Be honest, how many of you

Makes perfect sense to me - she is a monster player who is versed well beyond her years.

 

While I can appreciate the technical skill, it does nothing for me.

 

I really love the Konnakol stuff she does at the end with the band. I think when people absorb Indian rhythms more her solo's will make more sense to them. I'm good enough to know I'm not good enough. Mohini in a band contex:

 

You might try listening to a "gateway" like the Shakti band (no bass, but true world fusion stuff), or Jason Everett's recent fretless work. Mohini's work makes sense to me, and I like some of it and want to like the rest, but the solo set I saw her play at NAMM 2018 seemed a bit forced to me. Like Jaco, I think that backing up the right front person might bring out the best in her, and make for a more accessible experience for many people like yourself. That said, I like being challenged and enjoy learning about other music cultures a lot.

 

Yes, I understand it. I can't reproduce 75% of it, but I get what she's playing. Like @Oddly this kinda playing doesn't do a lot for me from a listening perspective. I absolutely appreciate the work it takes to get to her level, and the fact she is there at such a young age adds to the impressiveness. You won't find much endless, virtuosic soloing in my regular listening rotation (on any instruments, not just bass) but it takes discipline and dedication to develop those skills.

(I'm also pretty sure she knows exactly what she's doing. It's not random notes and click noises by any stretch).

 

Theory, scales/modes, technique. It should be pointed out that just because there are lots of notes, played real fast, with different methods it does not automatically equal good. Just as simple, straightforward lines are not automatically bad. I think it's important not to measure yourself against others. Just do what you do, work hard, never stop learning.

 

I love Indian music and rhythms and I hear a bit of that in what she is doing in her solos, but I have a hard time listening to it for more than a few minutes. Great chops, but not sure I'm hearing much of a musical voice in all of that incessant noodling. I also find the tone of her bass to be very unpleasant to my ears - almost the antithesis of what I like to hear in a bass player. Maybe in 10 years or so she'll settle down some and realize that its not always about how many notes you can play per beat, and how many dazzling pyrotechnic tricks in each measure.

 

She is a good player, but what she is doing can be attained with lots of practice. Nothing that out of the ordinary, just good speed and technique. (IE Chops/Wanking)

If you want someone you can't sound like even if you try, I suggest Mick Karn. Totally unique and he made his bass SING.

 

Holy cats, that is freakin' brilliant. I'm not generally a terribly big fan of slap and pop shredding, but she makes it work! I love the a capella thing at the end too. Great tone too, she doesn't roll off all the lows when she slaps like some shred players I've heard. I may need to check her stuff out.

 

As someone who appreciates mastery, I’m in awe of her skills. But I find this to be rather unenjoyable listening experience.

 

She is awesome. She can play like that because she’s been at it since she was 10, 12, something like that, and her father is a bass player. It’s a different culture’s interpretation of the instrument, and when she’s playing in ensembles, she does settle in to a more traditional role to a certain extent. I can remember when Jimi Hendrix was a bunch of noise, you know. And that damned Jaco guy, too many notes...

 

The melodic beginning was nice and than she started that tapping and it became untenable.

 

I find it interesting that so many are threatened by her, by the measure of reactions. So, what did you think of Stanley Clarke, Tony Levin, when you first heard them? Can't wait until Jeff Beck hires her.

 

Can't play it but I understand it.

 

Actually, you can approach what MK was doing, there's plenty of Youtube vids of people giving it a shot, and in the mid 80's I was in a band that covered Japan's "Art Of Parties"; as much trepidation as I had, it was actually not as difficult as I had expected. Granted, it wasn't as out there as the Polytown stuff. I certainly drew inspiration from him(and a little Jah Wobble thrown in as well)when I did these two tracks actually recorded 1993, but I kept it a bit toned down to 'serve the song' and all that...


Don't forget that Mick's inspiration was Percy Jones; talk about "what the hell was that" moments.

 

I do like some bass solo stuff but I find her stuff to lack some ... personallity. She is fast and obviously knows her stuff but that lightning fast Jaco-esque-jazz-fusion language get lost at that speed. It sounds to me like what she said has already been said a 1000 times.

 

Pretty sure that this shouldn’t be your take away from this thread.