timhiggins

Marcus manages pretty well with the electric ! I love both P.C. and Garrison ,but having just listened to Garrisons solo on Impressions i'm favoring him at present is it the strings that give him the more compressed sound or technique ?

Cheers Rog. i wanna buy it now !

I just found Sharay Reed @ music concert in Chicago playing the very same bass and the low b sounds killer dont know how to upload it though !

It seems a bit pricey to me but he does state price is negotiable ,there was one went on here for 700 a while back but i think that was cheap...a fender 5 player recently had my k.s.d.5 off me[ 400 ] and say's he prefers it to his 50th anniversary 5 ,so i guess you should try it first

I agree the sunbeams were very smooth and i use them on my reggae bass but they seem to lack sparkle for funky stuff for me they seemed a bit like old strings straight out the pack.!

I recently went through a 'looking for something different ' stage and tried Dr sunbeams ,roto, fender , legacy, and have come back to d'addario for me they are the clearest and most consistent.

Family mans still there and going strong

I just had a listen to the precision shootout and the first one [64] had it for me ...typical i bet thats the most expensive !

It was the 72 for me too ,it seemed to have the warmest low's and a slightly more scooped sound to me than the others i also loved the Nordy on the last settings ...great stuff

I tried the sr 1200,1800 and 500 at the weekend and although the higher spec 1200 and 1800 had more tonal options and Nordstrand p.u.'s i thought the 500 held its own and i loved the sound of the barts, i tend to play more reggae jazz and funk and found it well suited ...bargains to be had s/h !

Cheers ,i wiil check him out

[quote name='HughRichardson' timestamp='1432680221' post='2783973'] I would consider your most role within the band when playing walking bass. 99% of the time it's going to be to support and outline the harmony. This means that the modes approach is useful but personally, I wouldn't just chose any old notes from each mode. I would try to go for chord tones (1,3,5,7) as much as you can. You don't need to hit all of them but try to use ones that outline the base quality of the chord (usually 1,3,5) and connect them together with other notes from the mode. If I wanted to outline a D min7 for example I might start on D (1) then pass through E to play F (3) then up to A (5) etc or play D, B, A, F to get a little more of the dorian sour in there. In either case, because I'm still using chord tones I'm able to play something that supports the harmony, is relevant to the music and also get the modal quality into the sound of my line a little more. Does that make sense? [/quote]Yes that was very helpful ,and i think i would make those same note choices over Dmin 7 ,although i also like the blues scale over it , its those chromatic runs i like but i'm not sure those playing with me are so keen !

[quote name='booboo' timestamp='1432457681' post='2781551'] I think PC & RC reached the point where fingers/ears/theory all gell and work together. I'm still trying to get there (like a moth trying to fly into a light bulb!), but sometimes it happens for a few bars on a good day and I think I'm getting there. Sadly it seems there is no substitute for time, hard work, and tallent but if there are some tablets I can take instead please let me know! [/quote] I make you right Booboo ,and if i find them pills i w ill try to save you one !

When listening to P.C. or Ron Carter i notice they both will use notes that aren't in the arpeggio or related scale to the chord they are playing over especially over a fast moving sequence of chords, which sounds good to me ..so what i'm getting at is although they had an awareness of chord structure they must have been playing by ear and often made a note choice for flow rather than be governed by the chart entirely or am i off the mark ?

[quote name='Bilbo' timestamp='1430832844' post='2764980'] The 'magic' is borne of hard graft and solid practice not because these guys are 'Jazz ninjas'. [/quote] Thanks for that Bilbo ,i can do hard graft and practice... there is hope yet I have recently acquired a stagg E.U.B and am really enjoying trying to get to grips with some much loved jazz that i have always intended to learn and thanks again all

Thanks for the wisdom all its very welcome .. so am i to assume that when Paul Chambers first played/recorded' Giant steps 'he could look at the chart and improvise a walking line at that tempo ? if so i may stick to playing reggae as i'm not sure i will ever get there

Cheers Rob i thought that would be the case , what prompted my question was a u tube lesson by Bill Harrison where he's walking over Em7 A7 Dm Bm7 ,and if i use the aeolian or dorian it all seems to work [more or less] ,and if i use the corresponding modes trying to avoid the obvious root placement it doesnt seem so different [ it may do on a listen back though ] ...

I have a question for you Jazz cats, when walking through a chord pattern in lets say D minor is there anything wrong with using the minor/dorian scale, and just walking through the changes or should one always be aware of every chord and the appropriate arpeggio ?

If not gigging i will definitely be there ,sounds like fun