I’m currently composing and recording original music using ProTools software and hardware that I purchased last year. I would describe this music as instrumental multi-layered ambient sitar music, and I plan to fill all 32 tracks in each sound scape. The final songs will be sound scapes linked together. As for the instruments, I’m using acoustic sitar, electric sitar, synthesized sitar sounds, electric bass, and to a lesser extent electric guitar. Some tracks are given effects such as reverb, flanging, chorus, reversal, and delay echoes to maximize the ‘trippiness’ of the music. I doubt that I will add any percussion but I haven’t ruled the possibility of bongos.
I hope to have a full album (~ 60 minutes) worth of music finished within a few months but I have set no deadlines. This is just a hobby for me as a seasoned amateur musician.
Gang - I’m astounded and fascinated. I sensed there would be an interesting range of styles, levels and instruments on the Board, but I had no idea it would be like this. Keep 'em coming!
Doing frequent gigs with the Seed and Feed Marching Abominable – we’re reading something new every week to potentially add to our rotating set list and polishing our act, adding more schtick, etc. See www.seedandfeed.org for details.
Working with the Band of America to get our spring concert date nailed down. Playing a water-themed concert, including the “Sinbad’s Ship” section of Scheherazade, Cesarin’s Blue Horizons, Francis McBeth’s Of Sailors and Whales, Robert Smith’s Into the Storm, etc.
Just discovered the PANArt Hang Drum. Oh man, wish I had time/resources to get into this! http://www.hang-music.com/.
Working up the solo on Robert Farnon’s Blow the Wind Southerly with an eye towards performing it within the year on F tuba, which I haven’t done, ever. The piece was written for Dizzy Gillespie on flugelhorn so it’s quite a challenge. I’m digging it, though.
I need to find/write a grant so I can do that piece on an upcoming program sometime, somewhere, maybe with the Band of America. I’m envisioning playing this along with some Mingus and an excerpt from Oliver Nelson’s Jazzhattan Suite. Planning that out too.
More juggling practice. Lots more juggling practice. Lots of picking up. Lots.
Hey **Ministre ** - since you’re guesting here (by the way - welcome; based on this thread, I hope you join!), can you give us a bit of background on your musical history? I mean, jeez, the stuff your tackling for guitar is a very big deal - 8-string Van Eps lap-piano type stuff, let alone Joe Pass, who is a jazz monster. I can’t comment on the degree of difficulty for the piano and voice stuff - but the very fact that you do them is impressive enough. What’s your main musical activity? Are you a professional?
When I first came across this thread, before there were any posts, I was too intimidated to say, “Well, I’m trying to work out the bass line to Black Cow.”
As other posters have pointed out, the bass is pretty straight forward, but it can be very rewarding to play.
I have picked out any number of tunes suggested in this thread and tried to pick them up. There are so many different approaches to the instrument, from classical to heavy metal to simple pedal lines like Smoke on the Water.
James Jamerson is now recognized as a great bass player, but if you listen to a song like “Your Love Keeps Lifting Me Higher” you’ll see that it’s a “simple” repetition. It took me several days to get the feel of that line right and it opened my eyes.
Oh, and I’ve also been trying to get down the feel for “Jumping Someone Else’s Train”
I am working on really “learning” the fiddle and building a repertoire. I play a little bluegrass fiddle and guitar with some musicians locally. Also, I have just this week been invited back to play a couple of benefits in late spring in Florida. A friend has a working blues band and we enjoy playing together. It gives me an excuse to dust the strat and telecasters off. The dates are still up in the air and I may get some session work with him while I am there, if they have studio time booked as well.
Okay, I won’t be brief, because I’m not very good at it.
Singing is my main thing - I’ve been singing professionally since 1982. 85% opera, 10% oratorio/concert, 5% musical theatre. Almost all of it in Canada, 4 shows in the US, 1 gig ever in Germany. I’ve got this weird little niche where I sing lots of comic roles and a ton of contemporary music, lots of it hard core. It’s a blast! I also teach singing to anyone who doesn’t run fast enough. (Fachverwirrt - I have a feeling we should split a virtual bottle of Gewürztraminer and trade stories someday)
I’ve been playing guitar since I was in Grade 8 at school 32 years ago. I’m a pretty good guitarist, but I’m not a great guitarist. Please don’t be fooled by the rep. I happen to be currently flailing at - I want to steal from the best, but it doesn’t mean I’m ready to publicize myself as a substitute for Bucky Pizzarelli (unless I want to eat a lot of salad that night!)
Guitar has been a constant companion over the years (I had to learn the role of Wozzeck on the road, and so I spent many nights playing through the vocal line on the guitar. It sounds pretty cool with a bottleneck…), but it has only been in the last 8 years that I’ve got serious about it. Guitar has gone from hobby to obsession to profession - I’m either at the highest rung of amateur status or the lowest rung of professional status. I was a subway musician in Toronto for 3 years, and these days I get a couple of gigs a year. I also teach, and I have a great gig at the Royal Conservatory being an assistant for the group guitar classes - Sing Along With Your Guitar, Guitar From Scratch, Cover Tunes.
