|
|
Post by gunther on Feb 22, 2011 16:46:53 GMT -5
I don' know what technique could be shared in a text forum. I have never seen one young person who's remotely interested in even listening to records to learn anyone's licks much less anything else song, form, voicings, melody, etc.
Technique is whatever gets you to where you want to go. If one has to watch someone (listening is better), get the Jaco instructional video made with giant Jerry Jemmott done around 1985 or so. Do what Jaco says and one should be playing everything one hears provided one has the talent and an inherent sense of R&B time. Too bad corporate music is designed to bury bassists in particular to playing chronic eighth note single finger idiot runs.
|
|
|
|
Post by drumminman on Feb 23, 2011 12:25:00 GMT -5
If you want to improve your bass playing go to youtube and check out the stuff by James Jamerson. I know a lot of you younger guys are not familiar with his name. Once you start to analyze his playing, you'll realize that he's the man to watch.
I'm a drummer and this is where the pocket is. Guitar players get the glory but it's the rhythm section that the audience dances to.
|
|
|
|
Post by gunther on Feb 23, 2011 15:24:28 GMT -5
What's the point of seeing Jameson videos on Youtube? First, he's not well documented visually. Second of all what music would one need to have a good command of Jameson's style beyond R&B or hip-hop -- the latter which has destroyed that level of artistry down to repetitive machine samples? One would have to understand what R&B music is all about, especially the "R" part which is rhythm. One can't find a Benny Benjamin or a Robert White, Earle Van Dyke to even play Jameson's style correctly. And one surely isn't going to play any Jameson on stuff by Wilco or Linkin Park or similar. It might be sad but Jameson's playing might be relegated to curiousity only, since corporations have destroyed the soul which was MoTown and that kind of wide open, unabashed creativity especially by black people in America. In order to understand Jameson, one has to understand what his bass playing meant as a cultural phenomena. It was the voice of strength, total freedom for the oppressed and black Americans during Civil Rights. Since mankind is now totally oppressed by corporate power, his kind of voice and strength is nothing more than exercises in academia and for historical significance. One might be better served to study African music since it embodies all the qualities and urgengy of MoTown. Listen to the joy, the urgency, the vibrancy, the aliveness in this music as was MoTown and get the idea of what it's like to be free of bondage. Then Jamerson might make a Hell of a lot more sense. Study those one intends to utilize in the context of what one is involved with, not just to "know some licks." The reason I mentioned Jaco's instructional video is because he's about as total package as it might get. Melody should be everything to the electric bassist as well as hard driving rhythm. But I don't hear any need for Jacos of the world anymore unless one is in South Africa or in some soft jazz thing somewhere. The sad part is the urgency, the strength of the electric bass has been so marginalized, bass parts are just a shadow of what was. Hence, no real celebration which was Jameson, Jaco, Jemmott, Bennett, Brown, Mingus, Holland, Kennedy, Marcus Miller, Wooten, Cogbill, Dunn, Monk Montgomery, Goleniak, Marcus(s) and too many other great ones totally kicked to the curb because of "today's music" which is corporate controlled. If you want to improve your bass playing go to youtube and check out the stuff by James Jamerson. I know a lot of you younger guys are not familiar with his name. Once you start to analyze his playing, you'll realize that he's the man to watch. I'm a drummer and this is where the pocket is. Guitar players get the glory but it's the rhythm section that the audience dances to. |
|
|
|
Post by bassgruv on Feb 24, 2011 10:52:39 GMT -5
I second the Jamerson recommendation. His work with Motown changed the way electric bass was played. There are not many videos of him playing but his volume of work is huge. Some of my favorite stuff is on Marvin Gaye's "Heard It Through The Grapevine" album. In particular check cut #11 "You're What's Happening in the World Today".
