| Author | Message | ||
| chuckc
Member Username: chuckc Post Number: 60 Registered: 7-2004 |
Nice little video of JJ and JT live doing one of James Taylor's great songs, "Millworker" http://www.youtube.com/watch?v=U2MQ04ESSx8 | ||
| dadabass2001
Senior Member Username: dadabass2001 Post Number: 1326 Registered: 6-2002 |
From JTs "Pull Over' DVD. I love this tune... I used to listen to it at my office (gotta love ITunes). Mike | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 130 Registered: 8-2008 |
Thanks for the link my friends, Yes indeed, one of JT's great tunes. Part of the fun of playing it is tuning my low E to D for the pedal notes during that intro. Luckily the bass part is fixed or my brain would overload trying to transpose one string on the fly... Jimmy J | ||
| dannobasso
Senior Member Username: dannobasso Post Number: 1174 Registered: 3-2004 |
Always a pleasure to see as well as hear your performances Sir Jim. | ||
| dadabass2001
Senior Member Username: dadabass2001 Post Number: 1331 Registered: 6-2002 |
Jimmy, I never tried to play along and so never knew "Millworker" was in D. Do you then avoid using the detuned E for the balance of the song, or use a drop tuner and switch back to standard? Mike | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 131 Registered: 8-2008 |
Thanks Danno. Mike, I leave it tuned to D for the whole tune. There are only a couple low Es (fingered F#) and the second bridge moves me down to the B-string for a C and B. As I say, since it's a fixed part it's just a memory thing, I'd need to do more in that alternate tuning to become fluent with it... Jimmy J | ||
| jakebass
Member Username: jakebass Post Number: 97 Registered: 7-2007 |
It's a great track, lovely playing on the intro Jimmy! It's also to be found on the JT Live album, one of my favourite lines from that album is 'Up the Roof' I like it because of it's simplicity to begin with and where it ends up, and even though there are some really quite challenging figures, that is not what's important.... what is important is that dynamically it increases the intensity and blows really hard at the end. The whole band are rocking in the last 16 bars but the song is still intact and no egos are on show. Perfection in performance in my opinion. If you follow this link: http://basschat.co.uk/index.php?showtopic=71354 you'll see my transcription of that line. Well worth a look, it's a masterpiece. Hope this is ok with you Jimmy, let me know if there is an issue with posting this stuff. Jake | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 132 Registered: 8-2008 |
Hey Jake, Thanks again for the kind words. All these parts are just my spin on Lee Sklar's work, he wrote the book on these tunes. Nice transcribing too. Yes, a simple tune that gets going pretty good by the end. Spot my use of open D and A strings on the long run down the neck, one of my usual cheats. Ha! Jimmy J | ||
| davehouck
Moderator Username: davehouck Post Number: 9074 Registered: 5-2002 |
Very nice! Thanks for posting the link Chuck! And thanks for making it possible Jimmy! | ||
| jakebass
Member Username: jakebass Post Number: 99 Registered: 7-2007 |
Thanks Jimmy, hey if the open strings are a cheat then cheating's for me, it makes for some great lines. Lee Sklar played those tunes great I agree, but I think your original bass lines on everything from New Moonshine on and all your 'spins' on the old stuff stand up. I've said before that I love JTs songs and I think what all the guys he uses bring to the music has been a big part of his sound, which is what makes him such a great live artist in my view. What is extra special about him to me though is that he is as fine a musician as he is writer. His guitar parts are so well thought out and executed, it all makes for incredibly organic music, my favourite kind. Can I ask Jimmy... to what extent do you have 'possibles' in the parts? I'm working on harmonic palette but I also want to be very certain in what I play. I practise possibles but find the real test is having the good ideas in the first place. And like most (I'm sure) I'm my own harshest critic... | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 133 Registered: 8-2008 |
Jake, Thanks for your support in both my cheating and my spin on JT's bass parts. He certainly is a great guitar player. One of the things about playing with him is that he's already playing all our parts - including the bass part. When he plays the song by himself everything is there, he doesn't really need us... So he essentially writes our parts while writing the tune. What's left for us to interpret are decisions like which octave and how many pushes to catch with him. (He tends to play the bass note with his thumb as a pickup to the chord which falls on the downbeat. Cutest example of this is when cuing a final chord, he can't help but sound the bottom note before the band comes crashing in.) Another admission here; although I've played fretless on at least one tune of each record I don't bring that bass on the road for the live gigs. Part of the reason is that I am always doubling JT's bottom string and if the sound on stage is not ideal it becomes very difficult to match his intonation, and that