Custom Roscoe Jazz Jones

[CactusmanDoug]

Hey Bros.-

I know many of you are well seasoned professional bassists and totally dig your Roscoes (as I do mine ). Many of you keep a jazz ax on hand when called for. I really have a strong hankerin' for Keith and company to construct the vision I have in my head and ears and would entertain your feedback regarding my spec ideas. Especially Greg's thoughts since he has a Roscoe jazz of sorts.

These specs are influenced by my love for my SKB 5'er (#5850) that is beyond anything I've ever played and every other bassist that's picked her up has been wowed as well.

Roscoe dream Jazz:

35" scale
Body style...mheh, not that important, maybe Century Standard
Alder body (possibly solid and maybe tobacco burst)
Wenge Wedge neck
Lined Diamondwood (did I mention fretless?)
Diamondwood nut
Hipshot Hardware

As far as electonics and pickups, I need some help. I've learned a few things about optional stock and modified Roscoe electonics but know nothing regarding jazz stuff. Please keep in mind that I want a very open, organic yet signature jazz tone.

Thanks,
CMD

[VroomVroom]

FWIW, I've thought of this myself. I've got two J basses, with a third coming soon. I know it's kind of a flooded market, but I'd still love to hear and play Roscoe's take on one.

Electronics? IMO, you're halfway there with the NTMB. I'd LOVE to hear a Roscoe with Bart SC J pickups, and would otherwise really dig hearing some Fralins, Duncan SC's, and certainly some of those Greg/Rocket Joe Barden specials.

[Darkstrike]

Of course, half of it is in how much of a modern vs. vintage sound are you after?

I know Greg has the Bardens paired with an Audere, and we know that sounds killer, IIRC Gard has mentioned Nordie Big Singles as doing the Jazz sound too.

[CactusmanDoug]

Originally Posted by VroomVroom

FWIW, I've thought of this myself. I've got two J basses, with a third coming soon. I know it's kind of a flooded market, but I'd still love to hear and play Roscoe's take on one.

Yeah, there's a alot of fine builders manufacturing great jazz basses for sure. My main reason for leaning to the Roscoe are the results with #5850's voice and the Roscoe neck feel. I'm totally and completely and forever bonded to the 5-string, 35" neck Roscoe feel.

Thanks for the thoughts and keep 'em coming.

[RocketMusic]

I've yet to really capture just how jazzy my Roscoe jazz can sound, so here's another attempt. It's not quite Marcus's tone, but it's getting there!

Slap Silliness
Slap Silliness (No Drums)

Mine has a bit of bark to it (which KILLS live, it really cuts well), but I'd be interested to hear a similar fretted bass with an Alder back and Rosewood fretboard. That might round out the tone a little bit. Different pickups might tame it a bit, too, but I'm really happy with the tone. For my blues/blues-rock gigs, this bass is perfect.

And I completely agree with you, Doug, on the incredible feel of Roscoe's 35" 5-string neck... it just feels right!

[ubone]

Hmmmmmmmmm... That does indeed sound pretty damned good Greg. I've been toying with the idea of a new SKB3006 build with some of the Bart Jazz pups or Bardens. Problem being Barden doesn't make pups for a six banger does he????

[RocketMusic]

Yeah, sorry, no 6-string Bardens yet.

[LilRay]

Originally Posted by RocketMusic

I've yet to really capture just how jazzy my Roscoe jazz can sound, so here's another attempt. It's not quite Marcus's tone, but it's getting there!

Slap Silliness

Mine has a bit of bark to it (which KILLS live, it really cuts well), but I'd be interested to hear a similar fretted bass with an Alder back and Rosewood fretboard. That might round out the tone a little bit. Different pickups might tame it a bit, too, but I'm really happy with the tone. For my blues/blues-rock gigs, this bass is perfect.

Greg, Man I wish I could pull something like that off!

I cannot therefore I must Say "Slap is Crap"

And I completely agree with you, Doug, on the incredible feel of Roscoe's 35" 5-string neck... it just feels right!

+1000

I'm a newbie but, My other basses feel weird now.



God Bless, Ray

[ubone]

I wonder if the six string jazz pups fender makes for the new 6 string jazz sound like the originals and if they do are they available for sale??

[CactusmanDoug]

Originally Posted by RocketMusic

I've yet to really capture just how jazzy my Roscoe jazz can sound, so here's another attempt. It's not quite Marcus's tone, but it's getting there!

Slap Silliness

Mine has a bit of bark to it (which KILLS live, it really cuts well), but I'd be interested to hear a similar fretted bass with an Alder back and Rosewood fretboard. That might round out the tone a little bit. Different pickups might tame it a bit, too, but I'm really happy with the tone. For my blues/blues-rock gigs, this bass is perfect.

