Doddy

[quote name='Bilbo' post='1220770' date='May 5 2011, 10:57 AM']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.[/quote] I'm pretty much the same. I learned a ton of Primus,Jaco,Marcus and way more,but I've never really learned entire albums.I've had transcription books of albums by bands like the Chili Peppers and played all the way through them,but I never really [i]learned[/i] the album-it was more like reading the stuff and then picking out my favourite bits. Something like Mull of Kintyre might be useful as an early ear training song,but that's really it,bass-wise. [quote name='chris_b' post='1220818' date='May 5 2011, 11:28 AM']A friend of mine made an album of original songs and then went out to gig it. I had to learn the lot. It wasn't that difficult and most of the numbers were pretty good so it was an enjoyable experience.[/quote] That's different though because you learnt the songs for a gig. It's not like you learned it just for the reason of learning it.

[quote name='Ross' post='1220741' date='May 5 2011, 10:35 AM']I'm gonna have to find the transcriptions now though.[/quote] Why don't you transcribe them yourself instead?

[quote name='PeteinKent' post='1220814' date='May 5 2011, 11:24 AM']The last sentence of your above posting just emphasises the point I have been making.[/quote] Errrr...how? I merely stated that studying jazz had improved [i]me[/i] as a musician. How does that emphasise your point? All it says is that by studying and playing jazz,I improved as a musician,I never said that by studying jazz I was better than someone who didn't.The fact is,that I learned a lot more things like chord structures and modes and whatever from jazz than I did from playing pop and rock. Sure,you can learn this away from jazz,but I didn't. [quote name='PeteinKent' post='1220814' date='May 5 2011, 11:24 AM']Also I am nearly 52 years old , I got my first bass when I was 14 and I have been gigging regularly since I was 18. Over that 37 plus year period I have worked with dozens of jazz players and met and talked to dozens more and the vast majority of them go from being mildly patronising to downright withering about all over styles of music but rock/pop in particular.[/quote] How long you have been playing is irrelevant to the argument-there are great and knowledgeable musicians who have been playing for a short time and poor ones that have played for years and vice versa. I don't know what kind of gigs you've done,but I don't know anyone that doesn't have at least some appreciation for rock and pop.In fact,pretty much every jazz player I know has done rock and pop gigs. If anything,I know more 'rock' musicians who are disparaging about other genres. [quote name='PeteinKent' post='1220814' date='May 5 2011, 11:24 AM']So, unless I have been quite spectacularly unlucky, its not bullshit son![/quote] Now who's being patronising?

A generic root-fifth pattern over a 12 bar in C. It was written on the stave,so I learned to associate the fingerboard with the written music straight away.

[quote name='PeteinKent' post='1220526' date='May 5 2011, 03:10 AM']Absolutely not... what I am saying is that I play with sincerity, passion and skill and, mostly, as long as the audience is happy then I am happy. I would never suggest to a jazz, folk, brass band or klezmer musician that I am in any way superior to them but it is un-realistic for the jazz fraternity to suggest that they do not consider themselves to be a cut above the rest of us. Or are you going to suggest otherwise?[/quote] Yes, I'm going to suggest otherwise. You seem to have the opinion that all jazz musicians think that they are better than everyone else- I'm sorry,but it's complete bullshit. The fact that you are making the distinction between 'the jazz fraternity' and 'the rest of us' seems to me that you've had a run in with a jazz player and have got a chip on your shoulder about it. Like I said earlier,a good musician is a good musician regardless of genre. I will say though,that although the majority of my gigs are in the rock/pop/funk scene,studying and playing jazz has seriously improved me as a musician way more than studying rock and pop.

