| Author | Message | ||
| chrisalembic
Member Username: chrisalembic Post Number: 54 Registered: 3-2009 |
Hi Jimmy, like everyone here I am a great admirer of your bass playing. Your choice of notes, sound and voice on the electric bass is simply unique. While listening to Allan Holdsworth’s music and your bass playing, what always stands out to me is how you play these very own and melodic fills when there is space for you. Your playing with Allan H. always seems very „detailed“, or lets say complex (in a very good way). So if you dont mind telling, I am curious to know how you practice(d) and what your inspirations for developing this own voice were. Did you also transcribe a lot of music? Practiced scales, theory and technqiue and do you still do this? Or did you just do your own thing and it all developed along the way. What would you say helped you the most in developing your way of playing the bass? I hope I am not being too nosy here! All the Best, Chris. | ||
| jimmyj
Member Username: jimmyj Post Number: 93 Registered: 8-2008 |
Hey Chris, Thanks for all that, very kind of you. You're not being too nosy, we're in here to talk music and gear, but these are loaded questions so excuse the long post... Our individual "voices" are the sum of all our musical experiences. For me this included a piano teacher mom, a symphonic and jazz bass playing dad, and an older brother who played guitar, organ, flute and bass. I was exposed to a ton of different music as a kid. On top of all that I studied piano first and then took clarinet lessons all through high school. This experience of playing a melody instrument definitely comes through in my bass playing - particularly in my "odd" solo style. For the clarinet there is a book of exercises by Klose (if I remember correctly) which is pages and pages of intervals written out in 16th note patterns. Sitting down to play through these seemed like absolute torture and unrelated to music in any way until I realized the point - this is eye-to-brain-to-finger muscle training which results in being able to see an interval in a piece of music and play it without thinking. Ah-ha! Practicing explained! These "method" books are used for every classical instrument. Of course that system of music starts with reading what is on the sheet music so the first step of that training is not as applicable to our pop / rock / jazz world. Even though music reading may not be as essential to those of us outside the classical environment we still need to put in the time on our instruments to train our fingers to do what we wish automatically. All musicians could probably be diagnosed with some degree of obsessive-compulsive disorder. "You mean you try to play that riff, you fail, and then you keep trying over and over again for hours?" But this is the only way to make a smooth connection between your brain and your hands. I have a close friend, one of the greatest guitar players I know, who is likely to answer the door at 9am in a bathrobe AND his guitar. The reason he is so great is that he just never puts it down... Here's the twist on this obsessiveness... Because our side of music is mostly created in our heads as opposed to read off the page, we are the SOURCE of the music and we have to practice creating it. Scales and arpeggios are part of training our fingers but if that was all you ever practiced then that is all you will ever play! So, if not method books, then what? Well, practicing for me has always been to play along with records. My theory was that if I picked good music the groove would be there (a lot more fun than a metronome) and it would remain interesting because of the variety. I also move back and forth between trying to lock into the groove and just soloing freely over the top of whatever record I happen to be playing. Seems pretty silly, not much of a modus operandi, but I was also obsessed enough to do this A LOT when I was younger. Many hours, day and night, of racket coming from my room. (Thanks to my musically supportive family!) I still try to play everyday to keep things functioning. It never ends, even after 40 years (good Lord!!) there are always new things to find on the fingerboard. OK, it helps to be a bit crazy! Cheers to all! Jimmy J | ||
| chrisalembic
Member Username: chrisalembic Post Number: 56 Registered: 3-2009 |
Man thanks so much for the in depth reply!! It really means something. You know I was (and am) looking at your bass parts and tried to learn some of them and what I really noticed is that your lines and fills are so melodic. And when looking at it you realize that there is a lot of big Intervals, directional change etc. and this is something that your really have to get your hands, or lets say muscle memory used to. So I really see how your practice of these classical exercises must have had a big effect on your playing I think that to a very large extent, even in improvisation, you play what your fingers know and therefore what you practiced. And on a string instrument like the bass or guitar, we tend to just play scales up and down since this is much easier for our hands to do. However melody is not just up and down, but like in your playing, it is intervals, directional change etc... analyzed from a technique view point of course. In the end music is much more then technique but it is expression. And in order to express we need to be able to get our hands and tools there through a lot of hard work. And you certainly are a big inspiration for me to work very hard! Thanks for that. I am rambling on here… just one more thing. Another favorite bass player of mine is Anthony Jackson. Just like yours, his bass playing is unique in the bass world and when trying to play his lines you always wonder “how did he come up with that?” It really inspires. So I was reading this Interview of him: www.bassplayer.com/article/contrabass-conception-anthony/dec-08/90301 At one point he talks about you and your contributions to the extended range bass and adds: “JJ...in addition to being one of the finest bass guitarists ever to play the instrument.“ I think all of us here agree. Okay enough rambling from my side, back to the music!! | ||
| mario_farufyno
Intermediate Member Username: mario_farufyno Post Number: 191 Registered: 9-2008 |
Back to our obsessive-compulsive disorder, lol! | ||
| jimmyj
Member Username: jimmyj Post Number: 95 Registered: 8-2008 |
