Cairobill

Lined boards exclusively.

[quote name='OutToPlayJazz' post='646643' date='Nov 5 2009, 08:16 PM']Having met the man in question a couple of times (and he is a really nice guy, too), whether or not you like what he does, he did do one thing. He made a whole generation of bass players work hard to try and emulate him. None of this current day instant gratification nonsense, just pure hard practise to achieve something and become better bass players. Whether you're a simplistic root note rock music plodder or a jazz/funk twiddler, players like Mark King are and should be considered as a welcome inspiration to us all.[/quote] Well said...he's a great stylist and certainly inspired me (along with Jaco, Lee...etc etc I'm an eighties kid) to woodshed. I like the post earlier about MK giving Charlie Haden an award - they are effectively at either end of the spectrum. Haden is texture, space and weight while King sticks out in the mix, filling the stave with chugging beats. But I have a taste for both. As I get older I veer towards the Haden end of things but I still appreciate King's playing... EDIT - Now does anyone know about the viking portrait?...I am intrigued...

Just listening to Pursuit of Accidents the track...fantastic, really distilled, great vibe... I might do a playlist of what I think is the good stuff...and what tracks I think are well dodgy. I can't think of any band whose stuff has so polarised my opinion of their music. Some of it I really like, some of it is really, really bad...

I remember watching Top of the Pops as a kid when Level 42 did Sun Goes Down. My first impression was "I didn't know Steve McQueen played bass?". My second impression was that it was a great bass line. King is only knocked because he is so high profile and he's stylistically SO identifiable. No one can deny that he is a fantastic bass player - and he's a lot more than the super fast slap stuff if you ask me. His bass playing generally is very strong indeed. Level 42's music, on the other hand, had terrible quality control - but the good stuff is great fun. If I was to recommend one album I would go with either Pursuit of Accidents or World Machine...then again True Colours has some great tracks... Nick P.S. Does anyone know the truth to that story that he had a portrait painted of himself as a Viking hanging over his fireplace?

The only bass I need is a maple boarded jazz... ...maybe with pearl blocks? Ahhhh decisions...

[quote name='Spoombung' post='643309' date='Nov 2 2009, 12:28 PM']Thanks Alan. I probably shouldn't say this...but my own personal favourites don't usually feature the bass too much![/quote] Of course when you're making the music, the more familiar elements like the sound of your fretless playing must after a while feel a bit 'been there done that' so, to your ears, your favourites aren't bass heavy. But whenever I hear you play the bass it sounds like only you could have done it, it is a completely unique sound. That is a serious achievement on any instrument let alone the bass. Kudos! Cairo

Hey Clarky My advice is to buy yourself a copy of Rufus Reid's 'Evolving Bassist' DVD and get your Zeller set up properly by a good luthier. I know a fantastic guy in Clapham who would do you a great job for relatively little outlay. Just as an aside, Zellers get pretty bad press for being cheap production line basses but Lawrence (the luthier I know) had a Zeller in that he had set up and it really sounded big and punchy. It's all in the setup! Drop me a line if you want me to hook you up - I can;t remember the exact cost of a thorough set up (setting the string height, soundpost adjustment, fingerboard/nut dressing etc) but it probably wasn't too far off £100... I found that after taking up upright that my electric playing improved considerably, so there are other side-benefits as well. Cheers Nick

I'll suggest using Thomastik Spiros, the Mittels (which are the mid gauge). Very focussed pizzicato sound, moderate tension and they sound better the more you break them in. I've had mine for 4 years - I use a Realist to amplify my bass - while it brings out a lot of bottom end it does take away some of the colour in the sound. I'm seriously considering using an electrovoice re20 mic for live work, they sound incredibly good for recording... Nick

You're on the right track... I have to say that you should dispense with all that godawful bass solo album stuff apart from one. Pastorius is a very good composer indeed - none of the others in the list are on the same page. So, continue listening to Pastorius and righteously shun the rest of the finger wiggling. It can be a pleasure to listen to (as a bassist) but musically it is pretty thin gruel... Nick

I don't know what is about Jamerson but his bass playing makes me very happy indeed Nick [quote name='jakesbass' post='632244' date='Oct 21 2009, 11:39 AM']Very good advice indeed [/quote]

Meditate on these Two Words... James Jamerson.... Listen to this... [url="http://www.youtube.com/watch?v=ND-iW51idC0&feature=fvw"]http://www.youtube.com/watch?v=ND-iW51idC0&feature=fvw[/url] Then buy this... [url="http://www.amazon.com/Standing-Shadows-Motown-Legendary-Jamerson/dp/0881888826"]http://www.amazon.com/Standing-Shadows-Mot...n/dp/0881888826[/url] Then study it deeply and enjoy. Nick

Thompson's playing is a great inspiration to me...love it...his playing (alongside Eberhard Weber) on Hounds of Love by Kate Bush is just the greatest pop upright playing imaginable. Awesome...the bass is almost a lead instrument on these tracks, but he doesn't overdo it. Jaco's playing on Hejira inhabits the same space - lyrical, melodic, emotional and just f**ing far out... Nick

Oh yeah - I tried that Zon - it was a bit polite which is probably down to the pre. I had a fretless Special which sounded great and is doing the rounds on basschat... I've got a Zon but the Polyfusion pre has been swapped out for a McKeen pre and it sounds amazing. Huge with the real presence and a bit of growl if you hit it right. A good Zon is an amazing bass... I really like the Gallery - they are very straight shooters... Nick

Great review Sibob I tried that Celinder - it's amazingly good if, ahem, spenny. Really the best jazz in the place - a similar beef to the tone of my old Nash (the red one which has gone to Richardd not the natural that's there at the moment). I tried the DJ too - I remember liking one I played about 5 years ago but was very underwhelmed by the one there. It had no life or balls in it for some reason. Did you try Adam Clayton's Oly White 65 J? That was a nice bass with a beautiful thin old neck. Again, expensive... I just bought a Bravewood which has exactly that profile - utterly awesome jazz bass... Nick

I recognise the gentleman in the photo above (with his nice new Wal). One of the few bass players who played a fretless and didn't sound like Karn or Pastorius in the process. For those who don't recognise him, Mr Spoombung is a Wal player of note and a central figure in a totally brilliant much missed Anglo/Irish band. We do indeed have some interesting people on this forum Nick

It's good to see that they're back in production - maybe the Stateside hysteria will die down and they can be assessed on their real merits. I have played many Wals over the years (and borrowed a couple for extended periods but not owned) and while they have a cool sound the examples I played were not 'perfect' - they're a unique bass but I don't think that they're the holy grail - not that any bass really is of course...

This bass is a total beast. It eats other basses for breakfast. Thickest J tone I've ever experienced. This bass is a QED for the Nash ethos - tone, tone, tone... Would not have let it go if I hadn't had a new fretless Bravewood wend it's mystical way into my house. Glad to hear it's getting played loud! Nick