[quote name='PeteinKent' post='1220513' date='May 5 2011, 02:00 AM']But the inference was that if you are a rock/pop musician you 'don't' know what you are doing or, at the very least you don't know as much as jazz musicians.[/quote] No...the quote was suggesting that any musician,regardless of genre,would be better for learning more about music. [quote name='PeteinKent' post='1220513' date='May 5 2011, 02:00 AM']If you genuinely believe that I am in any way elitist simply because I have suggested that jazz musicians are elitist then I truly don't know how to respond. Are you saying that there is no exclusivity/ elitism in jazz? Do you not accept that many, (if not most), jazz musicians consider themselves to be superior to rock/pop musicians?[/quote] Nowhere in this thread has anyone said anything about jazz musicians being 'superior' players to rock musicians until your posts.You claim that jazz musicians 'want to be elitist' and are jealous of pop/rock musicians because you are playing to a room full of people dancing. Isn't that just another way of saying that what you play is 'better' because people are dancing to the music and therefor slightly elitist? The fact is a good musician is a good musician whatever genre they favour. I don't accept that many (if not most) jazz musicians consider themselves superior to rock/pop musicians either.Again every area of music has people with an attitude-Original bands think they are better than cover bands,Guitar players think they are better than Bass players... it always happens. I will say though,that most of my favourite musicians have had some degree of Jazz education.

I wouldn't really recommend using a bow. You could try using an Ebow,or you could use a volume pedal to swell into the notes. Reed Mathis,formally of Jacob Fred Jazz Odyssey,gets an almost violin-like sound with a Digitech Whammy pitched up an octave and a volume pedal.

[quote name='lowdown' post='1220142' date='May 4 2011, 07:01 PM']Must admit my iPod is full of Gordon Goodwin's Big Phat Band at the moment - some stonking playing.[/quote] I love the Big Phat Band immensely. PeteinKent..... Nowhere in his reply did Bassace say anything negative about rock or pop.All he said was that if you know what you are doing you will be a better musician and get more out of it.I don't care if you are playing rock,jazz,pop or what,it's true. No one is saying anything bad about rock music or it's fans-they are just saying how much they love jazz and turning others on to some new stuff. The only 'elitism' in this thread,as far as I can see, is coming from your last couple of posts.

[quote name='waynepunkdude' post='1218436' date='May 3 2011, 11:23 AM']I like the look of them and who actually uses the scalloped frets?[/quote] The Attitude Special doesn't have scalloped frets. I've got one and it's a really good bass well worth the £200 (although I got mine for less a couple of years ago).Billy briefly played mine and was digging it [quote name='waynepunkdude' post='1218708' date='May 3 2011, 03:37 PM']Is he one of 'those'?[/quote] Apparently,he's been involved since the mid 70's,so he's not jumping on the fashionable bandwagon.Plus,he's not preachy about it,so who cares?

[quote name='Wilco' post='1218539' date='May 3 2011, 01:08 PM']Bass Big Muff Pi everytime for me. Whatever you eventually get & [i]if your set up allows[/i], put it between your bass & amp instrument input. Run any other effects separately through your effects loop.[/quote] Or you could run them all between your bass and amp.

Lettuce and Soulive are great-both have Eric Krasno on guitar. Soulive are an organ trio without a strict bass player,but check them out because Neil Evans plays some of the funkiest left hand bass parts. Lettuce have got a cool funky horn thing going on,but with a kind of hip hop influence in Adam Deitch's drumming.Seriously good.

[quote name='Michael Currie' post='1219070' date='May 3 2011, 07:48 PM']And then the Birdland Big Band (featuring Tommy Kennedy!) playing 'Common Ground'. Favourite Big Band, favourite bassist![/quote] Yeah,great stuff- Tom Kennedy is one of my favourite players.I totally dig the Birdland Big Band,but as far as modern Big Bands go,I prefer Gordon Goodwin's Big Phat Band. PeteinKent....Let's not turn this thread into a 'Jazz/Rock snobbery' argument. It's a nice healthy thread about some good music and maybe turning people onto something new.

Don't go crazy on the chromatic runs-Stick to chord tones and scale walk ups.

I pretty much always run a DI before my amp anyway,so if my amp goes quiet I'll still be getting something out front and through the monitors. For a bunch of my gigs I don't use an amp anyway.

Yeah,I've seen them. They look pretty wide though-I wonder how easy they are to slip over the nut and out of the way? I'll probably get a pack if I ever see them anywhere-but I wouldn't go out of my way to order any.

