risingson

I'm not a new face but I only ever use the forum once in a while. It's a good place!

[quote name='urb' post='881427' date='Jun 29 2010, 10:19 PM']That's pretty full on from Gary, but there's another quote from McLaughlin on the Abstract Logix site where he talks about his latest album To The One, in which he frankly explains he effectively sacked Hadrien from the band because he played too loud... I've met Hadrien a few times and he really seems like a cool guy and very down to earth, I agree his incredible technique can be quite cold sometimes and if I'm honest guys like Gary Willis or Garrison or Etienne play with much greater musicality and far less from the POV of massive technical chops first and appropriate and proportionate musical responses second... EDIT - here's the JM quote: "RS: How did Etienne join the 4th Dimension…or why didn’t Dominique DiPiazza join? JM: I’ve known Etienne for about eight years now. I first saw him with Zawinul’s Syndicate in Nice, and we became friends at that moment. He’s a wonderful musician and human being. About two years ago we were beginning a European tour, and the day before the first gig Hadrien Feraud arrived with a broken hand. Only Dominique DiPiazza was capable of coming in on 24 hours notice, and he sweated!!! But he came through with flying colors. Prior to this tour, I’d had words with Hadrien about his volume on stage, which was excessive. I’d actually had many words with him about his volume which unfortunately, he seemed unable to change. Several months later we had a gig in Switzerland on the opening day of the Olympics in Beijing. The gig was a free concert for the Tibetan people with whom my wife and I are associated. Hadrien was healthy, and aware that this was a kind of “test” concert. Unfortunately the volume was way over the top, and shortly after I just had to let him go. Dominique has quite a career going for himself, and it was clear that I should find another bassist. I called Etienne and he was in. The rest is history, as they say."[/quote] Only recently heard of these two guys and their playing leaves me pretty cold... dazzling delivery and all but just not my thing. I could see why playing with Etienne would be preferable as a drummer... the guy is a monster, with a great fundamental and great technique that he doesn't have to spread everywhere. It's why (and controversially perhaps) that in my opinion people like Hadrien are forgettable as musicians, their idea of bass has evolved into something quite unusable in most situations. Etienne M'Bappe isn't my kind of player strictly either, but he clearly is comfortable in keeping things routed down, as well as being a confident soloist, qualities I think Hadrien lacks.

[quote name='enty' post='882557' date='Jun 30 2010, 10:58 PM']A couple of pics, as promised...[attachment=53320:IMG_4338.JPG][attachment=53319:IMG_4334.JPG][attachment=53321:IMG_4343. JPG][attachment=53322:IMG_4344.JPG][attachment=53323:IMG_4346.JPG][/quote] Beautiful! I want one bad. Can't help feeling Stingrays and alike are mucho overpriced right now though.

I think Robert Trujillo did a fair thing, though you would have thought he'd given it over straight away. I am a big Jaco fan, but his bass guitar didn't make him what he was, he could make any bass sing. I think the bass itself holds little value to anyone else apart from Jaco's family. It's not like Jamerson's Funk Machine for example, which as far as I'm concerned probably bedded the most No. 1 Hits than any other bass on earth and does truly deserve to be taught about in music classes in all schools around the world.

Transcribed Anthony Jackson's bassline to 'Fate' by Chaka Khan whilst very bored! It's got a wicked groove, very Jamerson-esque in parts as would be expected!

[quote name='lowdown' post='880385' date='Jun 28 2010, 09:38 PM']All Spain Lovers... Al Jarreau, with Steve Gadd, Ready Freddie Washington on Bass, Joe Sample + others. Lots of energy. Garry[/quote] Very cool, Freddie's still one of my favourite players.

[quote name='Doddy' post='880317' date='Jun 28 2010, 08:45 PM']I enjoyed his Glastonbury set, but I really didn't like his rendition of Spain. I just couldn't feel it. It's one of my favouite tunes,and was looking forward to hearing him do,but I was really disappointed. I've got an awesome version of it by Chick Corea's Akoustic Band with Weckl and Patitucci,and it has so much more energy,feel,fun and balls than Stevie's version-with just piano,upright and drums.[/quote] Fair enough! There's no knocking Patitucci with Corea (although I can't stand Dave Weckl's drumming). Love Stevie's version all the same, I think it kicks hard.

Brilliant! Love this rendition of Sylvia/Hocus Pocus from 1972 on the Old Grey Whistle Test. [url="http://www.youtube.com/watch?v=-v7LzOeTkfM"]http://www.youtube.com/watch?v=-v7LzOeTkfM[/url]

[quote name='Musicman20' post='880265' date='Jun 28 2010, 08:20 PM']I wonder whether Nate cares about the 'dont mix drivers' the speaker gurus talk about. I doubt it...probably because if it sounds good it sounds good.[/quote] Players like Nathan Watts have been in the game long enough to realise that although good gear matters, it's whatever needs the least maintenance on the road and what sounds adequate to get along with! People with his level of credibility don't need to deal with guys on online forums claiming to be experts on drivers, whereas given half the chance all those 'speaker experts' would probably jump at the chance to be Stevie Wonder's bass player and MD.

