM']Here's a bad copy of a scan of a part of (allegedly) QJ's arrangement for the dreadful Stevie Wonder/Bono/Ray Charles version posted in one of my threads on Talkbass: I take it that the C in a square is another way of writing Common Time? Pete.[/quote] The C in a square indicates the section of the tune. If you notice the first bar is actually bar 49.

I always take two basses to gigs. I'm using 5 strings nearly all the time lately,but I always carry both a four and five,with at least one of them being a Fender. It's nothing to do with sound and everything to do with back up. It's way quicker to pick up another instrument than it is to fanny about restringing or whatever. Stuff like that can be done in the set break if needed.

Bass Player has always been my prefered magazine,but I'm not too sure about the new look just yet. I'm sure I'll get used to it,but initially,it's not doing it for me.

[quote name='3V17C' post='917040' date='Aug 6 2010, 02:58 PM']PRIMUS SUCK!![/quote] Apparently,not anymore they don't

[quote name='janmaat' post='916129' date='Aug 5 2010, 04:03 PM']Now I start wondering about short scale basses. My suspicion is that where the A on the long scale is at 110Hz, the short scale centers around 220Hz? does the short scale actually relate to the long scale like a cello to a double bass?[/quote] I'm confused....... Won't the A have to vibrate at the same frequency to reach the same pitch? I've got a couple of short scale basses-a Tokai SG style and an old Fender Bullet. I prefer long scale instruments,but the short scale gives a different 'tubbier' tone.

Checkout www.Primusville.com for a free download of 4 tracks from the recent Primus rehearsals. The songs are 'Pudding Time','American Life','Dutchess and the Proverbial Mind Spread','Harold of the Rocks'. It's cool to hear the tunes with Jay Lane on kit. Apparently there will be new material next year.

[quote name='Earbrass' post='916149' date='Aug 5 2010, 04:21 PM']"Free Wynton Marsalis"[/quote] I can put it on my mantle piece next to my Free Nelson Mandela.

[quote name='Schnozzalee' post='915188' date='Aug 4 2010, 05:33 PM']Ibanez basses are sh*te[/quote] Damn,I wish you'd have told me that before I bought my two Ibanez basses.

What's with all those strange numbers that don't make sense? It's not a particularly difficult line. All you're really playing is a major arpeggio with a sixth on top- I,III,V,VI,V-with a little slide in to the third to make it a bit greasy,played over F and C. Top tune though.

I've had an HA3500 and HA4000 with 4x10 and 2x10 cabs for years. I've not been gigging them that much lately,because I love my Genz Benz/Bergantino rig,but I still use the Hartke for all my teaching and for occasional gigs. I really like their amps and have never had any major problems other than having to replace the preamp valve. I'd be more than happy to use their amps all the time.

[quote name='JPS' post='912988' date='Aug 2 2010, 05:05 PM']Interesting debate. My question is how do you get a 15 year old interested in learning and understanding theory and reading is they are not really motivated by these areas? I'm helping a lad to learn the bass, he learns songs very quickly, enjoys playing with other musicans and has a great natural feel etc. However, he is a lot less interested in understanding scales, triads, learning to read etc - even when it's related to the songs he's playing. He just wants to learn new songs. Lovely lad, bright, but not academic, or good at working from books etc. I don't want him to neglect these vital and transferable skills but am struggling to engage him with them so much and find a way that suits his learning style.[/quote] I've always been able to incorporate scales and arpeggios and things in with various songs if I have too,and they've always been able to understand it. If I have to teach songs,which I try not to but will do occasionally,then I will always write it in standard notation,and again, pretty much everyone has been able to pick up the basics of notes and rhythms. If your student is serious about it,he will get motivated and want to understand more about how it all works.