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Steve Rickwood
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-Music Books For Sale - Music – The Business (Ann Harrison) 3rd edition £5 Studio Bass Masters £8 Tapping for bass guitar £4 Charles Mingus bass clef edition £10 John Patitucci transcriptions £8 Marillion ‘Brave’ transcriptions £4 Dance Music Programming Secrets £5 MIDI for musicians (retro book!) £4 Digital Home Recording (Craig Anderton) £5 Beginners series keyboards (Geoff Ellwood) £3 Beginners series saxophone £3 The Best Of Living Colour (Vernon Reid) guitar £5 Stain (Living Colour – Vernon reid) guitar £5 Essential Guide to Reason (inc cd-rom) £4 Improvising Jazz Bass £8 Arranging Technique for Synthesists £8 Primus Bass Anthology (A to N) £10 Primus Bass Anthology (O – Z) £10 Rush Deluxe Anthology Songbook £10 Rush Bass Anthology £10 Rush Hold Your Fire Songbook £7 Rare Music Videos/DVD for Sale Rare Music Videos For Sale (Note, most of these are not released on DVD) Soundgarden - Motorvision £6 The Paul Weller Movement £5 The Jam – Transglobal Unity Express £5 Paul Weller – Live Wood/Highlights and hang-ups £5 Fish – Live in Krakow 1995 £8 Fish – Live in Krakow 1995 (Acoustic) £8 Big Country – Barrowlands New Year 82 £4 Big Country – Without the aid of a safety net £4 Marillion – Live From Lorely £2 The Red Hot Chilli Peppers – Funky Monks (Documentary) £4 The Red Hot Chilli Peppers – What Hits?! (Video Collection) £4 Nick Cave (June 2001 filmed by roadcrew – this was strictly limited to touring members) £20.00 Nick Cave and the Bad Seeds – Live at Paradiso £4 The Doors in Europe £4 Elvis Costello - Live £5 Aerosmith – Texxas Jam 78’ £5 DVD – Rush Through the Years (Retrospective) £15 Please email [email protected] if you are interested - pics available upon request -
Music Gear For Sale! Tama Royalstar retro drumkit (Bass drum, snare, hanging tom, floor tom, paiste alpha series cymbols and hardware) - £290 Zildjian 12” Oriental China – previously only used at home - £90 Mackie 1202VLZ 12 Channel Mixer – portable and high quality - £100 TL Audio Crimson Parametric EQ 19” Rackmount - £80 Pro Flightcase for Trace Elliot 1x15 combo (ABS) £130 Fender Jazz Bass Deluxe 24 (only 6 months old) £650 Warwick Thumb 5 (Bolt-on) Bass £1000ono Marshall Dynamic Bass Rig comprising of: Head (valve/solid state blend) 4x10 Cab (a bit tatty but works fine) 1x15 Cab £250ono email [email protected] if you wish to see pictures.
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[quote name='Nate' date='Nov 14 2007, 05:40 PM' post='88553'] My point exactly...As I mentioned - look at any other genius and tell me they're not great. I don't think anyone should knock forward thinkers. Look at Einstein, Newton, Bach, Darwin....etc. All forward thinkers you USED to love? Thought they were great but now are not so sure because you can do what they do or know what they know...?! Worth looking into the mindset of these people rather than saying whats not great about them.. Victor Wooten - yeah, it can be a bit much but hes doing things with the instrument and moving it forward. That can't be a bad thing. We shouldn't say negative things about these people I think I just took the thread somewhere else but I feel it may be valid in some sense.... :wacko: right - yes - without being a hippy (!), finding the positive is vital. I give my students a list of 60 bassists who influenced me - it is totally blasphemous as it was spontaneous and I missed some names off and sure as anything there are hundreds more I could think of - however, it makes them look where they may not have looked. they come back and say who they liked and who they didnt and thats great because some are finding players they may ave never heard of such as Tony Butler from Big Country, through to the likes of Victor Wooten. I see some players, maybe a player in a country band and admire the discipline of not over playing, as much as I admire the jazz demon who can't find enough ways to express him/herself. And I hope as I take this all in that I continue to be a better musician. So let's celebrate everybody!