Saw that a few people weren't so impressed with Stevie's performance at Glastonbury. Check out this cover of Chick Corea's Spain on his tour in London a year or so back. His band are so, so good... the Trumpet/Sax/Drums and guitar are out of this world. [url="http://www.youtube.com/watch?v=nL-KvRXiOyY"]http://www.youtube.com/watch?v=nL-KvRXiOyY[/url] and this: [url="http://www.youtube.com/watch?v=g-13YKaqiik&feature=related"]http://www.youtube.com/watch?v=g-13YKaqiik...feature=related[/url]

I play both, although I play bass much more competently because I focused on it and honed my skills. Play both still, you should never be short of work as a good bassist or a good guitarist, but the great thing is that good bass players really can get a lot of work. Get your reading down and your ear together and you can be a versatile musician... anything from Big Band work through to side work in a band, or whatever. One piece of advice I learned from going to study Music at uni is that on popular music courses, it matters if you get a good mark at the end of it, but it's way more important making contact with everyone on your course and in the college. Usually your fellow students and sometimes tutors are the ones that will get you work in future, make every connection you can and play for as many different people as possible. It will ensure that you become known as a reliable and accessible musician.

I think this is pretty interesting, because as far as I'm concerned, Paul McCartney sounds like a guitarist on a bass a lot of the time. This is not a criticism, on the contrary I think it gives the instrument a unique slant when someone who translates their skills from a separate instrument onto another, and as far as I'm concerned, thats what made McCartney so widely imitated and admired. I don't buy the whole 'guitarist can't play bass' or vice versa, I think it's irrelevant... if you have a musical talent then generally, applying it to an instrument regardless of your level of skill on the given instrument is interesting to hear. John Lennon said 'he was an artist... you give me a tuba and I could get you something out of it'. I do think multi-instrumentalists can spread themselves too thin and never achieve technical proficiency on one particular instrument, but actually, it's the musicality of it all that concerns me. I'd much prefer to listen to a well written song than a bunch of musicians with technical proficiency but no real soul.

[quote name='Shockwave' post='875653' date='Jun 23 2010, 05:51 PM']After trying a stingray with flats i can state that in my opinion, Bernard used Flats with his ray.[/quote] As far as I'm aware, Bernard Edwards rarely changed his strings on both his Precision and Stingrays but all of which were strung with roundwound strings, never flats. P-bass/old roundwounds = Good Times tone... not a Stingray as commonly believed!

This has happened to our band as well. Doesn't it seem telling about their level of commitment? Get rid of them is probably the short and tall of it. 3 months is a long time in a band.

I'm a Fender man myself, got a U.S Jazz w/rounds and an old P-Bass w/flats. Always wanted a Sadowsky but since I got back from Rudy's NYC I've wanted one of these: F-Bass BN5! Don't know many 21 year olds with £2000 lying around though, which is what I need

[quote name='Lenny B' post='835270' date='May 12 2010, 01:40 PM']+1 on The Steve Berry Trio album too, but I haven't heard it in along time as my vinyl player is packed away. I pass by Steve's house nearly everyday and had the pleasure of lessons from him back in 1993 ish. Superb player and top bloke. I had lessons from Steve in 96/97 - Superb player and top bloke indeed![/quote] Steve is a marvelous and truly inspirational character, I got lessons from him at Uni and he completely turns your head inside out with his ideas on music and really gets you thinking, not to mention being one of the most phenomenal musicians I've ever met.

I have had the same problem in the past, my hand would actually seize up to the point where the rest of the band are looking at me wondering what I'm doing because I'd stopped playing. Before warming up you would need to address the cause of your cramp first... no point warming up only to get cramp again. Usually it's a lack of sodium, you could try supplements to help you overcome this. Drinking at gigs should also be avoided, one of my major downfalls in the past but something I no longer do. Then stretch. Scales and arpeggios help, break them up, starting mid-way up the neck, for example on a C major scale on the 8th fret of your E string (if you were to start lower down the neck then you'd be stretching your hand too far to begin with, it's better not to stretch so far too quickly). Mundane and perhaps a little boring but it works well for me. You need to get both your hands working. Progress and work all the way round the neck, it will vastly improve your dexterity during gigs as well. Set aside at least 20 minutes before you go on stage to do this I would say adjust your strap if you wear it too low as well. It might look more rock and roll but I've always found this to be bad practice, it places unnecessary strain on the wrists. I don't claim to be an expert but this sort of stuff has helped me overcome cramp in the past.