can just get ugly! Also, when I first joined the band Carols Vega's sage advice was "don't make the gig harder than it needs to be". And furthermore, I've been to many shows where the bass player changes basses 10 times and I simply could not hear any difference from the audience side of the PA... So those are the forces which shape the JT bass parts. It may sound like a stifling musical situation to some but I dig the challenge of playing the right note with the correct dynamic at the exact moment consistently every night. That's enough to occupy my wee brain! I'm not sure what you mean by 'possibles' but I'm guessing you mean alternative notes or extra bits? There are a few moments here and there in James' set but I tend to concentrate on being exact as opposed to changing things up, again partly because I'm just doubling him. The other members of the band are better at altering things and the instrumental solos are open and different each night. I save that kind of thing for my other gigs. (With Holdsworth it's like a year-end sale "all notes must go"! Ha!!!) Jimmy J | ||
| lbpesq
Senior Member Username: lbpesq Post Number: 4264 Registered: 7-2004 |
I've always wondered if musicians who change instruments on every song are really doing it so they can write each instrument off as a "business expense"? Bill, tgo | ||
| chuckc
Member Username: chuckc Post Number: 63 Registered: 7-2004 |
Jimmy, I hate to admit it, but I had no idea who you were up until you began interacting on the Alembic Club forum. I knew of your playing but just not your name. I was originally exposed to your great talent when one of my engineers turned me on the to the "Flim and the BB's Big Notes" CD back in the mid 80's. I later saw you perform live with JT in Houston about 10 years ago but still never made the association with the BB's but none the less it is refreashing to read your posts and I enjoy your willingness to divulge your tricks of the trade in such a down to earth approach. Keep up the excellent work and I think we all look forward to your coninued posts here in the club. Thanks | ||
| richbass939
Senior Member Username: richbass939 Post Number: 1078 Registered: 11-2004 |
Jimmy, Like Chuckc said, I love hearing all the little things you add in about your gigs, your sound, etc; all the practical stuff about gigging with different folks. Thanks for taking the time to let us in on the secrets. It's like attending a master class. Rich | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 134 Registered: 8-2008 |
Thanks Chuck and Rich. It's a good bunch of folks in here, certainly music enthusiasts and supporters of finely made instruments! I've been playing these series basses for so long that I figure the least I can do is join the conversation. Bear with my extended rambles... See you around the virtual place, Jimmy J | ||
| jakebass
Member Username: jakebass Post Number: 100 Registered: 7-2007 |
Hi Jimmy, it's fascinating to hear your thoughts on this stuff so thanks. The term possibles is something I picked up from a Ray Brown interview where he told of he and his band mates in the Oscar Peterson trio doing rehearsals in the afternoon for the gigs, and whilst not exactly defining what the arrangements were in the improvised sections, they would work on many alternatives of working through the changes using this that or the other twist or turn on the harmony, so when it came to the gigs they would instinctively know what each other were doing, hence playing the 'possibles' I understand that you are nailing it on the JT gig (as we have discussed before) and I have a ton of respect for that discipline, in my later years I have been on a quest to play as simply and effectively as possible so I'm always looking for the thing that just fits right. I work with a really lovely singer songwriter http://www.myspace.com/yamitmamomusic who is beginning to see some success writing for others and I hope to play on and produce an album for her in the new year. So in that I get to decide what the bass notes are so I do my best. I also play functions and jazz gigs (mostly on double bass) so I'm quite used to improvising a bass part from a chord chart. The reason I'm interested in your thinking on the discipline thing is that I find if your working day involves lots of blowing it can be a bit more of a mental challenge to really pin down parts when required, and not wishing to keep ladling on praise and potentially embarrassing you, your work with JT has been an inspiration for me in exactly that. So being able to have a virtual discussion with you about it makes me feel like a kid in a sweet shop, even though I'm 42 and have already had too many sweets ;0). When you speak of Holdswoth gigs being a note fest, you are no slouch when it comes covering the instrument, do you prepare specifically for that? or do you maintain that kind of facility all the time? As has been said, your input here is really appreciated so if at any time I'm asking to many questions just tell me it's time to shut up. Finally happy New Year to you and anyone here who is reading this. It's a great place to hang out. Jake | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 101 Registered: 7-2007 |