I've used the David Gage Realist on mine for the years and am really happy with it. If you are going to be cranking the volume up you might be better off looking at a magnetic pickup which will eliminate the feedback issue.

It just seems like a pretty standard jazz blues to me,with a 1,6,2,5 turnaround. After just a quick listen it seems to be basically the same as a tune like 'Blue Monk'

[quote name='chrismuzz' post='1214237' date='Apr 28 2011, 09:42 PM']I hit the strings quite hard, probably why I avoid active basses [/quote] Interesting reason. I use active basses often and I hit the strings pretty hard.

[quote name='4 candles' post='1214403' date='Apr 29 2011, 12:20 AM']god gave him so much musical tallent, but in the othe hand took so much away (the lord moves in some funny ways) i love victors playing but I think he reherses his licks best bass player by far, wipes the floor with jaco,miller etc but to me its still its his hot licks[/quote] Wipes the floor with Jaco and Marcus etc? Bold statement. As far as rehearsing his licks...I'm sure that he has some ideas that he uses often and has practised,but then again I don't think there is anyone that hasn't got a bunch of licks that they have practised and can pull out when needed.

[quote name='stingrayPete1977' post='1214402' date='Apr 29 2011, 12:19 AM']It would be If You Want Me To Stay by Sly and the Family Stone with Larry Graham Playing my pre EB FTW [/quote] Just out of interest...Larry Graham didn't play on 'If you want me to stay'. It was Rustee Allen.

[quote name='4 Strings' post='1213938' date='Apr 28 2011, 04:30 PM']This is a great question, I have recently acquired a strange coloured 1997 American Deluxe and I'm struggling to get a satisfactory Jazz Bass tone. On my Deluxe the controls are a bit odd and I'm still playing around. They go: Vol: Pan: Bass/treble stack: Mid It was 100% on both pups (pan control on the centre notch), boosting bass 80% and treble and mid rolled off ~30% for a band playing Linkin Park type rock. Works for that band but not really what I'm after sound-wise until I went to cutting front pup by ~50% and the Jazz Bass sound was beginning to be revealed. The tone variations are very powerful and its going to take me a while (all suggestions welcome!) I'm surprised that almost everyone plays with so much on the neck pup. Has anyone also found the amazing difference in sound playing off the two pups? Moving my hand from the front to back pickup is like changing guitar.[/quote] On my Deluxe Jazz 5 I have volume full up,pickup pan very slightly in favour of the bridge pickup,Bass and Treble flat, mids boosted very slightly. Pretty much all my tonal variations come from hand placement. I don't tend to fiddle about with my EQ on a gig-I get a sound that I'm happy with,and everything else comes from my technique.

[quote name='louisthebass' post='1213130' date='Apr 27 2011, 08:55 PM']Can anyone recommend a gigbag for a 35" scale bass? Cheers, louisthebass[/quote] iGig

I usually set my main Jazz with tone and bridge pickup full up and the neck pickup between all off and about half,although I sometimes run both pickups in series mode.

[quote name='BottomEndian' post='1211813' date='Apr 26 2011, 04:55 PM']Indeed... but my point was that the first chord is the iv chord. If you find yourself playing with someone who assumes the key will be the first chord, you end up with a... *ahem* ..."novel" reharmonisation.[/quote] Exactly.....I was referring to the others that said it's normally in E minor

[quote name='Dad3353' post='1211730' date='Apr 26 2011, 03:14 PM']Good afternoon, all... I would concur with Garry here; E minor. The last chord is more usually the best indication of the key (resolution..?); although there are, of course, exceptions, they tend to be rare (at least in 'standard' music, death metal may be different, I wouldn't know...). 'Girl from Ipanema', for instance, ends on a Gb7, preceded by an FMaj7. The key is F (1b...), the Gb7 is a sort of musical 'suspension' for effect. The general 'rule of thumb' for me would be the last chord... Hope this helps...[/quote] That's funny,everyone I play 'Autumn Leaves' with does it in G minor. With '...Ipanema' although the last chord of the is a Gb7,everytime I've played it it tends to end on a Fmaj7-Gb7 vamp before resolving to Fmaj7. The Gb7 really just acts as a turnaround as you play through the changes.