[quote name='edstraker123' post='873080' date='Jun 20 2010, 10:38 PM']Completely disagree - of the 3 main music shops in Liverpool I've found Dolphin to be miles ahead of the other two in terms of customer service. Granted they don't have a great bass section but I've always found the staff in Dawsons to be incompetent and Curly's to be arrogant whereas in Dolphin they are always really helpful. You never pay the price on the ticket either if you ask them how much they can do the goods for. Curly has improved of late in terms of the gear they are now stocking.[/quote] This is fair enough. I actually find all three to be questionably priced and stocked, I'm a guitar player as well and find this to be the case. I remember a while back Curly's had a beautiful second hand late 80's Stingray for sale with a nice birdseye maple neck for a steal, the guy let me play it basically all day, it was one of the best Rays I've ever heard. But I hear differing opinions all the time from the stores in Liverpool. I personally now don't shop at any of them really.

[quote name='Doddy' post='871791' date='Jun 19 2010, 03:21 PM']Actually, Louis Johnson is credited as playing 'electric bass' on "P.Y.T.",although it is definetly doubled on synth.[/quote] Louis played the slap passage in the middle 8, the rest was entirely Greg Phillinganes on synth bass. Great bass line

[quote name='Grand Wazoo' post='871609' date='Jun 19 2010, 11:25 AM']Althought this will go in the "For Sale" section shortly, I am selling my Stingray 5 if anyone is interested, it's in absolute mint condtns, had it from new in 2002, not even a scratch to it, as I keep all my instruments mint. Translucent Red on ash body with nice visible wood texture, maple neck, original MM case and all the trimmings. gives us a pm if interested.[/quote] That's a beauty! Would you consider a Fender Jazz Bass and an X-Box 360 as a trade?? Haha

[quote name='stingrayPete1977' post='871730' date='Jun 19 2010, 02:16 PM']I spent the last 8 years with the Ernie Ball mate and I still love it dont get me wrong but it took all of 3 minutes of hearing a pre EB through someone elses amp etc to realise the pre sounds better.I think Im wishing I had gone for a 2 band when I purchased the EB but I was a lot younger then and I presumed more is better but it looks as though that is not always the case? Theres a lot of love for the 2 band out there which remains true to the original simple circuit I have in my pre whereas the 3 band has a modern green pcb.I might even swap it and keep all the 3 band bits safe if a cheap 2 band control plate comes my way.What is your experience with the sounds of a pre most people that say they prefer the newer ones have never heard a pre EB. [/quote] It's all opinion, isn't it. I have played some really nice pre-EB's and a lot of great newer models (including a lovely one in Stockholm the other day). I must say having played a friend's old 1978 it sounded quite awful, but there were some dreadful issues with the electronics that he was too lazy to sort out (all the gear, no idea). There really is no right and wrong here, only preference.

[quote name='basshead56' post='871600' date='Jun 19 2010, 11:10 AM']Yeah. Not saying Mr Mounfield is fantastically gifted, but I have always loved hs Stone Roses sound. Some of the stuff is simple, but great nonetheless.[/quote] +1, Mani grooves hard and is severely underrated.

I started out listening to Stuart Zender from Jamiroquai, but now my favourites are: James Jamerson Nathan Watts Pino Palladino Anthony Jackson Paul McCartney Bakithi Kumalo Chuck Rainey Jaco Pastorius Braylon Lacy Paul Turner Louis Johnson Freddie Washington Bernard Edwards Stevie Wonder and Greg Phillinganes's left hands respectively on Stevie's and Michael Jackon's records It's hard to choose! I'm only 21, but I listen more to records without notable bass players (or no bass players at all, synth bass a lot).

I like a lot of synth bass parts that aren't played on bass at all. 'P.Y.T' and 'All I Do' by Michael Jackson and Stevie Wonder respectively. [url="http://www.youtube.com/watch?v=cZ9Pa41KJjM"]http://www.youtube.com/watch?v=cZ9Pa41KJjM[/url] [quote name='thisnameistaken' post='871045' date='Jun 18 2010, 07:01 PM']I really like the bass sound on [url="http://vimeo.com/201778"]this[/url]. It's compressed to destruction but strangely... good.[/quote] Gaspard from Justice does a lot of his own bass. You'll like this, check it out from 3:16 in: [url="http://www.youtube.com/watch?v=7nWnLxYzuBE"]http://www.youtube.com/watch?v=7nWnLxYzuBE[/url]

[quote name='Shambo' post='870759' date='Jun 18 2010, 01:23 PM']Dolphin is overpriced and rubbish for bass guitarists IMO. Didn't the Liverpool store have a Classic Vibe Jazz up for about £450 the other day? Same bass in a store not twenty yards away for £320... Who are they kidding?[/quote] This I couldn't agree more with, overpriced, terrible stock and inexperienced/poorly informed staff as well (despite knowing two members of staff that have previously worked there, who couldn't stand the job anyway). I only ever pop in every few months to see if they've cleaned up their act. Dawsons is very much the same. Curlys across the road provides a nice service but don't provide a good level of professional gear, although this is just my opinion.