I can't tell how much is improvised and how much isn't (I suppose that's good or bad depending on how you think about it) but while your playing is certainly solid and the arrangement is really cool I can't really feel much in the way of vocabularly in your playing, try transcribing some solo's you dig and incorporate some ideas into your sound.

Though of course it depends what it's being marked as, if it's marked as a performance, then I would sit down and compose a solo over the changes and perfect it. If they are marking your skills at improv-ing over the chords then I think you need much more work.
I've since sold my P/J to Asmondi and am preparing for the arrival of an MIA P this week 3TSB R/W board, going Jamerson on yo asses!

I'm also heading to the states next week, i'm incredibly tempted to bring back a musicman if I find one I fall in love with, we'll see.
What licks are giving you hell at the moment? Are the YYZ fills tormenting you? Does your shredding need more shedding?

Share your stories here.

Currently my major frustration are the changes to Stella by Starlight, the key changes make it a real bitch to walk through without working it out before hand, which I don't really want to do.

Also making my reading more fluent with tuplets, nailed crotchet triplets and eighth triplets just about, but anything else is a disaster!

What have you guys been up to?
Quote by Deliriumbassist
He's a beast. And where the f*ck have you been?

I went to see Janek's band in April, such a killer show.

I've been still lurking, I just haven't felt the need to contribute to many of the threads. There's only so many times I can read people trying to decide between this low end ibanez or this low end rockbass.

What happened to playing?!
I don't see how Bright Size Life isn't a jazz record...

As for jazz bassists, you're best getting a comprehensive history starting with the big band and the beboppers through the late 50's/60's and beyond. Jazz is far too vast to limit to just a few artists.

But for the record, nobody get's to decide what jazz is, only the music does.

I don't see what makes Mclaughin and Jaco any less relavent then Miles and Coltrane when it comes to talking about the history of jazz.

EDIT: However, Jaco's not exactly the best place to begin with jazz. I would beginning by learning the basics of jazz arrangements and theory (not even bass specific) and then learn to walk a ii-V-I and carry from there.
Janek Gwizdala
Quote by tubatom868686
No, bass music is always notated an octave above what it really is. It never needs to be specifically notated that way because thats the way it always is. You can look it up if you want.

+1 surprised no-one else had mentioned this.
Quote by thefitz
As far as this power argument goes, I'm going to say that this stuff really isn't aimed at bass players. A power amp is a power amp is a power amp, but the huge wattages and multiple sides of the power amp just screams pro audio. This stuff, especially the ones bigger than 1600W, are meant for PA systems, night clubs, and venue halls.


I'm interested to see how these stack up, but really, it's not going to make me run out and buy one any time soon.
Worry about the guitar being in tune, then worry about the bassline.
Just throwing in my two cents here.

I tried ernie ball strings once, they were horrible, no real clarity, just nasty.

I use Stadium Elites and when not available Roto Swing Bass. Both good, I think the Elites edge out the rotos slightly though.

The best crisps ever. EVER.
These problems pretty much can come from anywhere.

One thing i'd reccomend is
a.) Check your power cord, I had a huge problem with mine cause it wasn't very good.

and b.) Try playing the amp plugged in at a different house, sometimes if your house is older the electrics are not necessarily in amazing condition and can cause this.
Quote by Forcemaster
1.) Play a jazz gig
2.) Buy an EBS TD650 (coming in January!!!)
3.) Buy a new american P bass
4.) Be able to read an entire gig
5.) Up my practicing from 2 to 3 hours a day at least

Hopefully I can obtain all of these in the new year.

1.) Not played a jazz gig yet, but my reading and walking abilities have drastically improved, so it's not far off.

2.) Bought, also managed to trade my GK cab (Bought for £300) for two EBS 2x10's (worth £1200 new, score)

3.) In the next few weeks i'll own one.

4.) Again, reading has improved dramatically, not an entire gig, but with a few days practice maybe.

5.) Done, usually goes to 4 now. Which is superb.
Quote by aguacateojos
The most frustrating thing about jazz ensemble is that I still can't really walk. When I try there's this disconnect between my hands and my brain - I prefer to play what "feels" right, as in how I like the feel of my hand on the neck, then to think about key/chords/scales/etc. Sometimes it works, sometimes it doesn't. What I really need is to blend the two, get an intelligent feel for the style. But good luck learning that theory while I try to graduate.

