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Double Bass Paul McCartney why he's an Icon.

#21
Macca's personality sells it even if his upright technique sucks.

Not to move this thread toward a tangent, but last month I saw Phil Lesh play upright (in San Francisco) and he was even worse than McCartney at it. Phil Lesh = Pitifully bad upright player... Still he's way cool and unique on his 6 string modulus, with tone and chops that kill, but he can't play a dawghouse bass to save his life.

TS
 
#24
Rattman said:
Thanks for finding and posting that clip. Absolutely outstanding. Is there any intrument this guy can't master? Very nice technique & tone for someone thats not a DB player.. well done Sir Paul..
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Huh? With all due respect cause I don't know you....but "master" is a much stronger word than I would have thought of PM's upright playing. Don't get me wrong, I started playing bass because of him, but a master on UB he is not. It was cute for what it was and I don't think even he was trying to show any evidence of his mastery. Of course, if you liked it.....cool.
 
#31
One of the things that really strikes me about clips like this is Paul is a master of presentation. Charisma, charm, poise, and communication with his audience. He is a consummate entertainer.

I'll probably catch flack for this but I really think presentation is an important part of music as a performing art. IMO as soon as you put your 'art' or 'product' or whatever in front of an audience you are now part entertainer. Having your chops in order and making great music is definitely VERY important but your audience has chosen to spend their hard earned dollar to see you live instead of listening to a recording at home.

I'm not even a big Paul McCartney fan and that clip drew me in.
 
#32
There is that. I do firmly believe he often oversteps his abilities and sometimes abuses the power his fame affords. A good example would be getting his "classical music" played by major orchestras with so many great composers around who's music is rarely performed (not mention all the double bass concertos!).

While I do believe that it still ends up being a bit like complaining about Quartet West and and Haden's awful duo with Metheny (which I have done!), it really doesn't matter because these guys made their name doing something else that was incredible for what it was.
I also think the clip was much more about the historical object than his playing.
 
#33
Shoot. If I had the power to get my crappy compositions played by a major symphony you bet your butt I'd do it.

That said I do agree with the sentiment of Damon's post.

It's funny though. I play with a great drummer that thinks that jazz performers are notoriously bad entertainers and that every jazz player should have to go to a Kiss concert. Talk about a SHOW.
 
#34
fingers said:
Shoot. If I had the power to get my crappy compositions played by a major symphony you bet your butt I'd do it.

That said I do agree with the sentiment of Damon's post.

It's funny though. I play with a great drummer that thinks that jazz performers are notoriously bad entertainers and that every jazz player should have to go to a Kiss concert. Talk about a SHOW.
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Kiss was my favorite when I was about 10 or so. I am not an entertainer, but I would agree with working on your performance.
These days I would look more to Hermann Nitsch than Gene Simmons:
http://www.ubu.com/film/nitsch.html
As well as the other Vienna Aktionists:
Invalid Link Removed
These films are not safe for work!

I really liked the title of a double bassist article call "Choreographing the Hands" or something.
Playing the bass well can be a very beautiful thing. Obviously, it is a very physical thing, a little care to your movements can add a lot to a performance.
Adding a more involved performance element can be a good idea if not done halfway or taken too lightly.

I had to do a solo that included movement recently. I am big guy and certainly not a dancer after about '85 or so when I gave up breakdancing.
I laid out three bows in diagonals in the space based on how they projected, and moved between them, not playing while I moved.
It was mildly successful. I did have less than a week to put it together.
A rough digital camera version is here:
part 1
 
#35
If you're intrested in a "show" - then why not go Cirque Du Soleil or see the Chinese Acrobats etc.? Some of them are very skillful at what they do! :p

Why look at musicians as "part-time" showmen - I think this is my problem with this - that McCartney has become a Jack of All Trades and Master of none - whereas when he was just concentrating on being a songwriter - he did pretty well!! ;)
 
#36
It's not so much that the audience demands a show and you've got to provide it. It's just the structure of the situation. Performer, performance, audience, reaction; put all these elements in place and I'd say you got yourself a show. Call it a concert, whatever...

To be a good "show biz" performer, in my opinion, doesn't have to mean sequined jumpsuits and riding the bass like a pony. It just means being aware of how things play, what plays and what doesn't. Especially knowing how some things can detract from the intent of your performance. For example, it can something as simple as knowing that a projection of calm and confidence, of being relaxed and knowing what you're doing, can carry you through a lot of clams and bad music-making.
 
#37
I think there is a big difference between being a showman and being an engaging performer. I'm not talking about making 'theater' out of it like Kiss. That is extreme IMO. I do think that drawing your audience in, however you do that, and making them feel a part of the event at hand rather than playing in spite of them is an important part of live performance that certain acts lack.
 
#40
This could use it's own thread but I guess Sir Paul will give it some extra hits.
One point to make is just to consider all of the performance elements and make clear choices about them.
For example, I am not a fan of overt emotional demonstrations so I intentionally go for a more deadpan approach, more Chris Hansen (Dateline's TCAP) than Jim Carey. I am sure both of those guys carefully consider their respective approaches.
Once you take it out of your living room, you are performing. You can make whatever performance choices you want, but all of them are going to come off better if you own them.

Even if it is a causal gig at a warehouse I treat it with complete seriousness and try to be as professional as possible. I always practice, shave and dress appropriately.
Even if it is a small audience you just never know who might be in it.
I have had paid residencies, cd productions, film soundtracks, tours, festivals and many other great experiences come about as a direct result of a crappy little door gig.
 

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