|
|
|
|
Post by gunther on Feb 25, 2011 23:24:55 GMT -5
What would one learn Jameson for in today's music? He "changed the way electric bass was played ..." and stupid people and corporations changed it back to mush. Who in this local environment plays R&B, Blues or Jazz where one could actually invoke those influences? I know one or two actual musicians in this entire broad area from Brooksville to Sarasota to Orlando who actually play hardcore R&B where Jameson's style could be utilized. Beyond that --- learn for what purpose? Academia? Historical significance? As evidenced by the other postings in this catagory, seems some just like to bloviate and name drop just to hear themselves bloviate, but are clueless about the genre Jameson, et al, played in, the roots of his music, the cultural and political climate of the time and the fact corporate conglomerates didn't quite have their meathooks fully into black men's art to suppress it all into what we have now -- idiot rap and hip-hop "music" where people need machines to "sing." Knowing what R&B is, how to approach it, one could listen to Jamerson, Jemmott, Rainey, Bennett all day long and still not make any sense with all that if one doesn't get Gospel, R&B, Blues, Jazz and plays with others who are clueless to all that as well. I see some who've posted here dodge this issue. Sure. Transcribe every note of everything Jamerson ever played on, electric and upright. Then find others who can play in a way one can utilize Jameson. Good luck ... ;D I second the Jamerson recommendation. His work with Motown changed the way electric bass was played. There are not many videos of him playing but his volume of work is huge. Some of my favorite stuff is on Marvin Gaye's "Heard It Through The Grapevine" album. In particular check cut #11 "You're What's Happening in the World Today". |
|
|
|
Post by woodbutcher on Feb 26, 2011 14:49:28 GMT -5
Be a "musician" first and a bass player second.
Learn to read.
Ear train.
Transcribe.
Learn theory and harmony.
You'll be more of an asset to any band you play in by avoiding a myopic approach.
|
|
|
|
Post by gunther on Feb 27, 2011 12:29:58 GMT -5
Yeah? To do what? To find work in this town as a musician? LMAO! Be a "musician" first and a bass player second. Learn to read. Ear train. Transcribe. Learn theory and harmony. You'll be more of an asset to any band you play in by avoiding a myopic approach. |
|
|
|
Post by gunther on Feb 27, 2011 12:32:25 GMT -5
I'm not even sure Jameson played on the cuts you reference below. Might have been Bob Babbitt who played bass on "Midnite Train to Georgia" and a mess of other MoTown hits for Gaye and others. I second the Jamerson recommendation. His work with Motown changed the way electric bass was played. There are not many videos of him playing but his volume of work is huge. Some of my favorite stuff is on Marvin Gaye's "Heard It Through The Grapevine" album. In particular check cut #11 "You're What's Happening in the World Today". |
|
|
|
Post by woodbutcher on Feb 28, 2011 17:31:24 GMT -5
You're kidding, right?
Midnight Train to Georgia was recorded by Gladys Knight on the Buddah label after she left Motown.
It was recorded in New Jersey.
Bob Babbit was the bass player.
|
|
|
|
Post by woodbutcher on Feb 28, 2011 17:37:11 GMT -5
Yeah? To do what? To find work in this town as a musician? LMAO! Be a "musician" first and a bass player second. Learn to read. Ear train. Transcribe. Learn theory and harmony. You'll be more of an asset to any band you play in by avoiding a myopic approach. You make your own limitations. |
|
|
|
Post by gunther on Mar 10, 2011 9:46:37 GMT -5
Well, then. There must be untold numbers of "musicians" who've made serious limitations for themselves. Few are trained. Those who aren't most assuredly are delusional as to their level of musicianship. THAT limits the rest of us who are trained and know how to play at a genuine professional level which is much broader than Stevie Ray Vaughn licks and Nickelback screaming and lame country which those guy can barely play correct changes much less stay sober enough to actually play. Lots of fear and loathing in this God forsaken broad area. Yeah? To do what? To find work in this town as a musician? LMAO! You make your own limitations. |
|
|
|
Post by Fight Another Day on Mar 10, 2011 9:57:52 GMT -5
Hey gunther! The Roots are performing on 3/19 at Universal Studios. Should be a kickass time. Hope to see you out there!  |
|
|
|
Post by gunther on Mar 10, 2011 11:46:25 GMT -5
Why? Let me know when Sharon Jones and the Dap Kings come to town. The real deal which doesn't seem to connect with the "musicians" in this area -- unless you're black, and even then.... Hey gunther! The Roots are performing on 3/19 at Universal Studios. Should be a kickass time. Hope to see you out there! |
|
|
|
Post by woodbutcher on Mar 10, 2011 19:57:02 GMT -5
Very funny!