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[quote name='Nate' post='88376' date='Nov 14 2007, 01:08 PM']LOL, Jaco couldn't survive.... come on man... He was doing things nobody else had even thought of. If he hadn't died TWENTY years ago - i'm pretty sure he'd be kickin all of our asses - in my opinion, he COULD survive in any band....seriously![/quote] [Yeah - did you see the article on Havona?! Most of us wouldn't even consider playing the turnaround figure - not only did he see that as possible, he made it sound great. Most of us would struggle to play it, let alone envision it..
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My point about 'disrespectful' comes from dismissive comments about 'jazz widdling' etc. For me, it is as relevant as Bruce Foxtons strong melodic playing. And I'm not a jazzer before anyone starts! And the comments about Rush being 'pseudo-technical' are pretty non-substantial; they clearly set out to push themselves as musicians - but so many of their fans put the where they never asked to be and take it all so seriously. We could also debate right now, that if we spent as much time practicing and GIGGING as we are debating this very subjective conversation, then maybe we would be up with the inspirational (obviously luck comes partially into the equation) - and then we ourselves may be at the top of some lengthy discussion online...etc! And note to bassaassin....Gillingham, now thats a name I've not heard in a long time...! As for Tony rickwood, heard of him! Oh yeah, my bro. In context here, I could say I've grown into a larger music scene now and say theres better drummers than him, but if it wasn't for him I'd have never picked up a bass or been so inspired by so much cool music (including yours mate!) - so yeah! Hows it going John?! I think I played Aberdeen a while back.
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Damn right! Ultimately - if we didn't debate this, then we obviously don't CARE. Hehe - top stuff!
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Absolutely - every generation needs someone to push the boundaries further, but it isn't right to neglect the people who made things what they are; eg, Pastorious being the obvious example - learning his parts is one thing, but creating them in the first place says a lot more. So even if someone tires of him, you have to respect the inspiration regardless. Yeah you can like someone up to a point but my point is that looking back over this forum, there is a lot of critisism that seems misplaced and irraitonal - so what; you tire of someones playing - don't slag it off. Easy, and it doesnt hurt.
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Not really - what does it matter if they are rich or famous? MY point is that you either like or dislike someones playing - fair do's; but its kind of disrespectful to critisise those who inspired you in the first place. Get it...?
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Lets face it - its easy to 'bitch'...as musicians we should be grateful for the people who inspired us to become who we are or certainly the voice we are continuously trying to find. If we outgrow something, appreciate it for what it is/what it meant at the time. As for stuff that gets 'rammed' down our throats - I think the media are the people you should be moaning at. These musicians didn't ask to be put on a pedestool, and without the exposure, who knows we may not have heard of them or been inspired in the first place. I could be working in a job I hate if it wasn't for all the players who are getting slagged off. Time to check ourselves ladies and gentlemen - I do believe the bass community was supposed to be more supportive than the guitarist one (not mentioning any 'lightbulb' jokes.)
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Yeah! When I first saw rush in the 80s, I was interested in the playing - thats what appealed, and I loved it. Thats what counts really - the enjoyment.
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Exactly. Ulitimately, Flea is reconisable by his sound and style alone - something we all need to strive for.
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Not my opinion - but have seen such remarks in bass mags over the years from angry 'snob' musicians who only want to read about jazz. Altho I'd say Flea is pretty loose live, but, when you're jumping around as much, it's pretty tough to be spot on, and the audience are entertained, so - who cares?!
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I think the only time flea didnt overplay was on blood sugar sex magik. And we should remember that the in your face playing is what got our attention. I'm not such a big fan and live, I think they are awful - but he makes young players want to play, which is positive, as long as they remember to check out the other hundreds of cool players. I think flea is more than a one trick pony but the chilis music doesnt demand him to play jazz much, for example. As for the Mark King thing - he is technically excellent although I found the slap players of his era to be lacking in performance and attitude, which is where people like flea and claypool appealed...criminal apparantly tho, for their sloppy timing (apparantly). If flea overplayed - let him! And if it bothers you (anyone!), then just don't copy it! And, btw, despite my defence - I'm not a fan of fleas playing!
