neal_b

[color=#444444][font=Arial, Helvetica, sans-serif][size=4][i]Posted on Facebook by Keith Jarrett - 7/22/14[/i][/size][/font][/color] [color=#444444][font=Arial, Helvetica, sans-serif][size=4]For Charlie[/size][/font][/color] [color=#444444][font=Arial, Helvetica, sans-serif][size=4]So...Charlie....what can I say? The bass became the bass again in your hands, after all the players who thought they were making it hipper, while they were also making it more synthetic and metallic and harsh and cold (leading to the eventual winner of the contest...the so-called electric bass). You wrapped yourself around the bass while you played; inhabited it, made love to it; and those of us who heard you and played with you heard that. All around you were players who were more "detached" from the instrument. What must you have thought of that detachment? Actually, I know the answer, because in all the time we played together in my trio, the American Quartet, and with a string section, etc. (even when you were strung out on heavy drugs), you didn't think about anything but the music. You said it was hard for you to listen to me play with my band because you knew what notes you would have played. Other bass players didn't impress you much; what was technique if there was no heart there?[/size][/font][/color] [color=#444444][font=Arial, Helvetica, sans-serif][size=4]I had a tour assistant who heard "Jasmine" in a limo on the way to a gig. She was young and not familiar with jazz, but she said "You guys are so together!" and so I asked her: "What do you mean, Amy?" She said, "Well, if you played bass and Charlie played piano, you would play the same way." This was a compliment.[/size][/font][/color] [color=#444444][font=Arial, Helvetica, sans-serif][size=4]Once I was backstage at a jazz festival and Ornette Coleman was also there. We had never met, and by that time I had a quartet with Dewey Redman (who was a serious alcoholic) and Charlie (who was a serious drug addict) and Paul Motian, but Dewey and Charlie had both been with Ornette and then joined my group. Ornette asked me how I knew this "church music"; I had to be black. "No," I said, but church is everywhere. Then he asked me how I could keep a group together this long (ten years, at least) with Charlie and Dewey in the band; how was it possible? And I answered, "because they're the best."[/size][/font][/color] [color=#444444][font=Arial, Helvetica, sans-serif][size=4]In the very beginning, when I had the chance to make my first record with anybody I wanted to use, I rehearsed with another bass player, who was too busy with a different group at the time; so Charlie was my second choice (!?). I hadn't heard him very much at the time, but after the first rehearsal it never occurred to me to look for anybody else. We had an indelible connection that lasted over 40 years. After the quartet broke up, Charlie cleaned himself up and we recorded again after 30+ years.[/size][/font][/color] [color=#444444][font=Arial, Helvetica, sans-serif][size=4]People will always love his playing but no one will ever imitate him. He was a rare, true original. Perfect intonation, the biggest ears, the warmest, most captivating tone in the history of the jazz bass; and ALWAYS musical. And I never had a better partner on a project for his honest input and deep understanding of our intentions in choosing the tracks for "Jasmine" and "Last Dance."[/size][/font][/color] [color=#444444][font=Arial, Helvetica, sans-serif][size=4]Love You, Man.[/size][/font][/color] [color=#444444][font=Arial, Helvetica, sans-serif][size=4]KEITH JARRETT[/size][/font][/color]

[quote name='daflewis' timestamp='1402046896' post='2469450'] I take it from that that (and the time you posted!) that you are "over the pond"? - I love my six pack and also loved the briefcase - both extremely quiet with a great sound. I've read about other people having the same problem with the newer small amps and it only seems to be an issue in 240v countries; but sadly it makes the DI unusable, and the high pitched buzz from the amp is also intrusive in a low noise environment. [/quote] Yes, I am in the States. Have you had a chance to contact Phil Jones Bass? They have been responsive and very helpful with my questions.

I have a Bass Cub and a PB-300 (250W powered cabinet). Both have a very accurate sound. Also, Phil Jones did not use fans on either of these, which is very nice for practicing, composing or recording in your studio. It is kind of like playing an acoustic guitar, as the only sounds you hear are those coming from your bass. I typically only use the PB-300 if I am playing with someone else. It sounds just like the Cub, only louder. I think the Bass Cub would be fine for a quiet setting, perhaps a coffee house or trad jazz. Observations: 1) A pre-amp. such as a SansAmp, coaxes a lot more volume from the Cub. Then again, I use passive basses. 2) Neither the Cub nor the PB-300 has any noticeable noise (my sympathies to daflewis; maybe the 240V power source has something to do with it.) I use the Cub as a DI into my DAW. 3) The physical size of the Cub is really nice. If you are going to have access to a PA, then the Cub should have plenty of volume. 4) Nice features include a limiter, two channels, tuner out, mic in, aux in and headphone jack. Having said all of that, I use my Markbass CMD 121P for playing with the band. The Markbass is much louder, allows you to color your sound and weighs less that 30 lbs. It is much easier to transport than the Bass Cub/PB-300 rig. Had you considered the QSC K series of powered speakers? They are very clean, and have plenty of power Those, with a small mixer, might solve all of your issues.