Just had to add the thing about changing instruments.... well when you're playing an alembic, what would you change to.....? ;0) (Message edited by jakebass on January 02, 2010) | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 135 Registered: 8-2008 |
Hey Jake, I have no problem with the questions, working on the answers is a good exercise. Just my opinions so take them with plenty of salt. I'm going to guess that the "possibles" Ray Brown was describing are "substitutions" to the standard chords of a tune that he and Oscar would come up with. Alternative harmonic paths to get from one point to another. There are players who specialize in this type of interpretation and can create arrangements of standard tunes that you would only recognize from the melody... When this is done in the "head" of the tune it becomes an arrangement. Usually during the solos it would be up to the soloist to lead the way down an alternative path - or maybe the bass player might play pedals for a moment, or whatever. In this case it sounds like Ray and Oscar would work out a few alternative routes so that during a solo if Oscar took a sudden left turn Ray would recognize it and join him in a flash. Cool! That situation doesn't really apply to either of my two main gigs. JT's music is fixed and any variation of the chord progression would have been worked out in advance and made a permanent part of the arrangement. Then it's performed the same way each night with the goal being consistency as opposed to variation. It may come as a surprise to learn that Holdsworth's music is also fixed. Obviously our interpretation is quite free but it is for the most part traditional "head-solo-head" jazz forms and the harmonies are set. Any "options" are part of the composition, as in an alternate chord on the repeat or the solo sections - usually related to the head, but sometimes a completely different set of chords. Despite my reference to playing every note I know ... my intention is always to stay inside the written harmonies and not to send it down any alternate path. Make any sense? The thing about switching back and forth from open blowing trio music to a more constrained style is just being able to switch your mindset. The goal is always to support the music in the most musical way and if that means just playing low-F whole notes every 4th bar, well, you should put everything you have into making that happen. Good luck with the Yamit project, that sounds interesting! Jimmy J | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1341 Registered: 9-2002 |
I went to NAMM in Anaheim in the early 80's, and in a back corner of the hall, it was quiet enough where I could hear somone wearing out an upright; I followed my ears to find Ray Brown, alone in the Polytone Amp booth, playing just fabulous stuff. I later ran across a Ray Brown method book, which I bought both for the nice exercises, but mostly for the fact that in EVERY picture in the book he was impeccably dressed in a tux! Jimmy, I find that slow/simple stuff is WAY harder than tooting along on fast stuff with lots of notes as there's nowhere to hide with these big half or quarter notes just hanging out there, much less your tone. You too? The 're-harmonizing' is the great bassplayer's equalizer: If I suddenly throw in a 3 instead of a 1, or a 5 under 1, much less something really changing things, it's nice to remind everyone else that the root of chords is a powerful steering current, that I own at that moment ! J o e y | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 102 Registered: 7-2007 |
Hi Jimmy, it make total sense. I think, for me anyway, that the conversation has now arrived at ideas. I can hear that Allans music has the forms that we all are familiar with albeit with a large range of harmonic possibility due to his fabulous sequence writing and incredible ear for voicings. It stuns me that the trio sounds so full. What I really dig in listening to that stuff is, in the first place the ideas you guys have in your interpretations, but also the execution. It seems to me that all of you are able to produce very highly evolved ideas (seemingly endlessly) with great accuracy and in a very fully formed way. I have been playing professionally for 20 years and have been on a constant quest to play the right thing at the right time whether that be set or improvised. I have discovered having been to college and learning about all the details of music that the way I initially learned (listening to great players and copying them) was really valid and I have returned to that method of absorption. I am still on the quest for ideas so I try to make sure I do a little every day to let my musical brain just play with and formulate ideas and make them part of my vocabulary. What I really love about music is that that challenge feels to me like it will always be there, like an old friend. And I have to add that playing an Alembic bass has played a big part in being able to play with my voice. It's the only bass I've ever played that feels utterly right in every situation. Joey, Nailing the slow stuff is one of my favourite challenges too. I practice tons of stuff with just half notes, and love a good solid two feel, something I think Ray Brown was really great at. His swing was so strong and effortless in whatever division. And surely one of the greatest exponents of accurate big notes is Anthony Jackson. I love his stuff with Becker and Fagen. Cheers guys Jake | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1343 Registered: 9-2002 |