I can't reccomend Todd Johnsons walking bass DVD's enough for learning to walk. They turned me from fumbling around the fretboard to having a clear set of ideas for walking through tunes.

Do yourself a favour and check them out you WON'T be dissapointed!
I'm always reminded of a quote often attributed to Charlie Parker.

“You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail."

It's an interesting way of thinking about it.
Quote by fatgoogle
Just realised how little i know about theory, anyone know anybooms that explain all this stuff.

With theory, START FROM SCRATCH, learn the chromatic scale, how the major scale is formed, all that stuff first before jumping in at the deep end. It's the only way to get it down properly.

If you have any questions feel free to PM me. That's meant to not sound condescending at all, so forgive me if it does!
I'm enjoying this too. I much prefer talking shop about music rather than gear.

And that's exactly it, jazz is so varied that you have so many options to play over different chords depending on what you're trying to acheive.

I think tomorrow calls for a heavy practice session after this discussion!
You're right of course, scales are a great way to start. But with the altered chords present in a lot of jazz songs, strict diatonic scales are not always the best way to think about soloing.

For example, take the B section of autumn leaves, essentially a ii-V-i in G minor; however note the altered V chord. We have a D7, rather than the expected Dmin7. Hypothetically, our mode over this is D phrygian dominant, phrygian with a raised third.

But you then have to take into context how implied the harmony is and wether it's worth altering this note for the sake of consistency.

My point is, there are hundreds, if not thousands of approaches to jazz soloing and many great people have written many great books about the subject. So if you're looking for a quick answer, you're probably not gonna find it, but transcription and scales are definately a GREAT starting point.
For me, I don't see the biggest benefit of endorsements to be free gear.

I'd like a fender endorsement, My Geddy is a killer instrument and I have a MIA P on the way which i'm sure i'll love. So first, I get top notch support for my instruments if anything goes wrong, as well as whatever cheap basses they'd like to throw my way.

However, the given the choice of endorsement of any company, I would go with EBS. Like I said not because of free gear. But because I can rely on an amp company to get me a backline for any gig I have across the world, now that is much more important than the free gear. I could tour round the enterity of europe with just a couple of basses.
While scales are, of course, massively important; I think it's important to transcend thinking of scales and think more of musical phrases.

Imagine a scale is a dictionary, just picking notes and playing would be the equivalent of me streaming a load of words and expecting it to make sense.

However, by learning phrases by transcribing others vocabulary and coming up with some on your own, you're able to form a coherent solo that really 'speaks' to the listener.

With that in mind, find some great versions of autumn leaves. The Cannonball Adderly/Miles Davis version from the 'Somethin' Else' album is awesome, and transcribe the solos. Look at the ideas Miles and Adderly used, and try to apply them to your own existant knowledge to create something interesting.
If you're not sure what to teach someone you are by no-means in a position to teach them anything...

I develop a flexible learning plan for each student, everyone learns differently and picks things up in different ways and you should be able to adjust with them.
Todd Johnson has 2 fantastic walking bassline DVD's, with a third on the way. Should give you a great start with walking basslines.
Grounding problems seem to plauge my very existance.

It could be a number of problems, the cable, the wiring in your house, the amp etc.

If you've narrowed it down to the bass then it could be the ground wire under the bridge, which is a simple case of unscrewing the bridge and making sure the groundwire is making good contact. It could also be any of the wiring not making good contact.

I have the exact same problem with my GL at the moment, i'm just going to get the whole insides rewired so I don't have to worry about it happening again.
Quote by Indiemad
I've got my mind set on having 4 2x10 bass cabs but i dont understand ohms etc. i want 2x10 so i can practice with 1 cab and gig with more eventuly i want 4.
please help coz i am really confused


Ohmage works sort've like fractions.

Most 2x10 cabs are 8 ohms, two 8 ohm cabs are equivelent to 4 ohms. So if you have 4 2x10 cabs you get 2 ohms, a fair few heads tend not to work with that low ohmage, but if they do they put out more power. Which then means you have to make sure the cabs can handle it.
I decided that my GK head that I owned last year wasn't cutting it, tone or volume wise, I decided to shop around for my 'dream head' i.e. Money no obstacle, basing the decision entirely on tone.