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covers vs originals and the value of what you do
Steve Rickwood replied to john_the_bass's topic in General Discussion
I think some people miss the point. The point being why you took up your instrument - I think my reason was because I enjoy it. Whether I'm playing originals or covers I try to be creative, or try to learn a style I couldn't grasp. The bottom line is that it's fun, whether its a session situation, or just a pub. I also think the 'holier than thou' approach of only playing originals isn't as sacred as advertised; are you telling me that people in originals bands AREN'T selling their souls? Of course there are some - not everyone does it for the 'love', some people want to be famous or make a living. Regardless of what you play, it doesn't matter, you do it for the reason you choose. -
[quote name='The Funk' date='Aug 15 2007, 01:42 PM' post='45796'] Yeah, you're right. It is a tough one. Having good feel and phrasing will probably get you more gigs than anything else. There's nothing wrong with joining a band when you're just starting out too. Practice all those things out in the real world. Absolutely agree - I couldnt afford music lessons till I was in my early 20s so I learnt from records and going and gigging with as many people who'll have me. I still do, I still learn and I love every minute of it!
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Yeah - fun is the key. I always try to make the part memorable but not obstructive. How successfully I do that is purely subjective! But my heart is in the right place...
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Absolutely - however its important to realise that music isn't made just playing precisely on the beat - too many young players think of dots on lines... But its a bit of a can of worms really, as with all things music; the more you learn the less you know, effectively.
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Is basstech 'organised' these days...!? What u say is true - playing music is one thing, but its also about performance. A load of people were hassling me last night (drunk of course, talking to a bassist, aka 'the other guitarist') about 'what I was doing when I crossed hands over' and so on... Simply put, I was bored and found a more awkward way of playing an easy line because it looked like I was doing something clever! But the main reason is that people want to be entertained. Watch any of the Steve Vais etc of the world, and whether u like that sort of thing or not, its more than just music.
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Yep - I also agree; playing totally with the metronome is one thing, but the ability to control where it falls in the circle of the beat, ie ahead or behind it, is also essential to the feel of certain styles. It's pretty endless isnt it?!
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I agree totally; 40 is tough. 60 should be the starting point with incremental increases once you can play the piece/exercise consistently - not just once! Lower speeds are good for fine tuning and analysing technique. I also had a teacher who would either make me work at 40bpm or make me play a classical piece - sight read. This wasn't pushing me out of my comfort zone, it was ignorant as I asked him about jazz soloing techniques! But yeah - the comfort boundaries should be pushed, but not if the student feels negative and loses interest. It is a fine line, and when you're learning u need to enjoy the experience.
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[quote name='jwbassman' date='Aug 15 2007, 12:15 PM' post='45709'] Yeah - enjoyment is the key. I wear different hats according to what band I'm playing with; ie, the madder styles and techniques don't get much use in a blues gig. I have most fun in a three piece though as I can fill out more space.
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Tab can be useful to demonstrate a useful method of fingering, as so to speak, but notation shows us the rhythm and the rise and fall of the notes. It also helps us communicate with other musicians and can allow a precise performance in a short time rather than fumbling around for hours. I only started learning when I was 22 and I managed to get more gigs by saying 'yes - I can read'. The flip-side of the coin are those that can't cope without it. Also, he ability to interpret a chord chart tastefully is just as important. Its a useful tool to sight read altho I don't get much call for it, and once you've read it, you never completely sight-read that piece again. If you can cope with and without you'll be a useful player!
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I haven't tried one, and welcome innovative ideas, but I find it hard to believe it it going to be that impressive; think how the graphite affects a status, how brass hardware can affect, string guage, woods, etc ; basically all the attributes that create individuality amongst instruments, and then wonder how this can be done. I'm guessing it's all down to eq - In my experience of line 6, a lot of it sounds ok (ish) on its own (ie, in the shop...) but the end result becomes apparant in a live situation.
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Although rhythmically simple (feel and taste are another issue), a walking bassline gives the bassist the opportunity to govern the harmony of the music in question. If your teachers definition of a walking line is 'Johnny B goode', then yes, pretty straightforward, but imagine if you were jamming a I-IV-ii-V progression and didnt want to repeat yourself as you might in a blues walking groove - just try it; it determines exactly how much you do or don't know about harmony and the fingerboard. To play fancy grooves involves stamina and repetiton much of the time, but if you study your walking basslines well it can enhance your bass, or music knowledge to a greater degree. I personally think this style is overlooked - I was busy playing prog and freakout funk for years before I discovered how weak my walking bass was.
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Haha - I'd guess that anything pino palladino played on was a bass solo with a song on top! Oh, that'll upset the die-hards!