Don't play the thirds?

[Roadkill]

BTW I'm a little fuzzy on the difference between a 2nd and a 9th, and a minor 3rd and a 9# ?

[Crazyeelboy]

This will have to depend upon the situation. Perhaps some additional coordination of the parts is needed, but I don't think that there is any "No Thirds" rule.

[1958Bassman]

One easy way to find out if he just wants I-V is, next time (if there is one), hammer the I-V on everything and see if he tells you to change anything. Or, ask "Can I play an occasional vii"?

[basswave]

Originally Posted by AQUANOVA

It sounds like he wanted to have the freedom to play majors or minors at will.
Kind of like being asked to play power chords in garage bands.

Bingo...
That what I was thinking...Sounds like He did not want to stick to Key (Maybe He couldn't or didn't want...Whatever) but that was the first thought in my mind as well...Playing it safe with just I V (Kind of BS to me)

[Bass Mentor]

yes, I do suspect the trumpet player was referring to your note placement and attempting to diplomatically express this to you......sometimes playing under the gun in live situations can give the player instant feedback on what does not work----keep going with an open mind and work on good chordal patterns and functional harmony with a good method book or seek out a competent instructor who specializes in Bass...not a guitar teacher...
Best!
Steve
www.stevebryantbassguitar.com

[NYCbassist]

As a General Rule It's better to play less during solo's IMO. Less is more almost every time when it comes to bass. I believe that's all it was.

[Freddels]

Originally Posted by Roadkill

BTW I'm a little fuzzy on the difference between a 2nd and a 9th, and a minor 3rd and a 9# ?

Simple explanation is same note name but an octave apart for the 2nd/9th. The minor 3rd/#9 will be an octave apart but the note name will be different. (E.g., E flat and D#).

[Russell L]

I think the guy might mean don't play a chord in first inversion. I can understand that for blues. But, to leave out the third in a walking line is nutz. One of the most famous bass lines of all time does it: 13568653...

[Roy Vogt]

R-5-b7-R or R-8-b7-5 is a time honored solution if you're playing Chicago or Texas Blues. If it's Jazz Blues at a Jazz Jam you can get more into Paul Chamber or Ray Brown territory. With a Jam I always like to start conservatively and let the soloist dictate which way we go. Lots of BB, Freddie and Albert King licks and I stay put. If he goes into Wes Montgomery or Grant Green I'll go with him and Jazz it up.

[Jhengsman]

Originally Posted by Roadkill

BTW I'm a little fuzzy on the difference between a 2nd and a 9th, and a minor 3rd and a 9# ?

Originally Posted by Freddels

Simple explanation is same note name but an octave apart for the 2nd/9th. The minor 3rd/#9 will be an octave apart but the note name will be different. (E.g., E flat and D#).

My teacher told me to avoid leaning on 3 because at our frequency the sound is muddy, I guess that would go double for hitting 2s.

I just know the separation sounds better on Stevie Wonder/Michael Jackson's I Can't Help It and on the groove Ron Carter laid down on Tony William's Sister Cheryl

[agreatheight]

Originally Posted by NYCbassist

As a General Rule It's better to play less during solo's IMO. Less is more almost every time when it comes to bass. I believe that's all it was.

For me it would be "as a general rule it's better to stay out of the way of soloists, unless encouraged to do otherwise." Now, each soloist is different, so you'll have have to use your ears to accomplish that! Some times it might mean simplifing the melody, sometimes the rhythm, sometimes both, sometimes neither.

[Roadkill]

Originally Posted by Russell L

But, to leave out the third in a walking line is nutz. One of the most famous bass lines of all time does it: 13568653...

The "beats" of that line are 1585 - I think we've established that the issue is with playing a 3rd on the beat. Off the beat as a passing note seems to be "OK", even if the soloing is in a minor - that major 3rd just becomes a flatted 4th AKA "blue" note?

[Roadkill]

Originally Posted by Jhengsman

My teacher told me to avoid leaning on 3 because at our frequency the sound is muddy, I guess that would go double for hitting 2s.

Hitting the 2nd seems to be a Texas Blues thing to my ears...

[theretheyare]

Trumpet players aren't always playing what I want to hear either- that does not mean i tell them to play a certain way, especially in a jam situation. In my book, if a bass player wants to play a third, the other musicians, if they have any level of professionalism, should be be able to improvise around that. (and the other way around)

[Roadkill]

Originally Posted by Roy Vogt

R-5-b7-R

Did you perhaps mean R-5-b7-8 ?

[Roy Vogt]

Other things to avoid at a Blues Jam:
7 String Basses
Slapping
anything written after 1960
harmonica players

[Roy Vogt]

Originally Posted by Roadkill

Did you perhaps mean R-5-b7-8 ?

Yep, 8 is R up an octave, but I figured anybody who had listened to Blues would get that.

[jmac]

I think to truly get to the bottom of this we need to know if it was a Blues-Jazz jam or a Jazz-Blues jam.

That's really the only way.

[icecycle66]

Originally Posted by Roadkill

...told me that I shouldn't play the thirds as it limits what the horns can solo on.

That's pretty greedy.

Perhaps it is the horn player's solo that limits what the bass player can do and not the bass player's standard playing that limits what the horn player can do.

[Roadkill]

Originally Posted by theretheyare

In my book, if a bass player wants to play a third, the other musicians, if they have any level of professionalism, should be be able to improvise around that. (and the other way around)

Well, in this case I'm jamming with guys anywhere from a couple levels up from me to guys that have played with "A" listers so I'm inclined to learn to support and follow rather than lead first . Just FYI I stopped playing back in the early 80's and have only been back for about 4 years .