TKenrick

[quote name='Bilbo' post='1191944' date='Apr 7 2011, 04:49 PM']The first track on the Davis LP was Milestones and I remember thinking 'wow' and then, when Cannonball Adderley's solo starts..... a real 'hairs on the back on the neck' moment. I didn't understand it but I just knew that this was special. Funnily enough, several horn players I have spoken to have acknowledged that solo as an epiphany as well.[/quote] Cannonball's opening phrase on 'Milestones' is one of my all-time favourite moments. Aside from that, the first time I heard Sonny Rollins on 'St Thomas' was a big turning point, as was getting Metheny's 'Bright Size Life' record.

Here you go: [attachment=76764:Scalar_A...xercises.pdf] The first half is a 2-octave major 7 arpeggio. I've tried as best I can to mark the fingering/position shifts, start on the E string and it should hopefully make sense. Hitting each note multiple times is a really good workout for the right hand. This exercise can be applied to any chord type. Scales in 3 and 4 note groups are good ways of developing left hand coordination and finger independence. Again, this can be applied to all scales/modes. The last exercise shows a C major scale played in 3rds, once this is comfortable I'd suggest working out how to play it in different intervals (4ths, 5ths etc), which will really start to test your hands and brain! Tom

As someone who spent years doing those spider exercises, I'd say don't bother. You'll get better results from playing things that are derived from music - your technique will improve and you'll be developing muscle memory for ideas that can actually be used in a musical context. I'll put some stuff that I've found helpful into sibelius and post it up in a bit.

Here's some of Pino's part on 'Send It On' from D'Angelo's Live in Stockholm album, a nice 6/8 groove followed by some melodic lines up the dusty end of the fretboard. I think the lines he plays here are very similar if not note-for-note reproductions of what he played on the studio version of this track. Anyway, knock yourselves out. [attachment=76061:Send_It_On.pdf]

Anthony Jackson?

[quote name='Starless' post='1163163' date='Mar 15 2011, 02:44 PM']Shapes. Shapes. Shapes.[/quote] Notes, notes, notes. [quote]Reading music, whilst being thoroughly commendable, is irrelevant. If you're looking at dots on a sheet, then you're not improvising.[/quote] The last point is fair, but it's very much a case of apples and oranges. Reading music is definitely relevant for accessing new information, particularly music that wasn't originally written for the bass. This can lead to lots of ideas that could be used in improvisation. Whilst I doubt the OP is looking to take on a bunch of reading gigs (apologies if this is not the case!) learning to read is invaluable when trying to understand how theory, improvisation and the instrument all connect.

[quote name='J.R.Bass' post='1160419' date='Mar 13 2011, 01:05 PM']I've added these sites to countless threads. [b][url="http://www.thebassment.info/"]Site 1[/url] [url="http://jbbass.co.uk/transcriptions.aspx"]Site 2[/url] [url="http://freebasspart.pv24.pagesperso-orange.fr/Bass_Players.htm"]Site 3[/url] [url="http://www.stevieglasgow.com/transcriptions_e.html"]Site 4[/url] [url="http://stefanredtenbacher.com/transcriptions/"]Site 5[/url] [url="http://tomkenrick.wordpress.com/basstranscriptions/"]Site 6[/url] [url="http://www.dodgebass.co.uk/?page_id=36"]Site 7[/url] [url="http://bassoridiculoso.blogspot.com/"]Site 8[/url] [url="http://www.mikenichols.co.uk/"]Site 9[/url] [url="http://www.arcellussykesmusic.com/index.php?/transcriptions/"]Site 10[/url] [/b] 10 sites there with plenty of material to keep you going for years & they are also updated all the time. Jake[/quote] Thanks for the shout out, Jake. I've been slacking off on the transcription front lately but will try and get some new stuff on the site before too long. If there are specific things that people want transcribed then hit me up and I'll see what I can do. Tom

Me'shell is definitely one of my favourite players, ridiculous groove and an amazing feel. Some of her simplest lines are really hard to recreate properly because of her articulation. Her part at 2:30 through this always makes me smile:

There's a really good iPhone app called Dr. Betotte which is fairly pricey in app terms (think it was about £6) but it has all the functions of metronomes that retail for £50+. Tempo range from 10-310bpm, switchable subdivisions and odd-meter settings.

[quote name='Gareth Hughes' post='1102450' date='Jan 25 2011, 05:58 PM']What - no juicy details? What happened? Prying minds (with feck all else to do) must know!!![/quote] Not that many juicy details I'm afraid - was recording all morning, turned on phone during lunch break and got the good news. My friend went over to Waterloo to pick it up and delivered it to me. Needless to say he was massively apologetic about the whole thing and told me to never lend him anything ever again... [quote name='MIJ-VI' post='1102522' date='Jan 25 2011, 06:37 PM']You owe karma a favour...[/quote] I couldn't agree more.

