chris_b

Anything by Bob Marley. Aston Barrett was the genius behind so many of those songs.

Mozart and Salieri Bach and Marchand

I haven't played a German or Chinese model yet, but so far the best Sadowsky I've played has been my Japanese Metro RV5 Jazz. For tone, it beats other Sadowsky's I've played, even an NYC, and the Fender Jazz I briefly owned. It plays beautifully and the sound is huge.

Music and being a musician is definitely competitive. What's an audition but a competition. Look at the competitive atmosphere in every department and at every level in Motown. The competitive environment for the song writers in the Brill Building. The record charts. Back in the day, trying to get signed to management and labels. Getting gigs. There is one local gig where they have 200 bands in contact with the promoter vying for 24 gigs for the year. That's competition. Trying to find great players, then trying to keep them. The guys who make our gear are in competition with each other for our money. There is competition in everything we do as musicians.

I'm here to play bass. I want to gig with the best guys I can find and play songs that make the band work. Good songs are a bonus but as long as the set is successful then I'm not hating anything.

This is par for the course with singers and guitarists. I just treat as a learning opportunity and extra homework on my technique.

Rubin is talking about McCartney being a unique songwriting talent and a great singer. It's a bit of a stretch to include the title, best bass player! IMO the number one, the most significant bass player of all time, is the guy who changed the way that bass lines were created and changed bass playing for everyone. The guy who didn't just open the door for the rest of us, but knocked it clean off it's hinges. The guy whose bass lines were unique and ranged from the simplest, Higher and Higher and My Girl to the most complicated, For Once In My Life and Darling Dear . . . James Jamerson.

My guess is that even bass players will only have a passing interest in your rig. Your bass gear is for making you happy. That will make you play better, which will make the band happy. That will make the band play better which will make the audience happy. Which is the purpose of the gig.

If you are tearing up your fingers and getting blisters when playing bass, you're doing it wrong and wasting a lot of energy in the process. Don't hit, pull or dig in. You need a firm touch but need to play with some finesse and you won't have any problems.

Many years ago I managed to cut the knuckle of my left hand index finger to the bone. I was DIYing and the Stanley knife slipped! This was one a Saturday afternoon. I dropped into A&E on the way to the gig, but they had a 2 hour wait, so I gaffer taped my finger straight and did the gig with the three remaining fingers, middle, ring and pinky. I had to rearrange the bass lines on the fly, but got through it.

There is some great music being made these days, Marcus Miller, Keb Mo, Cory Wong, Vulfpeck, Vintage Trouble, Scary Pockets, Gary Clarke Jr, Jon Cleary. . . . . etc etc

I bought a Mike Lull Jazz bass that was the best bass I'd played. A few weeks later I bought a Sadowsky Jazz and sold the Lull. One in one out. Now the Sadowsky is too heavy for me to gig and the Lull would have been perfect at just over 8lbs. Ho Hum!

I saw Reggie McBride with Keb Mo at the Jazz Cafe and he seems to play with a very light feel. It's all in the technique. Probably a low action and stroking the strings.

More Reggie. . . .

The fantastic Reggie McBride on bass. Another favourite on this record is Stitched Up, with Willie Weeks on bass.

There are benevolent dictatorships, Stalinist dictatorships and guys who just want to make their vision happen. I've been in all 3 (and a few more). Obviously don't touch band leaders who are crooks and psycho's with a barge pole, but there is no reason why, if you get the trade off's between the pros and cons right, some of the "difficult" people can't be the most rewarding to work with.

+1 for Turmeric. I have the beginnings of basal joint arthritis in my left hand and it seems to be held in check since I started taking turmeric.

i have 2 #1 basses. I wouldn't change anything about the Lull. The Sadowsky is perfect, but could do with losing 2lbs.

I don't care who's in charge as long as the band can play, the songs work and there are a shed load of gigs.

Bought a bass from Ady. It was a smooth and friendly transaction. Great to deal with. Thanks Ady.

Just bought a Mono Sleeve from Alan. It's in excellent condition and he delivered it to a friend of mine. Very helpful guy. Thanks Alan.

The only reason I play a musical instrument is to be in a band and to gig. I get the same buzz from gigging today as I did on my first gig, back on 20th November 1966.

I've done big and heavy. In the 70's I briefly gigged an Ampeg 215, which must have been around 130lbs, but lugging that around on my own nearly killed me. I sold it after a week. I have no idea what I was thinking with that one. I'm lucky, I have no D class/Neo hang ups, and am hearing some great sounds out there with players using similar rigs.

Sad news. I'm also surprised he lasted this long. There was an interesting program on Crosby on Sky Arts last year. Hopefully they'll show it again.

IMO it doesn't matter how many gigs I do in a week, or the size, I take 2 amps, 2 cabs, 2 basses and a bag full of accessories. With my lightweight gear load in, set up and load out takes minutes.