And I completely agree with you, Doug, on the incredible feel of Roscoe's 35" 5-string neck... it just feels right!

Thanks and thanks for the clip...sounds like the real deal, baby!

Yeah Greg, you've got some sweet stuff on the wall over at your joint, man. Do yourself a special favor, on your next wedge neck order, get an Alder body. Mine has a Redwood burl top FWIW. Regardless of frets or no, jazz or stock Roscoe, you owe it to yourself as a dealer to have one in stock.

Trust me...it wont last long.

[Darkstrike]

Originally Posted by RocketMusic

Yeah, sorry, no 6-string Bardens yet.

Or ones that'll say, fir a Roscoe/Bartolini P4 rout.......

[VroomVroom]

I don't think they offer a six-string version, but the latest J pickups to really do it for me are the Seymour Duncan linear humbuckers. If you didn't know, you would SWEAR they were single coils. Until realizing that they're silent. Absolutely amazing. And the cool thing, they partner with the Bart NTMB like peanut butter partners with chocolate.

I am such a huge fan of the Bart SC's. I get all giggly every time I see them on a Zon or Elrick, for example. I'd just love to hear them on a Roscoe. For my ears, they offer just the right amount of "true" J, mixed with the wonderfulness that is Bartolini.

Over the past two years I've gone kinda' nuts (even more than usual!) on the whole J concept. 60's vs. 70's, retro vs. modern, ash vs. alder, 34" vs. 35", yada yada yada. You name it, I've tried to learn about it. Perhaps the most interesting thing is the effect these basses have on fellow musicians, bandleaders, producers, engineers, and even attentive audience members. Find the right axe, and that TONE just has an impact on people.

Finally, just reinforcing Doug's comments. There's no bass on the planet that plays as smoothly as a Roscoe fiver. Absolute comfort and perfection. Mixing that playability with an emphasis on the J Bass vibe would be something to behold.

[VroomVroom]

Originally Posted by RocketMusic

I've yet to really capture just how jazzy my Roscoe jazz can sound, so here's another attempt. It's not quite Marcus's tone, but it's getting there!...

Just YES, Greg. I love that sound - if I had to label it in the "J" idiom, I'd guess alder/rosewood with 60's pup placement...on steroids. Wicked tone. A unique flavor for sure, but one that just flat WORKS. Amazing instrument there.

And the playing. Wonderful. You just demonstrated how slap can be musical and engaging. Not to go off on a rant here, but too many cats have forgotten that concept. Even as a solo mechanism, it's far too easy to sound like a typewriter. You, my man, make it HAPPEN. Musical, groovy, and just enough "because I can" to draw a smile. Two thumbs up, baby.

[CactusmanDoug]

Originally Posted by VroomVroom

Just YES, Greg. I love that sound - if I had to label it in the "J" idiom, I'd guess alder/rosewood with 60's pup placement...on steroids. Wicked tone. A unique flavor for sure, but one that just flat WORKS. Amazing instrument there.

And the playing. Wonderful. You just demonstrated how slap can be musical and engaging. Not to go off on a rant here, but too many cats have forgotten that concept. Even as a solo mechanism, it's far too easy to sound like a typewriter. You, my man, make it HAPPEN. Musical, groovy, and just enough "because I can" to draw a smile. Two thumbs up, baby.

+1!

Couldn't say it better. Great expression.

[RocketMusic]

Originally Posted by VroomVroom

Just YES, Greg. I love that sound - if I had to label it in the "J" idiom, I'd guess alder/rosewood with 60's pup placement...on steroids. Wicked tone. A unique flavor for sure, but one that just flat WORKS. Amazing instrument there.

And the playing. Wonderful. You just demonstrated how slap can be musical and engaging. Not to go off on a rant here, but too many cats have forgotten that concept. Even as a solo mechanism, it's far too easy to sound like a typewriter. You, my man, make it HAPPEN. Musical, groovy, and just enough "because I can" to draw a smile. Two thumbs up, baby.

Great ears, Jerry! It is indeed the '60's placement, albeit normalized to the 35" scale.

Thanks for the thoughtful comments on my playing! I totally hear ya on the slap thing. Cameron has given me a healthy dose of reality there, I owe him a ton for helping my slap game along. He starts with Larry, then maybe a little Verdine, then he moves on to Marcus, and THEN he'll bring in the Victor and Oteil. And that's over many weeks. Part technique lesson, part bass history lesson, and almost always in a song context.

Going to Victor's camp was also really enlightening. Not so much seeing Vic do it and learning from it, but really from seeing so many guys who have only been playing for 2-3 years and who jumped straight to learning Vic's signature tunes from tab or youtube. They might be able to pull some of that off, but that's all they can do. It's like trying to write a novel before you've learned the alphabet. I actually felt bad for Victor - some days, he must feel like he's created a monster. So many guys now skip the basic but oh-so-groovy and fundamentally sound catalogs from Stax, Motown, etc. Of course it's not Vic's fault that he's so good that lots of cats want to copy him. But it really slaps you in the face at the camp that a lot of guys are skipping the fundamentals and focusing too much on Vic's flashier techniques.