This was on my transcription list, thanks for posting it and saving me the effort!

Got the bass back safe and sound this afternoon, fairly relieved to say the least! Thanks to everyone for their support/advice Tom

[quote name='bumnote' post='1100563' date='Jan 24 2011, 11:04 AM']Are you shure it hasnt gone all the way down the line? Waterloo to guildford ends up at Portsmouth doesnt it?[/quote] The fast train goes all the way to Portsmouth, this was the slow one that only goes as far as Guildford.

Latest news is I have to wait until tomorrow when the lost property backlog from the weekend will have been processed - I've spoken to another BCer who works for south west trains and unfortunately there's nothing I can do to speed this up. The bass was left on the service running between London Waterloo and Guildford on Friday night. Having checked lost property at Guildford on Friday night, it appears that the bass is most likely at Waterloo, unless someone has taken it... So if any London/South East based people see a black Jap Precision with a maple neck and gold scratchplate and a badass bridge then please get in touch! It was travelling in a grey Protec Contego gig bag. [attachment=69842:IMGP3692.JPG]

Thanks for all the responses guys, my friend has of course said that he'll replace the bass - I've known the guy a long time, we dep for each other regularly and I'm certain there's nothing suspicious going on other than a moment of massive incompetence on his part. As others have already mentioned, it's really not about the monetary value of the bass. I don't care about getting another bass, I care about getting THAT bass back again. If there's no news tomorrow morning I'll start a search operation, might need BCers to keep an eye on their local pawn shops... And yes, lesson learnt.

I recently lent a friend my beloved 80's P-bass for a recording session... Just had a call from him to inform me that he somehow managed to leave it on a train last night, and that the lost property office isn't staffed at weekends so I can't find out anything until Monday morning. It's going to be a long Sunday... Keep your fingers crossed Basschat!

'The Rumble' and 'Cool' (particularly the middle section) are probably the most taxing bits of West Side, the rest of it isn't too bad. As the others have said, get on Spotify and get familiar with the tunes - you might well be surprised at how many of the tunes are actually well known to you already. And yes, the Dave Grusin arrangements are amazing, well worth checking out.

This can be answered easily in two words: Anthony Jackson Ultimately it should be a question of what will produce the best tone, not what your preferred technique is. And a massive +1 to checking out Bobby Vega

[quote name='funkle' post='1083442' date='Jan 9 2011, 07:01 PM']Becoming a full-time jazz musician still doesn't look like a terribly viable career option to bring home the income, although I'd love to do it, so if I want to play jazz I've got to pay the bills somehow...[/quote] Jazz isn't a viable career option for me either, pop gigs/weddings/teaching pay the bills and studying/playing jazz is very much the hobby. [quote name='Delberthot' post='1083819' date='Jan 10 2011, 01:05 AM']If on the other hand you want to be a studio session musician or do pit work Then perhaps what has been said previously is the best thing for you to do and what i have said is complete bollocks.[/quote] I'll agree with this bit. There are players who want to really study certain aspects of music and there are players who are comfortable with the knowledge that they have - neither approach is wrong. Each to their own and all that...

Many thanks for the comprehensive reply Pete, it's much appreciated. What you've said about the exercises involving different methods of approaching chord tones and tensions definitely sounds familiar, I hadn't realised Jeff Berlin had studied with Banacos but of course that makes a lot of sense now... In terms of the ear training exercises, I've never really got into solfege in any real depth so will definitely spend some time on that. I've been working on exercises from [url="http://www.amazon.co.uk/Hearing-Writing-Music-Professional-Training/dp/0962949671/ref=sr_1_1?ie=UTF8&s=books&qid=1294588475&sr=8-1"] Hearing and Writing Music [/url] for a while as a means of being able to transcribe without an instrument but still have a long way to go. I totally know what you mean about work getting in the way of serious practice. I'm a full time musician and still find that work interferes with my practicing and takes me away from the things I want to be working on. Tom

Hopefully these are 3 that you don't know already... Don't know if the Umbrella one is 100% accurate, it was done towards the end of learning 65 tunes in a week for a similar scenario. Good luck! [attachment=68210:Umbrella.pdf] [attachment=68211:Forget_You.pdf] [attachment=68212:Use_Somebody.pdf] I'm pretty sure there was a transcription of 'Man In The Mirror' posted in the theory and technique forum not that long ago.