risingson

[quote name='thumperbob 2002' post='1084395' date='Jan 10 2011, 03:57 PM']Probably more important is that does it fit in with the band and is immediately recognisable? Mind you I have sometimes spent hours on one song simply because it was a pleasure- James`s For Once in My Life anyone? Cheers Bob[/quote] I wouldn't dare go out and play a Jamerson part without knowing most/if not all of of it, I think that would border on sacrilege!

Anything by James Jamerson.

BB5, check out Adam Blackstone's bass playing with Jill Scott from about 3:00 or so in! [url="http://www.youtube.com/watch?v=8jXfUn6o7Sg&feature=PlayList&p=043EA42B1B685D4C&index=0"]http://www.youtube.com/watch?v=8jXfUn6o7Sg...D4C&index=0[/url]

Got some on my P-Bass currently, only because they were the only ones I could find before a gig a month or so back. They're not bad at all, not my first choice in strings but I can't complain.

At least he's trying some different stuff and being creative. Also it's nice seeing someone playing along to some more modern music instead of the usual playalong to a Steely Dan track. I don't see the problem or how his playing affects anyone. [quote name='gjones' post='1081961' date='Jan 8 2011, 11:56 AM']Awwww, I think we should stop crucifying the poor kid. He put it up on youtube to look cool and impress his friends at school. And we then proceed to rip him to shreds! We're better than that..............aren't we?[/quote] My thoughts exactly. People can be pretty quick to stifle creativity, no matter what context it comes in! I find that strange as we're all musicians.

[quote name='Conan' post='1083290' date='Jan 9 2011, 04:53 PM']Why spend three hours getting one bass line note perfect if you can do a "good enough" job (so that nobody will notice the difference) in half an hour? Unless you are a perfectionist of course... [/quote] Sometimes I think the lack of enthusiasm and empathy towards certain bass lines where specific parts have simply been approximated translates quite strongly in a live context, it really can drag the energy out of a band. If something is worth doing then a lot of the time it's worth doing right, depending on the context.

[quote name='Chris2112' post='1083172' date='Jan 9 2011, 02:46 PM']As soon as I find a P bass better than something handmade that sounds good I'll let you know, but don't hold your breath! [/quote] Hmm this is an argument that's been had a zillion times but I've played a lot of high end basses (never a ACG admittedly) that has sounded better than the two or three best Fenders I played. But then of course, that's just my opinion. Depends what you want from a bass.

[quote name='Chris2112' post='1083169' date='Jan 9 2011, 02:41 PM']I'd rather just have an ACG and over £6000 change, thanks![b] It's be better instrument[/b] as well as being cheaper too.[/quote] In your opinion

Jazz is a wide and varied genre and in the same way that Def Leopard don't epitomise rock music, not one artist I could recommend necessarily reflects what you might like listening to within the confines of jazz. However, I would strongly recommend a good starting point would be Charlie Parker and Dizzy Gillespie. Get a hold of some real books and get to grips with a few of their standards that you enjoy, have a look at constructing some nice walking bass lines around the chord progressions, and take it from there. Also probably worth listening to in this initial stage are people like Duke Ellington, John Coltrane, Miles Davis's early stuff, Bill Evans, Cannonball Adderley and be listening to upright players like Paul Chambers, Ray Brown, Ron Carter and Scott La Faro to see how, when and what they played like and who with.

I couldn't possibly question the quality of her bass playing, but I would definitely question the quality of her music! The drummer in the first clip is my idea of a nightmare I think!

Classic case of vintage Fenders that polarise opinion. I for one love Fenders, and if I had the money I'd probably buy it, in the same way that if I had the money I'd probably buy a Ferrari GT250 California. I find the prospect of buying a £7-8000 Fender no different than buying a Fodera or Alembic of a similar price, and seeing as though I'd sooner play a Fender product over both of the latter I feel confident that if I did buy a vintage Fender that expensive that I would use it. On top of this, this bass's price has no where to go but up should you ever want to move it. The asking price of a bass is what you make of it really, you could never call anything a ridiculous asking price because whilst you might think that, someone else out there would probably disagree. Beauty is in the eye of the beholder!

[quote name='4 Strings' post='1081724' date='Jan 8 2011, 12:57 AM']Is that Olympic or Arctic in your little signature pic?[/quote] Fender started offering olympic white around 1961 as a standard colour (before this it was a case of custom ordering), so I'm positive that picture will be of Elvis holding an olympic white P-Bass with a 3-ply tortoiseshell pickguard. No mention of arctic white in earlier Fender colour charts that I can find as early as that. You're best finding the serial of the bass out so you can determine which side of the border the bass hails from.