Jake, I sometimes feel VERY alone inasmuch as the whole 'Bass Player Olympics' thing does NOT interest me. As much as I respect Stanley, Jaco, Victor, etc., to me these are guys that are not playing bass that speaks to me, they just suck all the air out of whatever ensemble they're in, regardless of how breathtaking it may be, or the other-worldly technique they manifest. You play to the tune, and for most of us, the vocals as well. So whether it was Duck Dunn or Osborne or Carol Kaye or Jamerson, it was smart playing that supported and improved the tune. I hear this with Jimmy and Anthony as well. THAT's what I'm after, not NAMM Show chops. J o e y | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 103 Registered: 7-2007 |
Hey Joey, I'm really with you in that sentiment, but feel it's a very personal thing so I have respect for the gymnasts abilities, I just don't function that way. I'm lucky to have a friend and sometimes band mate in a great guitarist by the name of Mike Walker http://www.mike-walker.co.uk/ Mike is a world class player and has played with George Russell, Dave Holland, Kenny Wheeler and many other greats. Mike has been an inspiration to me. In a dark moment I once mentioned to him that I felt overawed by the direction the bass world was taking with fireworks and gymnastics and felt that a good feel and service to the song was being undervalued. He said to me that my quest to play a whole note as well as it can be played was a brave decision in the face of what was happening in the world of bass. i took a lot of solace from that comment and ironically have increased my facility since feeling that it was less important to be flash. I just keep chops under wrap and serve the music first and foremost. I think our job is safe... | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 136 Registered: 8-2008 |
Some great comments here. Joey, nice story about Ray Brown he was definitely one of the greats. His approach to groove and comping is still a terrific choice to try to emulate. I also agree that the notes the bass player picks are VERY powerful and when appropriate can be used to steer the ship in a different direction. We mustn't speak of this mighty power in public lest it fall into the wrong hands! Ha! The simple stuff IS the hard stuff, you guys have got that right. Knowing what not to play can be as difficult as being able to play a million notes. I'm not saying you shouldn't practice and try to get your fingers to do new things but my spin on this is that holding the chops in reserve can make what you DO play more meaningful. Not unlike what they say about music school - get all the scales and theory in your head and then forget all that and play from the heart... Lead bass vs rhythm bass? Well, we must respect what the mentioned solo Artists are/were able to do with their instruments (the instruments we thought we knew before we heard them do THAT). These guys changed the face of bass in the same way Holdsworth changed guitar and how you feel about it is strictly a personal thing. And what these outstanding soloists can do on a bass doesn't diminish in the least what the great simple groove guys do. It's just another animal. Jimmy J | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 137 Registered: 8-2008 |
sorry, a bit more... Jake, the Holdsworth band is a very unusual musical situation and the freedom and ongoing experimentation that we pursue is not always successful. The recordings are the best collections of controlled insanity. When you see the band live you will see us all grimace from time to time. That's the nature of that gig, everybody going for it, different things every night, some amazing moments and a few inevitable derailments. Soloing over his progressions regularly trips me up. But that's Allan's particular unusual version of jazz. It's really not for everybody. The audience tends to be mostly musicians trying to figure out what the heck is going on with the music. We can usually spot the two women who came with their boyfriends, a couple songs into the set they are whispering in the boyfriend's ear and by the end they're nowhere to be seen. That's a generalization really, it may be heady music but I find some terrific beauty in it. Allan really is a one-off and it's a riot playing with him, hanging on for dear life! Jimmy J | ||
| artswork99
Senior Member Username: artswork99 Post Number: 955 Registered: 7-2007 |
What a great thread! Thanks for this great read and insight. | ||
| lbpesq
Senior Member Username: lbpesq Post Number: 4280 Registered: 7-2004 |
Jimmy, your description of "going for it" reminds me of an old quote I've heard attributed to Bob Weir describing the Dead "going for it": "When you go diving for pearls, sometimes you come up with clams" Bill, tgo | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1346 Registered: 9-2002 |