Thanks Chris. I'm a big Anthony fan too. Such a fantastic tone, time feel, and choice of notes... Very kind of him to mention me in that interview, that's almost embarrassing! So we're telling the same story here. It's important to play as much as possible simply to make the synapse connections that allow your hands to do what your mind comes up with. Then when it comes time to play music you need to forget everything you've practiced and simply play from the heart, "expression" as you say. I really do just play "by ear". Analysis of the chords and scales is not part of my processing while trying to play. It's all I can do to think about what notes might sound good and try to keep the time flowing! Yes Mario, back to our obsession! Jimmy J | ||
| jseitang
Advanced Member Username: jseitang Post Number: 270 Registered: 6-2002 |
nows heres a question ive been meaning to ask for a while but kept forgeting.... but i just pulled out wayne johnson arrowhead onto my turntable, amazing stuff. my question to jimmy is this: i can hear both fretted and fretless on the LP, it almost switches during songs (like for solo to solo, chorus to vrese.) but did you at any point played the fretles and the fretted dubbed together? does that make any sence, or am i just completely blown by your touch and those damn basses you use! | ||
| jimmyj
Member Username: jimmyj Post Number: 96 Registered: 8-2008 |
Jimmy S, I can't answer specifically because #1 - I can't remember, and #2 - I can't find my copy of the vinyl. Ha! I certainly used both fretted and fretless on that record, possibly on the same tune. (If at any moment you hear bass under the bass solo, you will know it was an overdub!) At that time I was also into using a chorus effect on the bridge pickup, especially while soloing, so sometimes that pitch shifting "smear" can sound like a fretless... Sorry I can't be more specific but thanks for digging it. Jimmy J | ||
| molan
Junior Username: molan Post Number: 12 Registered: 6-2009 |
Hi Jimmy, My new teacher Jake (I'll be 50 soon & only just started taking lessons - never too old to learn eh?) played me some of your work with James Taylor recently. I rushed home and downloaded the 'Live' album & listened to it on a quality set of headphones on the way to work the next morning. I can honestly say I've never arrived at the office wishing more that I had a bass stored away behind my desk to play on. Totally inspiring stuff, every note seemed to be just perfect, feel, timing, tone, control, dynamics, everything sounded 'right' without being too 'bass in your face'. So that's a new set of targets to aim for  And with my first Alembic arriving soon. . . | ||
| mario_farufyno
Intermediate Member Username: mario_farufyno Post Number: 199 Registered: 9-2008 |
Wich model will be, Molan? | ||
| jacko
Senior Member Username: jacko Post Number: 2367 Registered: 10-2002 |
it's this one mario. Graeme | ||
| mario_farufyno
Advanced Member Username: mario_farufyno Post Number: 201 Registered: 9-2008 |
Oh, I'm already happy for you Barry. What a Bass!!! (Thanks, Graeme) | ||
| jimmyj
Member Username: jimmyj Post Number: 97 Registered: 8-2008 |
Hey Barrie, Congratulations on the new acquisition! It will inspire you to practice whatever Jake assigns (no, never too late). Thanks for the comments on JT's (live) as well. That record came out pretty great, I feel very lucky to have been a part of it. Jimmy J | ||
| molan
Junior Username: molan Post Number: 13 Registered: 6-2009 |
It's due to arrive tomorrow - very excited but am currently banned from playing by my doctor! I have a problem with a nerve in my neck that causing lots of shoulder & upper arm pain and severe numbness in my left hand  Could take 2 weeks to heal apparently - how very dull. . . I'll just have to listen to lots of Jimmy's work to keep me going | ||
| artswork99
Senior Member Username: artswork99 Post Number: 789 Registered: 7-2007 |
Barrie, Congratulations on a beautiful bass! I hope that you heal well and if you can share the method of treatment that would be great. I have had surgery for similar symptoms and some fast acting atrophy that would not go away. The severe part is gone but always dealing with what you describe. Play it Healthy! Best, Art | ||
| mario_farufyno
Advanced Member Username: mario_farufyno Post Number: 204 Registered: 9-2008 |
Good recovering, Barrie. | ||
| chrisalembic
Member Username: chrisalembic Post Number: 57 Registered: 3-2009 |
All the best Barrie. I hope you can enjoy your new bass very soon!! | ||
| molan
Junior Username: molan Post Number: 14 Registered: 6-2009 |
Thanks guys - the bass is here but the pain is getting worse so not much playing Having physio treatment every 48 hours but if it's not any better by Tuesday then I'm in for MRI scan on my spine. Apologies for hi-jacking your thread Jimmy! Barrie PS - The Rogue is great, really shows up my appalling muting technique though, I'm blaming it on the withered left arm muscles & lack of feeling in my left hand, lol | ||
| davehouck
Moderator Username: davehouck Post Number: 8570 Registered: 5-2002 |
Barrie; my Alembic has caused me to really focus on my muting techniques as well. Hoping the best for your recovery. | ||
| jimmyj
Member Username: jimmyj Post Number: 99 Registered: 8-2008 |
Barrie, you can have the thread! Hope the docs can sort out your situation and come up with a workable solution. Best of luck there, let us know how it goes. Glad you like the bass. It's not your first 5-string is it? Keeping things quite is always a challenge... Jimmy J | ||
| molan
Junior Username: molan Post Number: 17 Registered: 6-2009 |
Thanks Jimmy, I have other 5'ers kicking around. There's currently three Spectors (2x NS5XL & 1x LX5), an MTD 535, an Overwater J5 & a Siggery J5 The Rogue certainly seems to be the most 'different' to the others though | ||
| lmiwa
Advanced Member Username: lmiwa Post Number: 242 Registered: 2-2008 |
Barrie, I've found my Alembics to be the most challenging to play simply because they faithfully reproduce EVERYTHING - all those amazing sounds, but also every little flaw in technique. It has certainly inspired me to practice a LOT more, though I must admit I'm certainly enjoying it! Loch | ||
| molan
Junior Username: molan Post Number: 22 Registered: 6-2009 |
You're right there Loch! With a dodgy arm & numb fingers the Rogue makes me sound like a complete novice |
