TKenrick

A brief overview of this plum-coloured pedal and some of the sounds that it can produce: There's a lengthier article on it here should people want more detail: Boss BF-2 Flanger Pedal

A bit of Pino with Paul Young. Some pretty taxing 16th-note stuff in the outro: Paul Young - 'I'm Gonna Tear Your Playhouse Down' bass transcription

Nice to see you taking the plunge and sharing your work! There are (very small) layout things in here that I would change, but I'm hesitant to force my personal chart preferences on others... The main thing that I always try to do to make life easier for the reader is to try to keep 4 (or 8 bars) to a line; sometimes, this isn't always possible as some bands write sections that are 17 bars long, but I try to get in that ballpark as 90% of songs divide neatly into 2/4/8 bar chunks and laying things out in this way makes it much easier to read at a glance. I also like to see a double bar line to signal that there's a change in a section coming up (e.g. between verse and chorus). I've been toying with the idea of doing a series of videos/articles on how to notate, but I didn't know if there would be much interest in such a thing. Anyway, sorry for the nitpicking and look forward to the next one(s)!

I've just had my first day of remote school teaching via Zoom - it's ok, but there's still latency as with other software, so I don't know how it would be for rehearsing.

A classic Incognito groove that I always thought was Randy Hope-Taylor, but isn't: Dots/waffle here: Groove Of The Week #55: Incognito - 'Colibri'

New edition of Groove Of The Week featuring Michael League from Snarky Puppy playing some George Porter Jr-on-speed licks: Notation etc here: Groove Of The Week #54: Snarky Puppy - 'Quarter Master'

As @dodge_bass bass said, it's the process of working it out that's important and - generally speaking - the harder something is to do, the more beneficial it is for you. It's time consuming for everyone when they first do it, but it does get easier with time, patience and persistent effort.

This week's groove involves playing hip hop with a pick... There's also a strong whiff of The Jacksons to this one: Notation and waffle here: Groove Of The Week #53: Q-Tip - 'WeFight/WeLove'

This is one of the most important - and overlooked - areas for anyone wanting to make a living out of playing an instrument. There are bright spots to be found in even the most banal music, and it's vital to find them if you're going to survive playing Brown Eyed Girl 100 times a year without wanting to physically hurt people...

This week's groove is a bit of vintage Jamiroquai. Great playing as always from Stuart Zender and some tasty harmony to boot: Dots etc here: Groove of The Week #52: Jamiroquai - 'Manifest Destiny'

I'm resurrecting the Groove Of The Week Series, starting off with a look at a straightforward groove and a challenging lick from MonoNeon: Full analysis/notation here: Groove Of The Week #51: Ghost Note - 'Swagism'

Great idea - I don't know where such a thread would live; maybe keep it in theory & technique as it's probably a fairly niche topic? Oteil is a player who I know very little about, but I always hear other players speak very highly of him. Most of my favourite Jaco moments are actually him as a sideman; the Joni Mitchell stuff, Metheny's Bright SIze Life album and his solo on Ian Hunter's All American Alien Boy are the ones that I keep coming back to (I transcribed/analysed that Little Beaver tune a while back, some great stuff in there, especially considering his age at the time!).

It's roughly 80 mins a day, which isn't that much - I do an album each way on my commute, I also stick on albums in the background if I'm cooking dinner or similar. Just had a baby, so there's a lot of time sitting around feeding him at the moment when I can't get any other work done, so that's now prime listening time. I'm the same - I was basically raised on Dire Straits, The Eagles and very little else, then spent my teens listening to nothing but metal. I'm doing a blend of CDs and Spotify for precisely the reasons you mentioned. I wasn't going to make a list, but it might be good to make it public as a way of holding myself accountable and making sure I don't quit by March!

Some thoughts on listening habits in the age of streaming, and why I'm challenging myself to get through 100 albums in 2020: New Ears' Resolutions - 100 Albums in a Year?

Her first two albums are such great encyclopedias of groove; I'm in the process of tidying up some more charts from Peace Beyond Passion, so they'll be here in due course.

As something of a reluctant slapper (that's what she said...) I definitely prefer the 'chunkier' old-school slap sound of flats or tapewound strings. I find that an EQ pedal* is useful on function gigs where 90% of the set is P-bass with flats territory and then someone decides that they want to play 'Never Too Much' - I'm much too lazy to bring a second bass with me, so this is the best compromise. *a source audio programmable EQ, for those who are curious.

It's one of my favourite books for reminding myself that my reading isn't what it should be 😂 A great practice resource and a serious workout; most of the studies are rhythmically straightforward but challenging it terms of pitch, especially given JP's preference for using all of the ledger lines above the stave.

This. Or, keep some dry signal in along with the 1 octave down - I find that this helps to fill things out a bit more and maintains a bit of clarity, especially in smaller venues where it's easy to overdo the sub bass thing.

Changing tack from posting charts of tunes that I have to play and turning my attention to things that I want to play: Meshell Ndegeocello - 'The Way' bass transcription PDF

Funnily enough that's what my wife never refers to me as 🤣 Nailed it. Notation is a language, just like any other - you have to get a firm grasp on the individual syllables before you can expect to string words together with any degree of fluency. Books like Bellson etc do this in a systematic way, which is why I'm such a fan of them. Anthony Vitti's Fingerfunk Workbooks are also great for working on rhythmic lines in a more musical context than a strict rhythm reading book.

Another one that seems to get called on gigs with increasing frequency and is hard to blag: Queen - 'Bohemian Rhapsody' bass transcription PDF

Thanks, Joe, much appreciated - I keep meaning to catch you at the bass show, and then I remember that I'm allergic to them... The notes from our lessons are still keeping me busy after all these years!

Hey Joe! Any advice on walking concepts for tunes in 3/4 time? I already have your (excellent) walking bass book.

It's cropped up on a bunch of gigs recently and I've had to confess to not knowing it. As I've said before, everyone has principles until their mortgage is due...