Hey all, I don't post a ton, but I have a few thoughts that have been floating around in my head a while I'd like to share and get some commentary on. Please bear with me, everything's pretty jumbled and disorganized at this point. One of the biggest challenges we face as bass players face is articulation. Many of us talk about achieving horn-like melodic-ness and phrasing, which is obviously very difficult to articulate on our sometimes unwieldy instrument. I feel like the jokes about 'The Bass Solo' are generally because we fail to accurately articulate lines and musical ideas. Many players know how to generate music in their left hand, but their right hand never really pulls out the right timbre, and the pitches become somewhat indiscernible. One of the biggest compliments I've received was recently from a pianist I was playing with, who told me that he could really hear all the notes I was playing in my solo. I then took these ideas, and started extending them to the classical bass. I don't think ambiguous pitches are restricted to jazz pizz playing, but are also very present in lots of classical cats' playing. One thing that I believe sets Edgar Meyer apart from other players is the huge sense of clarity in his sound. Like him or not, you can really hear every note in every run in his take on Bottesini 2 in a way that I haven't heard any other bassist do. Our instrument really lets notes 'bloom.' That is, you can play without much initial attack, so the note takes a while to really hit the listener. I hear this all over the place in Larry Grenadier's playing, for example. This sound is one that lends itself very well to section-type playing, but which in a solo setting, jazz or classical, often lacks definition, distorting melodic intent. Anyway, just a bunch of jumbled ideas, I'd appreciate any and all input.