Double Bass Jam session playing

[djc03006]

As a newer (jazz) bass player, I have been trying to attend more jam sessions to network with and show professional musicians that I can hang.

The problem is that most of the basses at these sessions are harder to play (higher string height, stiffer strings, etc) than my bass, sometimes much more so.

Sometimes I sound OK, other times like crap. Sometimes a lighter touch helps, other times not as much.

I have the luxury of having a second bass at home, so maybe the solution is just to set that up with higher action and play 20 or 30 minutes a day just to stay more prepared for these jam situations where I do not have my own bass.

any tips or advice is welcomed, thanks!

 

[VictorW126]

My teacher said that the frequent use of other people's instruments is one of the features of the doublebass player's profession. The more often each of us plays different basses, the easier it will be for him to make such transitions. Thus, you are in normal conditions. A lot of people might be jealous that you're in different jams and different basses. Treat your situation as a learning experience not available to many others.

 

[Ed Fuqua]

"...show professional musicians that I can hang...' does not equal "...most of the basses at these sessions are harder to play ..."

Maybe instead of concentrating on trying to impress other musicians, work on playing something cogent and engaging on whatever instrument is under your hands. Particularly, don't try to reproduce things you've worked out (i.e.your usual poopie) on an instrument that feels substantially different than yours. I can't approach playing my friend Sam Edward's bass the way I play my bass, so I don't even try. And it's nice that it really makes me hear different ideas....

 

[fu22ba55]

My teacher said that the frequent use of other people's instruments is one of the features of the doublebass player's profession.

I use pretty flexible strings, but I'm also tempted to set up my backup bass with stiffer strings for this very reason.

Playing stiffer strings all the time is hazardous to my health at this point, but I try to keep enough facility and relaxed technique that I can at least make it through 2 or 3 tunes at a time on stiffer strings. At jam sessions they usually want you off the bandstand by then anyway.

 

[sean_on_bass]

I agree on adjusting your approach to what the instrument is telling you. And ironically, supportive lines in the pocket tend to impress people alot more than any sort of pyrotechnics and leads to people wanting your phone number. Now if you're just looking for ways to have a stronger left hand, practice slow arco every day. There is something about the bow that tends to whip your left hand into shape pretty quickly.

 

[djc03006]

My teacher said that the frequent use of other people's instruments is one of the features of the doublebass player's profession. The more often each of us plays different basses, the easier it will be for him to make such transitions. Thus, you are in normal conditions. A lot of people might be jealous that you're in different jams and different basses. Treat your situation as a learning experience not available to many others.

Great way to look at it, thanks!

 

[djc03006]

"...show professional musicians that I can hang...' does not equal "...most of the basses at these sessions are harder to play ..."

Maybe instead of concentrating on trying to impress other musicians, work on playing something cogent and engaging on whatever instrument is under your hands. Particularly, don't try to reproduce things you've worked out (i.e.your usual poopie) on an instrument that feels substantially different than yours. I can't approach playing my friend Sam Edward's bass the way I play my bass, so I don't even try. And it's nice that it really makes me hear different ideas....[/QUOTE

"...show professional musicians that I can hang...' does not equal "...most of the basses at these sessions are harder to play ..."

Maybe instead of concentrating on trying to impress other musicians, work on playing something cogent and engaging on whatever instrument is under your hands. Particularly, don't try to reproduce things you've worked out (i.e.your usual poopie) on an instrument that feels substantially different than yours. I can't approach playing my friend Sam Edward's bass the way I play my bass, so I don't even try. And it's nice that it really makes me hear different ideas....

Well said. At the least, I just want to ensure that I am not detracting from the collective music being made. This is more what I meant, just being able to play the changes with a good feel outlining the form well and fitting in with whoever I am playing with. So everything you said makes sense to me.

 

[djc03006]

I use pretty flexible strings, but I'm also tempted to set up my backup bass with stiffer strings for this very reason.

Playing stiffer strings all the time is hazardous to my health at this point, but I try to keep enough facility and relaxed technique that I can at least make it through 2 or 3 tunes at a time on stiffer strings. At jam sessions they usually want you off the bandstand by then anyway.

It sounds like we think alike. I think you mentioned a great keyword, relaxed. If I can play relaxed with a good feel on someone else’s bass, that’s really all I need to do for a couple of tunes to have a good experience at these sessions.