The Great Unspoken Truth They Never Told You: It's all down to knowing what NOT to play. My Holdsworth story: That same NAMM Show was the year Allen Holdsworth jammed on one of the demo show stages with Ed VanHalen (!). It was terrifying and puzzling all at the same time. Both of them definitely had their radar turned on watching each other and listening. This went for about 20 or 25 minutes, I'm sitting 6 or 7 rows back in this meeting room. There's a dark headed guy sitting directly in front of me, and his head is bobbing around and he's shifting around in his seat like he's watching a tennis match, and he keeps making these little exclamations when they hit something particularly scary. They finally break it off, big applause, and this guy gets up to leave. Al Dimeola. J o e y | ||
| jacko
Senior Member Username: jacko Post Number: 2548 Registered: 10-2002 |
Jake (and possibly Jimmy).. "well when you're playing an alembic, what would you change to.....? " In my case it's another Alembic as I swap between fretted and fretless maybe two or three times per set. (My drummer organises things and I try to make sure he doesn't have me switching every other song). As you'd expect, there's definitely a tonal difference between the two instruments. However, I do agree that sometimes these swaps are a bit excessive. I saw Bonnie raitt in Glasgow a couple of years ago and Hutch switched basses nearly every song with no discernable difference apart from when he went fretless. Graeme | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 104 Registered: 7-2007 |
Jimmy, I like your perspective on what you do, and the humanity you display when you are honest about the narrow audience, and potential train wrecks. That you pursue it suggests that it's very much a matter of love. I've played some contemporary stuff and I felt terrified and very much alive all at once. I do regularly remind myself that we are so lucky in what we do. If we compare to day to day jobs, it would be like this: "what did you do at work today dear"? "well I travelled for 1,4,7,14 hours (delete as appropriate) and then I totally indulged myself and came home again" I find your description of playing in the Holdsworth band hilarious, especially the bit about an audience of musicians and a few intrepid girlfriends, because you clearly know where you're at doing that stuff. (self not taken too seriously methinks) Nice thread this :0) Jake | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 105 Registered: 7-2007 |
Hey Jimmy, just had to let you know that the project we spoke of with Yamit is going ahead and we have secured some time at AIR studios in London. Joni Mitchells 'Both Sides Now' album arranged by Vince Mendoza was recorded there so it will be a real treat (I have done a few sessions there already) to have the use of such a wonderful space. Had to share. Jake | ||
| indybass
New Username: indybass Post Number: 7 Registered: 6-2003 |
Check out on You Tube Flim & The BB's @ the World Theater. | ||
| chuckc
Member Username: chuckc Post Number: 64 Registered: 7-2004 |
Very nice little solo and close up of JJ's fan head 5 string Alembic on "At the Hop" with the BBs. http://www.youtube.com/watch?v=ccav4qNrDvE | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 138 Registered: 8-2008 |
Bill, exactly right on the quote. Joey, another good story, you picked a great year to attend NAMM! Graeme, Bonnie and her band are a groove, huh? I'm a Hutch fan too. So, anybody can play as many basses as they want for whatever reason they want - I'm just saying from the audience perspective at a large venue it's hard to hear the subtle sound differences so why not just play the bass that's most fun to play? But that's my spin, maybe it's a feel thing for some guys. Your mileage may vary. Jake, we are indeed lucky guys. As an example, have a blast with that project. It's always a treat to work in a great studio. Steve Dokken, what are you doing in here? You didn't buy an Alembic did you? Ha! You're welcome to hang anyway (Steve's another fine bassist) but now these links to my younger self are getting a little embarrassing. Those were my formative years, OK? Oy. You too Chuck, easy on the ancient history. I do miss that bass though... That's the one that was stolen in Poughkeepsie in 1987. Where the heck could that bass be? Jimmy J | ||
| indybass
New Username: indybass Post Number: 8 Registered: 6-2003 |
Hey Jimmy, Here are some Alembics I've had over the years. I sent Gordy some pictures of us rehearsing at your parents house in 1969. I've been doing some symphony dates with Cecil playing Hank's music again. Steve Dokken  | ||
| chuckc
Member Username: chuckc Post Number: 65 Registered: 7-2004 |
Jimmy, why is it nearly impossible to date your work other than looking at the wardrobes and hair styles of the supporting cast???? You look vitually the same in every clip I seem to find you on, though your playing seems as in the pocket as always regardless of the timeframe. Must be nice to remain ageless, unfortunately I'm not able to say the same about myself. | ||
| richbass939
Senior Member Username: richbass939 Post Number: 1081 Registered: 11-2004 |