I went to Bass day UK which had some killer gear to try out. Markbass, Mesa boogie, EBS, Thunderfunk, Genzbenz, etc. Basically all the top end stuff.

My views on the gear:

The Markbass stuff, the LMII priced similarly to my GK700RB-II was certainly an improvement over the GK, though not the most versatile I felt. Nailed the gk growl better than the GK.
The SA450 was next, slightly more expensive, slightly more powerful but overall not that different.
The F1 is the smallest markbass head, and is simply staggering. You can fit it in your gigbag, crazy stuff. As for the tone, better than the other two but not worth the price increase.

All of these were played through MarkBass 4x10 and 1x15 cabs.

Moving along the room we get to Mesa Boogie, the most expensive amps in the showroom. All of these sounded amazing, my favourite being the cheaper (but still definately not cheap) M6 Carbine combo. Though the Mpulse and Big Block were also very nice; and very expensive, my second favourite amps at the show.

The Genz Benz Shuttle 3.0 I got to try out was with a bergantino NV610 cab which sounded amazing, although the head didn't really give it much power. A cab like this is definately in my future.

The thunderfunk with Dr bass cabs i never got to try out, sounded nice from the people playing it though evidently not enough for me to wander over and try myself.

Lastly we get to,criminally unknown in the US, amp makers EBS, occupying the most floor space at the show they posed an impressive sight. With all of their heads and cabs on display. The mesa/ampeg beater that is the Fafner (Peter Iwers of In flames has recently become an endorser, as has Robin Zielhorst of Cynic) designed to rock, hard. The cheaper classic series designed for more vintage tones. The all solid state HD350 currently being rocked by Tal Wilkenfeld amongst others (examples of a sadowsky played through these, here ) and the flagship TD650.
These amps proved to be the most versatile, best sounding amps at the show. And so a few months later after saving some cash and selling my old head I now own one:

This thing has blown me away even more than my time with it in November, I can nail a killer slap sound, a fuzzy Jack Bruce OD (Thanks to the ability to overdrive the tube in the preamp), a tight 70's funk sound, an aggresive metal tone and so many more. Well worth the price...

Ah yes, the price, the head retails between £1200 and £1400. Mine was slightly cheaper due to working at a music shop, but nonetheless still quite pricey. But for tone this good some sacrifices can be made.

As I said previously I just need some new cabs now, i'm thinking a berg 610 and 210. But who knows, check back in 6 months
Quote by smb
I'd get a used ME-50B from ebay or something so when you realise you don't use most of the effects and you just want a couple of quality pedals instead you can flog the Boss and not waste money.

Best advice in this thread yet. TS, do this.
Quote by skater dan0
i looked into an EBS rig but theres no way i'm selling my car to buy a rig that i won't be able to transport anywhere because i won't have a car. I do like EBS though, I demand soundclips.

I figure i'll get the insane purchases out of the way before I get a car.

Hell, my current gear together is probably worth more than what my first car will be.

After the head comes the bergantino cab, but that'll be in a while.
I'll record clips incredibly unproffessinally on my laptop mic but it'll give a vauge idea.

In the meanwhile, weep at a comparison between markbass and the EBS model head under my new one.
Quote by skater dan0
GAK, for some reason they jacked up the price of the HA series but didn't touch the LH series.

GAK's been messing up their prices loads recently, constantly upping and then cutting prices.
I assume it's to do with most manafactures upping prices because of the downturn. But from what I know, most of them are not upping the trade price anywhere near as much as the retail so price. So maybe GAK are trying to work out discounts.

Anyway, nice rig. Although my new EBS TD650 head is coming tomorrow. So expect a superior thread then
This thread contains some of the worst advice ever for someone wanting to start learning jazz.

Jazz, like most genres, is split into several sub genres that are distinct from each other. But as an overall jazz introduction. Before you start playing, get listening.

Go out and buy the classic albums by Miles Davis, Dizzy Gillespie, Dave Brubeck, John Coltrane, Charlie Parker, and many more. And listen to jazz, most of playing jazz is listening to jazz, and know what it IS. Which is vital in trying to play it.

