Vision Music

[Fajah]

A week ago Sunday, while the house was nice and quiet, I flipped to CoolTV to see what was on. For those who don’t know, CoolTV is a subscriber channel which broadcasts jazz and blues musical content on Rogers digital cable here in Toronto. There happened to a Lee Ritenour concert on, and I was enjoying it thoroughly. About halfway though the concert, they launch into a sweet version of the tune Stolen Moments. It’s a great medium swing, minor jazz/blues tune with some great changes. I hadn’t heard it in quite some time. Lee Ritenour’s arrangement really inspired me for I happen to love his playing in general.

So as I usually do when I get inspired, I went to my computer, downloaded various versions of tune, and printed out a couple of charts to examine. With guitar in hand, I worked out a decent version (and jam track) and sent the tune, jam track, and charts to my Monday night jamming buddies, so they can spend some time doing a bit of preparation before our next session. They all agreed that it would be a great tune to play.

We got together last night. Unfortunately a couple of guys (keyboard and guitar) were out of town on business, so our line up was one guitar, two saxes (alto and tenor), drums, and myself on bass. I had also brought my guitar, for it’s easier for me to work through a new arrangement with my guitar in hand. We went through the tune about three times, working on various parts, and it was really coming together nicely. We then started playing the tune from top to bottom, allowing for soloing.

The soloing is done over a typical minor jazz/blues progression, and the first time through the whole tune, I was playing the guitar. It sounded pretty good, but that medium swing groove was just not there, and everyone seemed to be lethargic in their playing (and soloing for that matter). Half way through the solo section, I put my guitar down, picked up the bass, and started to play some walking bass lines.

The whole room came to life! Looks of astonishment were on everyone’s face at first, then some really big smiles. It was quite incredible. Everybody’s playing automatically kicked up a notch. It was tighter, the swing groove was right there, and even the soloing was better. This had nothing to do with my playing, for I didn’t do anything fancy. When that low rumble of the bass kicked in, it was like giving everyone a shot of adrenaline. I literally got shivers down my spine.

I’ve experienced a rush of enlightenment when playing jazz guitar from time to time, but I never really, and truly appreciated the impact of the bass in music as I experienced it last night. It was truly an epiphany for all of us playing.

I hope you’ve enjoyed my post. Since I frequent a few forums, you may see this on other sites as well. I’m really pumped. Had trouble getting sleep last night thinking about it.

Lawrie
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Mr. Lawrie Mann: Toronto, Canada

Guitar Gear:
1968 Raven Semi Hollow
1970 Ovation Balladeer
SX STL-50
Roland Cube 60
Roland Microcube

Bass Gear:
SX SJB-75
Douglas WEB-846 Fretless
Markbass LMII
Bergantino AE112 Cab

[fingerpicker]

I'm surprised nobody else has responded to this before now.

I've had similar experiences. I attend a number of jam sessions where there are a bunch of guitarists and other instruments (usually treble clef) and no bass. To my ear, this sounds like the buzzing of the bees. When I bring in my bass, suddenly, the music has focus and clarity. It is remarkable how much the bass adds to virtually any genre of music. Now I don't leave home without it.
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Forget the pick! Fingers forever!!!

[Fajah]

[nylenny]

Hi Fajah, How do you like the Markbass amp? They certainly seem portable.

[Larry_DC]

I just started Marks bass class and it's remarkable how much better walking bass lines with punches sound on the real thing.

[nylenny]

Good to hear Larry. Let me know how it goes. I am focused more on R&B and blues playing on the bass. But at some point, I may graduate to jazz. I am working on my jazz guitar quite a bit, and from time-to-time I wonder if playing jazz bass lines would help me with my jazz guitar. let me know what changes you see in your guitar playing.

[Mark]

[nylenny]

Awesome posts Mark!

On the walking bass with shell chords, how do you handle the right hand? Are you playing the bass line with your thumb, while you play the 3rds and 7ths with i and m (or m and a), like a classical guitarist would? I was surprised that the 3rds and 7ths sound clear in such a low register. It sounds like the tessitura of the chords is generally a seventh to a tenth, and I would have expected some of the intervals to sound muddier. Very interesting listening.

Love the rhythm changes. I like the comping line where you play a two-five with an a shape minor ninth, going up to a d-shape minor and minor 7th, and the "funk shape" dominant ninth chord. Very melodic playing. I really enjoyed it.

[Mark]

[Larry_DC]

That C-Jam sounds a lot like what I was doing. I wonder where I got the idea? I'm using my thumb for the single lines and two fingers for the double stops, and thumb and fingers for the three note chords. This sure is a work out for the left arm. I hope I don't end up looking like a fiddler crab.

[Mark]

[nylenny]

Wow! I tried doing that. It's not easy. I did end up tapping out tritones over a jazz blues a-la Stanley Jordan at a very slow tempo, which was fun.

[Mark]

[Larry_DC]

That's quite a creative approach to playing, bass or otherwise. I tried it for a few minutes and realized I would end up in the hospital if I didn't cease and desist at once.

[corky4strings]

mark for the unwanted overtones if you put a hair scrunchy for ponytails on your bass and slide to the first fret it will stop the unwanted overtones. i've seen victor wooten do that and also norm stockton
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corky




let your fingers do the walking i do