Jimmy, the video clip is great (Chuck, thanks for posting it). Great groove and tone. I agree about it being hard to "date" your work except for looking at the things around you. On that clip it is interesting to see the old PC and Mac between the keys and drums. LOL Not exactly a laptop. Rich | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 139 Registered: 8-2008 |
Hey Steve, OK, none of those are my stolen bass so you're cool. HA! I was 13 in '69, maybe don't post THOSE pics here OK? Way too much information. Nice you're doing some Hank music. Chuck and Rich, that's pretty funny. I've gone a bit gray around the muzzle but from a distance, and with poor eyesight, it's the same low-maintenance head (no haircuts, no shaving...) Same head, same bass, same bad posture. Might just be some form of stubbornness... Jimmy J | ||
| crobbins
Senior Member Username: crobbins Post Number: 532 Registered: 6-2004 |
This is one of my favorite JT/JJ videos. http://music.aol.com/video/james-taylor-fire-and-rain-aol-sessions/james-taylor/1354213 | ||
| chuckc
Member Username: chuckc Post Number: 66 Registered: 7-2004 |
Great song, great rendition. Steve Gadd is, and has been, a truly tasteful drummer. Love his stuff. | ||
| hankster
Advanced Member Username: hankster Post Number: 227 Registered: 6-2004 |
This whole set of JT and JJ vids is excellent! R. | ||
| lbpesq
Senior Member Username: lbpesq Post Number: 4298 Registered: 7-2004 |
Jimmy: Will you be backing JT and Carole King on the upcoming tour? Bill, tgo | ||
| jacko
Senior Member Username: jacko Post Number: 2557 Registered: 10-2002 |
It's going to be lee Sklar Bill. I'm hoping they'll come to the UK. Did you see that James matched the $150,000 dollars he raised at an Haiti benefit out of his own pocket? Quite the gentleman. Graeme | ||
| chrisalembic
Intermediate Member Username: chrisalembic Post Number: 109 Registered: 3-2009 |
Hey Jimmy, I have yet another question for you, I hope you dont mind. Being a big admirer of Allan Holdsworth music, I was listening to the „Metal Fatigue“ album the other day, and what struck me about your playing were these amazing fills you always play, all over the fretboard. Like going from the highest register all the way down to the lowest notes and landing right on time. Especially on the „In the Mystery“ track, i stil cant believe what I am hearing ... So what I wanted to ask is, whether you improvised all these crazy fills on the spot, or did you have a more concrete „lay out“ and are these lines and fills of a more „compositional“ nature? These lines blend so well with the whole music, fly all over the bass, and always right on time. Like Scott Lafaro, you are playing bass all over the bass and are interweaving with the music. | ||
| mike13
Member Username: mike13 Post Number: 71 Registered: 11-2007 |
Jimmy,are you coming to OZ with JT and Carol? | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 147 Registered: 8-2008 |
Bill, As Graeme said, Carole and James are touring with their original band; Sklar, Kunkel and Korchmar - plus a few extra cast members. Between the two of them they have plenty of great material so it should be a very nice show. I feel like I've been subbing for Leland for 20 years, he "wrote the book" on much of this music. I'm happy everybody will get to hear him do what he does so well on these songs. It will be great! Chris, Thanks for the kind comments. I'm obviously a Holdsworth fan too - truly amazing and compelling music. This kind of "extended arpeggio" thing you mention seems to appear often in my playing, I'm not sure why or where it came from. It only works if you can find an open string in the run to give your fretboard hand time to make the jump. "In The Mystery" has a particularly busy bass part simply because it's a drum machine track (with no cymbals!) leaving more open space than usual. Allan never tells any of the band members what to play (sometimes even what pitches to play) so this bass part is just what came out. I do remember working on it for a while, composing the shape of it I guess, getting busier as the song progressed. But which fills went where just kind of happened. Much of the part only works because of the key (open A pedals, open B pedals, etc). I don't know if that answers your question but I'm glad you like it. It's an unusual track from Allan's already unusual body of work. Jimmy J. | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1354 Registered: 9-2002 |
Jimmy: I meant to ask: What was it like to work with a recent 'immigrant' to my Middle Tennesse area, George Massenburg? The BB records he did sound amazing to this day, not dated recording-sound-wise. As a matter of fact, what's it like to have worked with two technical giants, GM and Ron Wickersham? J o e y | ||
| jimmyj
Intermediate Member Username: jimmyj Post Number: 149 Registered: 8-2008 |
Hey Joey, Yes, GM is a great guy, an extremely talented engineer and gear designer. Working with him on music projects is always a treat. (He may have since moved to Canada - I know he teaches at McGill.) And RW is another of these very rare guys, an innovative thinker and expert in many areas. The fun would be to introduce guys like this to each other and then just stand back and listen ... until your own brain starts to melt. Ha! Jimmy J |