After that, expand your harmonic knowledge, understand how chords are formed. How the bassline fits into that in jazz contexts (i.e. walking etc.) and then transcribe how the greats did it, and apply that into your own playing.

For walking basslines, I also reccomend Todd Johnsons DVDs on walking basslines, he really helps to simplify all of it down.

I'm by far an expert in the subject, but hopefully this helps.
Quote by CBurtonIsKing
Speaking of finger-style funk, i dont suppose you could recommend some tracks? Im trying to work on my groove a bit, and it couldnt hurt to listen to something new

I'm really digging chic, check out good times (also used for rappers delight, by the sugarhill gang) and everybody dance for some seriously awesome groove.

Bernard Edwards is fast becoming my favourite bassist.
Quote by Jonnomainman
If you're gonna be selling your GK sometime, give me a shout! I'll have all your handmedowns.

EDIT - minus the burns and stuff yeah?

I'll be selling my head in January. PM me if you want a price.

and this ones not burnt, honest :P
I got £450 in the EBS fund, that pleases me greatly.
1.) Play a jazz gig
2.) Buy an EBS TD650 (coming in January!!!)
3.) Buy a new american P bass
4.) Be able to read an entire gig
5.) Up my practicing from 2 to 3 hours a day at least

Hopefully I can obtain all of these in the new year.
Quote by Pizza The Hut
No one at just 22 is going be at the same level/leauge musically as people like Beck and Vai are right now who are in their mid 40s thrus 60s. Just doesn't happen.

That'd be a good point.

unfortunately Vai was playing with Zappa at the age of 20. Clearly Zappa thought he was in the same league. Why can't that happen again?

Dave, sounds like a good song choice. But don't just buy a fretless thinking you'll be fine with it, even lined, I think you'd be better off just hammering it 180% on a fretted.
In terms of written music, the middle C is half way between the bass and treble clef.

This is akin to the 3rd fret of of your A string. However all guitar is played an octave lower than written, so in reality it's another octave higher than that.

I think.
The EBS TD650 i've been GASing for may somehow make it's way to me....
My book reccomendation would be "Simplified Sight Reading For The Electric Bass" By Josquin des Pres.

It's been my obsession since the summer with learning to sight read and it's a great book. Starts simply with only rhythms (you'd be surprised how bad your rhythm actually is, I was) and then progressing to adding notes, first in C major/A minor, string by string and then adding accidentals, key signatures and plenty more fun stuff.

One thing, Don't expect to be proficient by the end of the month, even with an hours practice a day,which i've been doing since July, i'm still struggling to read alot of things. But there's definate improvement.

Practice ALL reading to a click, this is important to your rhythm playing. I practice at a very slow tempo (50bpm)

Let us know how it goes!
Quote by Pizza The Hut
HAHAHAHAHAHAHAHA you have to be kidding me, right?

I don't really think that the artists she is associated with is a correct and fair way to judge her talent.

And i really don't think there could ever be another Jaco. No one had so much emotion and depth in his music. These days its albout how technical/fast/impressive you are. I don't think music is even looked at like an art the way it was 20/30/40 years ago, today it resembles math and economics more then art. It's either got to be really complex, have a gimmick, have an image (sex, popularity or otherwise) and/ or sell alot of records. How many of todays bassist can really write songs and tug at your emotions like Jaco? Not many these days. The fact that she was even mentioned in the same breath as Jaco to me is laughable, and just confirms my loss of faith in music these days.

Tal is good, yes, for someone that young, but how many others out there are just as good/better? She in no way should be on the pantheon of bass gods

If not that, then what else?

If these dudes were only hiring the players for their looks, why wasn't Ms. Spalding hired? Or Yolanda Charles?

You may disagree, but I would hold the aforementioned artists opinion in pretty high esteem when it comes to judging bass players, espcially Beck, who's had a career spanning 40 years.
I don't think I said that.

My point is, Tal is 23/24 critically acclaimed by her peers (including the likes of Oteil Burbidge, Herbie Hancock and Vinnie Colutia). She must be doing something right, these cats can play with anyone they want, yet they chose her.