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Double Bass Duo Gig vs Quartet Gig

Another creative idea for crafting guitar/bass duets is to have the guitar player not play the bassline. This can open lots of opportunity to be "more than just supportive." Of course, asking a guitarist to not play the bassline is often as successful as throttling a keyboard player's busy left hand. But that's a topic for another thread....
 
Wait until Ed doesn't show up one night and then your duo turns into a solo bass gig. I've never played the whole gig like that, but many times someone had car trouble or such so I try to keep to the start time and just play the entire first set as solo bass; essentially pulling out all of my favorite busking tricks and singing along with the bass and what ever else it takes for most of the tunes.

It pushes me way outside of my comfort zone, but also reminds me of all the potential that I don't always allow myself to bring out.
 
Wait until Ed doesn't show up one night and then your duo turns into a solo bass gig.

You nailed it - that was actually a big part of the challenge! He's been trying to show me in my guitar lessons how to keep tunes together on solo stuff when I'm not singing (my comping+vocal chops on guitar are significantly stronger than my solo/lead-line chops), so the other night he kept dropping out all together for at least a chorus on all my solos, requiring me to be super deliberate with all my lines (which I am often not, lol). At least I know exactly what I need to work on, though!
 
so the other night he kept dropping out all together for at least a chorus on all my solos, requiring me to be super deliberate with all my lines

For what it's worth, this has always been a bit of a pet peeve of mine. I don't appreciate it when people lay out for bass solos. I mean, we spend most of the night trying to help the soloists sound good. Why shouldn't they do the same when we solo? That said, I'd rather have no comping than bad comping.
 
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Sheila Jordan/Harvie Swartz.
I'll see that with Glenn Moore & Nancy King



Duets do not require anything other than two players who are ready to work on listening to each other.

There is no requirement that one be, or play the role of, 'a chordal instrument.' Scott LaFaro's lesson -- "If everybody knows where 'one' is, everybody does not need to play 'one' " -- is still true, and still applies to both harmony and rhythm.

There is no requirement of expertise, of timbre or register, of repertoire. You don't need a gig. You just need mutual intention.
 
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I listened to the two examples of duets consisting of just a double bass and singer. They're interesting, but (and even though bass is my instrument!), frankly, pretty boring. I couldn't listen to more than one song, there just isn't enough going on to keep my interest in a pleasing way. Mainly novelty. Maybe it's just me. But maybe most people feel the same way since this type of example is commercially rare. Carry on!
 
I'm pretty discouraged.... Any thoughts/suggestions are always appreciated.

It's a growth opportunity. Every duo gig I have ever done I had my a** handed to me on a platter, but you have to start somewhere.

Think of it as a wake up call. If your lines sound lame in the duo, they were lame in the quartet, you were just less exposed behind the other players.

I've been doing some duo plus singer gigs recently that touch on some jazz vocals (the singer likes Nina Simone and Billy Holiday) plus some jazzy blues, soul and funk tunes (lots of Etta James). The founder of the band was a drummer who passed from cancer in 2021 and the sax player who was on many gigs has been getting calls from lots of other bands that pay better, so we're down to just guitar, bass and vocals. She likes to improvise vocally and the guitarist can play jazz. A lot of tunes end up wherever the two of them feel like going.

I start by not beating myself for playing simple but functional parts that hold down the rhythm and harmony. I go to the recordings, transcribe the bass parts and study them. One song at time, it gets easier over time. Until I get fired for being too lame, I just keep plugging away at it.
 
I listened to the two examples of duets consisting of just a double bass and singer. They're interesting, but (and even though bass is my instrument!), frankly, pretty boring. Maybe it's just me.

After I saw Sheila Jordan and Harvey S back in the 90s, I realized what was possible when masters are doing it. Nobody at that show was bored. Sheila is to me the pinnacle of voice and bass duets (she's worked with other guys besides Harvey).

As far as bassists who excel in duo situations, two words: Charlie Haden.
 
I have done a fair number of jazz duo gigs. I greatly prefer playing with a trio that includes some sort of percussion. I have done a lot of gigs where the drummer brought only a snare and brushes.

Drums generally play subdivisions with a relatively consistent pattern. The cymbals, high-hat, and snare tend produce a sharp transient that is easy to hear, so it's clear where the pulse is. IMHO, everyone is responsible for time, but drums is usually the primary reference. When drums are absent, the primary responsibility for time tends to fall to the bass, which IMHO is ill-suited for the task.

The big issue for me when there is no percussion is time tends to feel unsettled. I have a fairly bright and clear sound, but not a super strong attack. Without the strong attack, it's difficult for others to clearly hear where I am placing the beat, so the pocket never stabilizes. This makes it seem like the tempo and feel is constantly changing.

With just a guitar or piano, there is usually not enough of a structured rhythmic pattern to hang my hat on, so I pretty much have to focus on my internal clock and let the other player do whatever they are going to do. It's not easy to lay down consistent time when the other player's pulse is not maintaining a consistent relationship with my pulse.

So to me, the biggest issue with playing bass in a duo is it takes a lot more mental focus to maintain time. Also I have to resist the temptation to adjust to the fluctuating pocket, and this tends to make me feel anxious and uncomfortable.

If you put more of your focus on time, it takes away from your ability to interact and do things that may be more harmonically or melodically interesting. Bottom line is it's definitely harder in some respects, and you may even say it requires a bit of a specialized skillset.

IMHO, it's not only the bass player who must possess a specialized skillset. Playing bass in a duo is way easier if your partner has the necessary skills and experience to do it well. It's possible for someone to be a great ensemble player and lack the ability to play well in a duo. It's also possible for two skilled duo players to not really gel.

If you are playing in a duo and the other person lays out...you're playing solo. This requires yet another set of specialized skills. Personally, I think it's uncool when people automatically drop out over the bass solo, regardless of whether the group is a trio or duo (YMMV). But it's what many people seem to do unless you tell them otherwise.
 
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