 

[djc03006]

I agree on adjusting your approach to what the instrument is telling you. And ironically, supportive lines in the pocket tend to impress people alot more than any sort of pyrotechnics and leads to people wanting your phone number. Now if you're just looking for ways to have a stronger left hand, practice slow arco every day. There is something about the bow that tends to whip your left hand into shape pretty quickly.

Thanks for the great feedback. Yes, I simply meant being able to play the form with a good Feel, Not play with any sort of pyrotechnics. I will give more thought to my left hand during Arco practice. Thanks

 

[Tom Lane]

I find that the reason why arco practice helps your left hand so much is because, to get a consistent tone without any hiccups or squawks requires keeping the string down to the fingerboard. As @sean_on_bass wrote, it helps build hand strength and stamina, but it also enables more legato playing and good technique for good intonation. Not that you can't get those things without practicing arco, but arco is that unrelentingly strict teacher that never, ever lets you slide. And, if you ever want to get folks attention, play a killer arco solo because they've probably never heard one on DB before.

 

[djc03006]

I find that the reason why arco practice helps your left hand so much is because, to get a consistent tone without any hiccups or squawks requires keeping the string down to the fingerboard. As @sean_on_bass wrote, it helps build hand strength and stamina, but it also enables more legato playing and good technique for good intonation. Not that you can't get those things without practicing arco, but arco is that unrelentingly strict teacher that never, ever lets you slide. And, if you ever want to get folks attention, playing a killer arco solo because they've probably never heard one on DB before.

Well put, I do want to spend more time developing my Arco playing, so it’s very helpful to know how this can improve my overall playing

 

[Tom Lane]

Well put, I do want to spend more time developing my Arco playing, so it’s very helpful to know how this can improve my overall playing

I find arco soloing a lot of fun, and very challenging - in a good way, and I'm still developing my proficiency, but, I also find that it's really a different instrument again, similar to the difference between BG and DB. I can swing a lot more on arco and there's a whole world of volume and other dynamics to be had.

 

[lurk]

There are two possibilities. One is that your action is too low. You're presumably playing instruments at these sessions owned by better and more experienced players than you. Maybe they know something. The other is that their action is too high. A lot of bassists have a macho mentality that if they make their instruments hard to play, they will get a better sound. Not necessarily true. Check out this podcast of the wonderful bassist Todd Coolman interviewing my current fav Peter Washington.
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[james condino]

Bring your own bass.

 

[Tom Lane]

Bring your own bass.

Duh! Now that you mention it, that's what I do! Along with my own amp, music stand, charts, and lamp! I suppose if you're taking public transit that might not be a very good option.

 

[lurk]

Bring your own bass.

It depends on where you are I guess. Here in NYC where every square foot counts bringing your own bass is a major faux pas and you will be labeled as a pain in the ass.

 

[djc03006]

It depends on where you are I guess. Here in NYC where every square foot counts bringing your own bass is a major faux pas and you will be labeled as a pain in the ass.

it’s a nice thought, but not practical. These are fast paced jam sessions in the city where there is often no extra room and you’re just being called up for a couple of tunes.

 

[oren]

I haven’t been to a lot of jam sessions, but at all the ones I have been to it’s been the norm that double bassists will play the house bassist’s bass. One session I used to go to pre-covid had a fine young bassist as the house player who strings his bass with gut strings, which I found challenging. I always have thought that if I can go to a jam and demonstrate that I can provide a good groove for the band, play what’s called for stylistically, make the changes and pull off reasonably coherent solos when called for, then I’ve accomplished something.

 

[djc03006]

I haven’t been to a lot of jam sessions, but at all the ones I have been to it’s been the norm that double bassists will play the house bassist’s bass. One session I used to go to pre-covid had a fine young bassist as the house player who strings his bass with gut strings, which I found challenging. I always have thought that if I can go to a jam and demonstrate that I can provide a good groove for the band, play what’s called for stylistically, make the changes and pull off reasonably coherent solos when called for, then I’ve accomplished something.

Agreed. It’s not about setting the world on fire, it’s more about not detracting from the collective musical effort, and helping support the band.

 

[djc03006]

There are two possibilities. One is that your action is too low. You're presumably playing instruments at these sessions owned by better and more experienced players than you. Maybe they know something. The other is that their action is too high. A lot of bassists have a macho mentality that if they make their instruments hard to play, they will get a better sound. Not necessarily true. Check out this podcast of the wonderful bassist Todd Coolman interviewing my current fav Peter Washington.
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Thanks I’ll give it a listen. I don’t know if there is such a thing as too low action. If you like the way it is set up and it sounds good to you, that should be all that matters. It feels like a very personal preference to me.