[Bipslapper]

Originally Posted by RocketMusic

They might be able to pull some of that off, but that's all they can do. It's like trying to write a novel before you've learned the alphabet. I actually felt bad for Victor - some days, he must feel like he's created a monster. So many guys now skip the basic but oh-so-groovy and fundamentally sound catalogs from Stax, Motown, etc. Of course it's not Vic's fault that he's so good that lots of cats want to copy him. But it really slaps you in the face at the camp that a lot of guys are skipping the fundamentals and focusing too much on Vic's flashier techniques.

+1.

I totally agree Greg. I see younger kids that are still learning to play bass that can slap & tap like Vic and Les Claypool but can't lay down the groove. I remember reading an interview with Flea where he said often times the most important thing in a grove is silence. Not playing can be as (if not more) important to the tune than playing. It's one thing to play flashy licks at the local music shop, another playing a 3+ hour set with a band.

One thing that has helped me in my 25+ years playing bass is that I have often played in duo's and trio's where you may not have a drummer and the bassist has to play groove and rythym. I think playing in a stripped down setting would be great for young bass players as they develop.

My 2 cents.

[ubone]

Originally Posted by Bipslapper

One thing that has helped me in my 25+ years playing bass is that I have often played in duo's and trio's where you may not have a drummer and the bassist has to play groove and rythym. I think playing in a stripped down setting would be great for young bass players as they develop.
My 2 cents.

Man I couldn't agree more with the both of you'se guys. I quickly abandoned slap after Stanley Clark's Lopsy Lou first came out. Seemed like everybody had to do it, regardless how poorly. I totally agree that 100% of the bassist population would greatly benefit from the responsibility of being the second half of a tight & grooving rhythm section in a Trio. You have to learn to listen to you compadres, anticipate and accentuate and fill the gaps when needed whether with correct chords or a driving groove, yet be mature enough to know when to let the space make the statement...

[VroomVroom]

Ok, not to name drop here (or go too far off on a tangent), but....studying under an all-time great (J.V. Collier) had some fringe benefits to go along with the musical ones. Have I got some great stories! The one that applies here...Branford Marsalis used to tell a joke...

Q: What's the difference between Marcus Miller and Darryl Jones?
A: Darryl Jones plays bass.

Obviously that's a stinger, and grossly unfair, but at the time Marcus was being hired to be Marcus, and Darryl was being hired as a sideman. Given the circumstances, it wasn't quite a valid assessment, but it proves the point that perception is reality.

Now, not that either of the guys need it, but to back both Greg and Pete.... Back in the early 90's, I had the great pleasure of going back to Tucson for a visit, and low & behold I got called for a sub gig. Real book jazz stuff with a bit of funk & attitude. Even better...Victor Wooten was in town doing a clinic, and he came by to hang. He sat-in for just about the whole night. He barely looked at the books, yet drove every tune with harmonic perfection. And with each note he made the whole band sound better. It was a master class in beautiful music. Vic played fingerstyle nearly the entire night, with only tiny flurries of slap & tap. And he just OWNED it. I still remember it with amazing clarity, and that's when I fell in love with the guy even more. I doubt he remembers it - a mere moment in time for him - but I still carry that night with me and call on it often for the myriad lessons learned.

[VroomVroom]

Here I go again. Talking about J basses and then slap technique got me to thinking about an experience back in January. Right before a session for an album project, I got the call that one of the tunes would have a four-bar bass feature leading into the last verse. When I asked the artist what she was after, she gave a response that makes all bass players lick their chops: "Slap that thang!"

I worked up a little somethin' somethin', and was quite proud of myself. Four bars of C7, not too busy, worked in a slick little third-seventh-tenth thing...I was happy. And ripe for a lesson in humility. We literally nailed this tune in two takes...here's the first one:

Twisted - Take 1.

The feedback? "Two many pops, not enough thumps." And worse, the dreaded, "Sounds like Seinfeld" phrase was muttered. ARGH! So much for my cool selfish little solo. Time to be more musical...or at least try. Here's the second take:

Twisted - Take 2.

Much simpler, more room for the ARTIST to weave (it is her album, not the bass player's!), and I still got to sneak in a flat-tenth>tenth thing. (This take became the one, so you'll hear more dubs and production effort on it.)

Moral...I was okay with the first one and thought it worked. But there's no doubting that the second one is better for the song.

Sorry these aren't Roscoe clips, but FWIW they are alder/rosewood 60's J clips.

[ubone]

Nice playing as always Jerry.. I like them both...