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compositional approach

K

kevbass5

Jan 18, 2008
84
0
#1
hey justin

could you talk a little about the way you approach a bass line in the context of a composition?

for expamle, on paper tiger, the way you switch between fingers and pick on the verse and the chourus, and just the way the line so tastefully compliments the overall ebb and flow of the song, in terms of dynamics, intensity, 'busy-ness', etc.

any thoughts about the way you approach this or ways players can strive towards being more concsious of this type of thing would be great
thanks alot
kevin
 
#2
Hmm,

I've touched on this a bunch in other threads. But as far as Paper Tiger goes, that's all pick, no fingers. It's just me listening to the vocal, drums, and guitar. And reacting appropriately. That song was two takes. I don't know...it's just what comes out of you, I didn't think about it.

I think that if people spent more time listening to the bigger picture of great and classic songs and albums (in all styles) rather than focusing too much on the microcosm of bass, you will start to develop taste. That taste is what separates guys that make records and get great tours vs. the guys that play in the bedroom and listen to/watch videos of bass shredders or clinicians.

This might be a very unpopular view, but it's just how I feel. A lot of times, I've met the young guy with a huge education, a six-string bass, who knows Michael Manring/Steve Bailey/Victor Wooten/Jaco/etc/etc back to front. Those guys are cool for what they do, and they are unique. But then when someone like this young guy starts trying to break into gigs, they have to backtrack. They have to reduce, reduce, reduce, and find themselves "regressing" to a simpler, more song-serving state of mind.

Why is this the case?

Because they need to focus on music and composition, not solo bass. People who make cool records are not interested in solo bass!!!

You play with people - more than you can ever remember. You listen to mountains of records in every style. Do it for years, go all over the map. I'm not saying no education, I'm just saying that the real education for me was playing and listening. Play for cheap. Play for free. Go to that jam that you think you're too tired to go to.

In other words, I'm looking for players to try and be more UN-concious about this type of thing, rather than trying to be compositional through a great deal of effort.

You think Jaco had to be "conscious" of this? John Paul Jones, McCartney? Jamerson?

I'll submit that it's the fact that it FLOWS OUT OF THEM filtered through great taste, personal conviction, soul, and all of their voluminous experience of simply PLAYING.

JMJ
 
#3
I agree JMJ, there's only so much wheedley wheedley stuff you can hear before you just want to hear a good _song_......

It's why Bob Dylan is considered a great songwriter but someone like Steve Vai, who is a master on the guitar, is not considered a great songwriter..I gave up trying to play all the fancy stuff years ago, I realized it just wasn't me.

Btw, first time poster here......I enjoy the music you make.

Jody
 
#5
Hey Justin, where's the cutoff point for creativity when you're working with these singers and bands? What I mean is not everything you do involves banging the root and goosestepping with the bass drum. Like "Sexx Laws," which is a big favorite of mine. Totally tasteful but busy as all get-out. So when you get an idea that a song would be better with a busy part like that, is it something you have to "sell" to the producer first, or do you just cut loose with it and hope for the best? If it's something that might take more time than usual for you to get just right, do they give you the opportunity and let you do what you need to do regardless of how much time it takes or is there always an eye on the clock? And finally, is there like a max amount of time that's considered standard for a session bassist in LA to cut his/her part on a song similar to what Nashville does with their 3-hour blocks?
 
#6
I certainly have to "sell" things to the conservative producers of the world. Or in Beck's case, he wanted something really REALLY busy on the bass.

But the way I "sell" things is by playing them for people. They like or they don't.

There's no max time to cut a part, but sessions are indeed in 3 hour blocks. If I can't cut a song in an hour or an hour and a half (including getting sounds), something is usually getting in the way, such as conflicting opinions in the control room or demo-itis.

JMJ
 
#9
jmjbassplayer said:
There's no max time to cut a part, but sessions are indeed in 3 hour blocks. If I can't cut a song in an hour or an hour and a half (including getting sounds), something is usually getting in the way, such as conflicting opinions in the control room or demo-itis.

JMJ
Click to expand...

Does the hour and a half include learning the song? When you go into a session are you usually familiar with the songs you'll be recording beforehand from a demo or having previously worked with the artists? Do you ever go into a a session totally blind (or deaf), listen to the song a few times, and have to come up with a bass part on the spot? Do you work from charts, or is that more a Nashville thing?
 
#10
Sometimes they email me an MP3, and I'll chart it. But more often, I walk in, they play it, I make a quick chart, I come up with stuff, and we start recording. It can be pretty damn fast and hectic. Or sometimes, they will hand over a chart and I'll work from that. It can be overwhelming, but it's fun and exciting for sure!

JMJ
 

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