I started piano 5 years ago - it began as a way to improve my voice teaching, and I thought I could just work on nothing but song accompaniments. Turns out most of the Schubert, Schumann, Fauré, etc. is way harder than was worth working on, so we started with piano repertoire. Damned if I didn’t fall in love with the instrument, and here I am. I doubt I’ll ever do much more than play for my students, but especially since I found the ‘Popular Repertoire List’ (for younger students, you can substitute an arrangement of a Disney song for a study, for old farts like me, it means you can substitute ‘Fascinatin’ Rhythm’ or ‘Take Five’ for a study.) (Kythereia - I’ve been in Grade 8 at the Royal Con. for the last couple of years)
I have to confess that I suffer from a severe case of GAS (Guitar Acquisition Syndrome) and it is only through constant application of Painful Reality Therapy that I keep it from blossoming into a full-fledged case of OOEFMIAS (One Of Every F***in’ Musical Instrument Acquisition Syndrome) . I haven’t had a tuba in years, (TubaDiva - remind me to tell you about playing one of those cheap fiberglass marching Sousaphones on the back of a pickup truck for one parade… ) and I deeply miss it, I’d love to get some saxes and maybe a sarrusaphone, but my studio already looks like a failed antique store. (Beware of Doug - how do you manage the difference in breath control between a flute and a bass sax? I bow down, Sir!)
Anyway, I’m tired and going to sleep. I’m a very lucky man who grew up in just the right small town in Manitoba to get exposed to choirs, bands, orchestras, guitars, jazz, the collegium musicum, bluegrass, rock (among other); and I’m privileged to be simultaneously a pro, a teacher, a semi-pro and a rank amateur all at the same time. I’m loving every minute of it!
Not very well, actually. It actually helps that the embouchures have zilch to do with one another. On the bass it’s all about the air, on flute it’s all about the control.
I moved to Berlin (from NY) last September with only a guitar and a halfway decent effects processor, so I’ve been working on using those to put together a solo guitar thing that I’ve been gigging with here.
Basically I use the delay as a loop machine and improvise, often in a very minimalist style. Have a listen and tell me what you all think!
Also I’m teaching private guitar lessons (some classical, some folk, some rock) so I’m constantly working on new lessons.
I’ve got a couple of other projects brewing but nothing that’s taken a distinct shape just yet.
Well, I don’t have much to tell, really. Most of my roles have been at university (although they tend to do twentieth century American stuff, so it’s never easy) with just the odd professional role here and there. I never really go off the ground with the whole career thing (I basically settled on having an income and a family). Basically, I’d say I have the talent for some sort of career (probably not high level), but I lack the ambition (and somewhat lack the discipline). On the other hand, I’m always up for a little music talk, so bring it on!
(Although I prefer a nice pinot noir. The German wines are a little sweet for me.)
Some of my favorites are songs where the bass IS the arrangement, or the primary melody, or focus, or whatever, but maybe I’m biased because I think bottom up…like Rescue Me (Fontella Bass version) or Lalo Schifrin’s Mountain Dance, or some Temptations tunes. And Jamerson is tops.
As a rock bass player, you must:
Stand very still on stage. The sound’s not coming from you, it’s over there where the humongous speakers are.
Look half asleep.
Hold the guitar slung low on your body. It’s an extension of your manhood, as we all know, so treat it accordingly. (If you’re a girl, it’s an extension of something else, but you’ll have to do the math yourself. The bass player in Fanny was hot, and she was a she, so that works, too.)
Make significant sounds with minimal movement of fingers. Let the amp do the work.
Look bored, like you could have phoned in this one.
Don’t watch your fingers. They must move automatically. Stare out over the audience, scanning for hot chicks that will do you later.
Make all tunes look easy, even the hard ones. You’re a bass player and need to think about only one string at a time, you lucky bastard. Pity the poor guitarists – too many strings, man!
Keep your eyelids half closed. You’re thinking about later, right?
Since my son was born in October I haven’t found much time to practice. I play tabla and have done so for 6 years, studying with a master in India for long periods. It can be a frustrating instrument because you absolutely have to practice every day or you will lose speed very quickly. Just this week I started again - playing a few simple compositions, and was happy to find that the speed returns pretty quickly. Apart from playing, I have been reading James Kippen’s Gurudev’s Drumming Legacy where he reconstructs techniques and compositions more than 100 years old. They’re pretty interesting, and I have commited some of them to memory. As soon as I feel confident again in front of the drums I’ll have a go on those.
Apart from not playing tabla? - Not much. I try to play flute or jew’s harp for my son every day. He seems to enjoy it, but apart from that neither instrument can satisfy my thirst for the complexity and dexterity the tabla demands.
Oh, and Ministre - I see that you are a guest. Welcome, I really hope you will stay. This is a great place, and starting this thread it seems you will fit right in.
I’m going through all of Al Hirt’s records trying to get as close as possible to his rhythm and stress. It’s not easy. Those ‘iconic’ sounds are easy to get just wrong enough to upset an audience, especially in a small club.