Gunther, you're a scream.
|
|
|
|
Post by unkelred1 on Jun 8, 2012 14:04:17 GMT -5
Being a Bass Guitar player is not as straightforward as it may seem. I'd like to explain what I think makes a good Bass player, and how you can play effectively within a band. I may be about to offend some people. My aim is not to cause offense, but rather to open eyes to the central role of the Bass player, specifically in a rock band setting.
Types of Bass Guitar Player
There are three types of Bass Players as far as I'm concerned.
1. The frustrated Guitar Player. This is the guy who thinks a Bass is a guitar with four strings, he/she plays the same notes as the guitars are playing at the same time. While this adds the illusion of having a Bass Player, this technique does not really add much to the mix.
2. The Egomaniac. Les Claypool has an interesting approach,...and it works for him. It won't work for you so knock it off. I don't even like guitar players that play that fast.
3. The well-centered rhythm minded Bass Player. In case you can't guess by the obviously weighted title, this is the group I believe myself to be in. This is the technique I will now expound on as the ONLY correct way to play the Bass.
There are as many different styles of Bass Players as there are types of Music. My object today is to talk about the Rock Bassist using the WCRMBP (technique #3). OK, let's just call it the WC technique.
The Rhythm Section
The rhythm section is responsible for setting the ground work of the song, a firm foundation for the lead players to build from. They are the backbone of the band. They create the framework that all the rest is built upon. This handles the roots and rhythm of the song and helps get the groove on track and keep it there for the duration of the song. People cannot sing along with a song they have never heard, but they can dance to it. The rhythm section is generally what people key into first.
Rhythm Section Dynamics
From an audio(aural) perspective the bass drum and the bass guitar complement each other in several ways, the bass drum has a very hard knee (sharp attack) and a rapid decay (quick fade) while the bass guitar has a softer knee than the bass drum, but a longer decay. They also cover different, but complimentary, frequency ranges making them both sound "bigger" when played together. In layman's terms this amounts to making the bass drum sound fatter and last longer while making the bass guitar also sound fatter, but more importantly, sound like it is hitting harder.
Gettin' In Tune
One of the most important things for a novice Bass Player to do is to get “in tune" so to speak, with the Drummer. As a Bass Player you need to learn to play tightly with the Drummer. It can be very hard when you start out, making sure the rhythm section sounds together, and not like a drum kit and double bass rolling down a hill. Get to know the particular Drummer's style.
Does he hit, before, after, or directly on the beat?
Answering this question will help you to anticipate his moves and be where you need to be right with the drums.
There is one simple trick that will help even the most challenged of bass players...
Watch the Drummer's Feet
I have told beginning Bassists that I position myself during practice so that I can see the Drummer's feet; this seems to enlighten them a bit. Bass hits should not follow the guitars, they should accentuate the drum hits, most importantly, and you guessed it, the Bass Drums.
The easiest way to work on this is to watch the drummer's feet and hit when they hit. - EVEN IF THEY MAKE A MISTAKE.
Watch the Drummer's Back
Like it or not your job is to work with the drummer, even to the point of covering their butt when they miss (of course, their job is to cover you, but that is for a different story). A mistake by one member of the band is easy for an audience to spot, but when other members of the band cover for it, it is not as obvious and is easy to overlook.
Back to the point, follow the drummer's feet. Next time you are listening to your favorite Music, try to find a bass drum hit that does not have a bass note associated with it.
“Why?", you ask...
Filling in the Gaps
Once you are familiar with the Drummer's foot hits you can move forward and start adding fills to the mix. Until you are more experienced a good rule to keep in mind is that you are there to add notes to the drum hits, for every note you hit there should be a drum/cymbal hit (real or imagined) right with it. That is not to say there should be a bass note for every drum hit, as a Bass Player, get used to the idea that you are not the hero in this picture, you are there for support.
Over doing Bass fills gets old real quick. A good Bass Player just peppers enough to accent without drawing undue attention to themselves.
The main points I hope you will come away with are:
1. Gettin' in Tune- learn to work with the Drummer
2. Watch the Drummer's feet- learn to hit solid with the bass drum every time
3. Watch the Drummer's back- every time means EVERY time
4. The Rhythm Section is the backbone of the band
5. Dynamics tie the Bass Guitar and Drums together and accentuate each other sonically
6. Use fills sparingly
These are just some ideas and basic guidelines to help someone starting out on the Bass Guitar. I hope you found it informative.
|
|