[quote name='witterth' post='1081711' date='Jan 8 2011, 12:43 AM']Well no its not, a stingray sounds like a stingray, a jazz like a Jazz a JD does (nearly) what an Alembic does ...a P bass sounds like...well...and so on..and so on..... I think OP was talking about what different guitars sound like "dry" as such not about what other enhancements do. there has to be a starting point Try a few out first. FX/eq/studio/enginneers/valve preamps and the rest dont allways equal /make the sound, they shape it. get out there, more young man. Try lots of stuff first. [/quote] My point was that the sonic differences between basses aren't really as massive as is usually made out. Granted, a Stingray doesn't sound like a Jazz bass, or vice versa, and I also think that it's good to be inspired by a certain player using a certain instrument, but too much stock can be put into believing that just because one player gets one sound, that you'll end up getting the same.

[quote name='bubinga5' post='1081709' date='Jan 8 2011, 12:43 AM']Risington... That Chaka tune is great.. im gonna sit here and listen....Passion of soul groove... thats what that tune is this is a great Lenny White tune with her... [url="http://www.youtube.com/watch?v=CDXa-034zaQ"]http://www.youtube.com/watch?v=CDXa-034zaQ[/url][/quote] Yeh BB5 you've gotta love Chaka! She and Arif Mardin did a great job arranging 'Naughty' and 'What Cha Gonna Do For Me between them'. Anthony Jackson said about her [i]'few artists of major stature have ever possessed the patience, supportiveness, musicality, and virtuosity of Chaka Khan. I've worked with countless singers, from divas to bicycle pumps, and none has been able to gather and harness such powerful creative forces as Chaka.'[/i] Considering what a ridiculous stickler for detail Anthony is and his penchant for not mincing his words often, that is massive praise indeed!

Bit of an assortment really! Bobby Womack - Across 110th Street, this reminds me of being in New York City, one of my favourite places ever Chaka Khan - Watcha Gonna Do For Me (rhythm section comprising of Steve Ferrone and Anthony Jackson... nuff said!) If You Want Me to Stay - Sly and the Family Stone Curtis Mayfield - Billy Jack

Unless the bass line is something I'm really keen on replicating (I've been playing Anthony Jackson's stuff with Chaka Khan for fun recently and I wanted to get the lines as close to correct as possible), or the song relies on the bass line for melody or very strong harmonic support, then I'll just approximate the bass line.

I've noticed some people have gone out and bought instruments based on what they can hear from videos, records or live performances, only to get home and plug in and find that they cannot replicate what they were were hearing. Most of it is purely down to the fact that the bass you're hearing back from the performance you so admire has been recorded or subjected to processing from equipment you do not have, and sound men, engineers, D.I boxes, preamps and producers you don't have access to. The second point is that I've played loads of Stingrays, both 4's and 5's and every time I have, it always sounds like me playing a Stingray. It also doesn't sound a million miles away sonically from me playing my Jazz bass, albeit with a bit of a bias towards the bridge pickup, but not much. My point is that there are going to be a lot of reasons that you don't end up being able to properly replicate a sound, but the most fun for me comes from creating something entirely your own.

I'd have to read the article in full to pass any real judgement but it sounds like he wanted to spice up a slow interview with something that made him sound like he knew what he was talking about. Slightly embarrassing for him.

Love this, and all of his new orchestral stuff, really well thought out... Sting really is one of my favourite songwriters of all time, even if he is a bit of a ponce at times!

It's funny, I think that Leo Fender's jazz bass was a work of art, but then when I see Ritters I think they look garish and a bit tacky, sort of like ordering a Rolls Royce in 24k gold, with bright blue xenons and a hot-tub in the back. I suppose one man's meat is another man's poison, but suffice to say they ain't my thing!

Where the bloody hell are the valves?? I've wanted a real B-15 fliptop reissue for years!!!

I'd be interested to know how many Zender signatures have been sold as of the release date a while back.

As far as I can remember, Andy Rourke wrote a lot of his own bass lines, he's a very talented and melodic player. 'Headmaster Ritual' showcases just some brilliantly written bass parts. That being said, it wouldn't surprise me if Marr had a hand in writing the bass parts, he's an incredibly inventive musician.