No lust in Jazz

It's all down to personal taste, but I've despised the J pick up in every PJ variants that I've tried - so, for me and maybe only me the J pick up is wasted

3 hours ago, hiram.k.hackenbacker said:

There’s also a massive howler at the end of one of the repeated choruses.

For authenticity you have to retain this..

1 hour ago, neilmurraybass said:

Having read some of the comments under his video, some are good, but some are the typical American obnoxious haters who are intent on slagging anything and everyone, usually from a position of ignorance, which is another reason why I've been slow to put videos up on there. Bah!

The trouble is that when someone like yourself posts -  a player of talent and skill, who has been there, played with well known names, toured the world and recorded albums of music that people have actually enjoyed.. it makes a lot of halfwit trolls realise how bad their miserable lives actually are.

I'm interested in playing parts accurately, this keeps me going through some, at times, pretty staid material across all of my bands - living in the Walter Mitty world where I pretend to be a session player or Scott Thunes circa Zappa's band of 1984 

I think its down to the individual and band, if you want to run round and have a laugh then great, its also great if you have the desire to 'nail it' - whatever that means.

In the first instance, I'd be contacting KiOgon for any such messing.

In one of my current bands the band leader(s) make odd choices of material, I have offered that the mid 90's album track by a band that I or no one else that I know has heard of, is a poor choice in a 20 song set, so all I can do is play it well and with conviction, they get the gigs, do the promotion and pay me - so I don't worry too much about it, at the end of the day its just opinions.

I offer Bonnie Raitts version of INXS's Need you tonight into Starlight by Slash as a 'gear change' that our audience took badly.

Credit where its due Scott Devine, fronting up when you really didn't have to - best of luck with the business.

There are a lot of pro bass players offering one to one lessons - make your own choices, my choice is to block the SBL channel, but I don't begrudge him making a living,

On ‎24‎/‎01‎/‎2019 at 20:55, kevvo66 said:

I love my j bass and my p the others I could live without .any recommendations on a decent one which will be a seriously good one and will give me what I'm after sound wise,cheers 

I too was dubious about the 'ability' of short scale basses, they do feel different not better, not worse just different, in a band context no one will hear a difference, from my own experiences..

A Fender MIJ Mustang - is great, but I couldn't love mine - I detested the PJ PU configuration and higher fret access isn't great - I sold mine.

A Supro Huntington II - Will cover all P and J Bass sonic territory - I dropped one of John's (KiOgon) wiring looms in mine, which added to its flexibility -  I still own it.

My personal favourite is a Spector CTB - A bass that I just love - different in tone to the P and J Bass, (but to my ears sensational), so doesn't aide your quest.

I have a Serek Midwestern II Incoming later this year - because I deserve it - watch this space.

I briefly owned a short scale custom built Mensinger Joker - an expensive mistake.

There are a couple of short scale Spectors in the classified at the moment - both of which would be of interest if it wasn't for the Serek. 

We have the PA set up at around  two hours before we arrive and set up in the classic three across the back - Bass; Drums; Keys -  three across the front - Vocal / Violin; Vocal Keys; Vocal Guitar each interacting with the engineer until sound check where we unleash fury. Same for Pub gigs..

Buy a Quilter Bass Block 800

I had Mensinger / Maruszczyk make me one, the 5 string vs. 30.5" worked fine - sadly the rest of instrument, particularly the build quality was lamentable and I sold it.

Weren't the Manic Street  Preachers originally called the Welsh Clash as a homage to the Scottish Sex Pistols?

Abba to Zappa although right now its more A-Ha to Zeppelin - but visiting many stops on route.

26 minutes ago, Barking Spiders said:

Not my usual bag and not familiar with Jerry Peek. But he's a great player for sure. I'll have to check out more of his playing

I don't think that Jerry did a lot professionally after his stint with Steve Morse.

Jerry Peek Played in the Steve Morse band for a time - his technique was a plectrum based slap melange; something that I've not seen since. He was one of a group of players that lead me to gravitate to pick playing.

As always top quality and great service - many thanks John

I know that its not answering your question, but I've owned a MIJ Mustang - I felt this had issues, for less money than the JMJ Mustang I bought a Supro Huntingdon II - which in my opinion is a better instrument - better playability and has tone for days.

Reference listening to how music has been produced - has anyone been following the Rick Beato series - 'What makes a song great?' this series covers a range of artists and musical styles.

7 minutes ago, SpondonBassed said:

I'd like to have heard that.  Have you any recordings of it?

Sorry, I don't

Or my personal favourite.

I find Weather Report to be a decent reference of accessible 'Jazz' - who can resist a Jam with Omar Hakim ?

2 hours ago, SpondonBassed said:

That's a very good example for this topic.

Does any bass player succeed in playing Rhythm Stick with a plectrum?  That would serve well as an answer to the question posed by the OP.

Yes I did - we gigged it for a couple of years.

Donna Lee is tough(er)

I've been following the build diary on YT - for me the most entertaining bit has been Joe's commentary over the production process.