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Playing during bass solos
- Thread starter jhatpro7
- Start date
Everything dropping out only if it makes sense, and if there's drama in the return of the other instruments, like at 3:01 here...
Otherwise, keep the groove going and supportive as you get a brief spotlight, like at
2:53 here...
Emphasis on the word "brief".
Otherwise, keep the groove going and supportive as you get a brief spotlight, like at
2:53 here...
Emphasis on the word "brief".
When I write/arrange a jazz chart, and put some sort of bass solo in, I make sure the background is sparse- light comping on piano, not a whole lot going on with the drums, maybe quiet woodwinds padding chords, etc. Plus, keeping the solos as brief as possible is always good.
When playing, I try to stick with a hybrid regular bass line/little guitar licks thrown in as fills, and again, brief if possible.
IMHO, I feel that two things that always make the audience lose interest are: 1. Really long drum solo, and 2. Really long bass solo, unless they figure out a way to be very creative with what they are doing or are some virtuoso of some sort.
When playing, I try to stick with a hybrid regular bass line/little guitar licks thrown in as fills, and again, brief if possible.
IMHO, I feel that two things that always make the audience lose interest are: 1. Really long drum solo, and 2. Really long bass solo, unless they figure out a way to be very creative with what they are doing or are some virtuoso of some sort.
My gee-tar player, bless his obstinate country heart, just can't lay out for 8 or 16 bars for me to say my short piece. Has to help out with big fat chords, as if the room will expire without them. Can't teach that ol' dog for nothin'!
I think it depends on the piece you are performing, some songs lend well to the bass and drums locked on and running with it. With other songs where you want to add some breathing space in the solo I think it helps if you have the chords laid behind it.
Noodling on the other hand, would distract from what you are trying to convey in your addition to the piece.
Noodling on the other hand, would distract from what you are trying to convey in your addition to the piece.
I personally hate how everyone drops out during the bass solo, makes it boring as hell, basically signals the audience that it's time to go get a beer ... If the other soloists get all that support, I want it too!
In one band, the BL has me soloing on a tune I don't have any interest in soloing on. He always comes back in early unless I play a very obvious walking line for the last bar (or more). Shouting out 1-2-3-4 helps 
It amazes me how I'm expected to know where I am at all times, but other members are free to get totally lost whenever the bass and drums stop bashing it out
It amazes me how I'm expected to know where I am at all times, but other members are free to get totally lost whenever the bass and drums stop bashing it out
It depends on what sounds right, but the baseline (NOT "bassline") best practice in jazz since forever is for everyone but the rhythm section to lay out.
Duck Dunn didn't play solos, and neither do I. What I do best is go BOOM BOOM BOOM.
- Jul 7, 2010
- 3,383
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- Endorsing Artist for: Duncan Pickups; Line6, Hipshot, GHS Strings, Somnium Guitars
I prefer NOT to do bass solo's. Not that I can't but most times it's not necessary.
But my personal taste is it mostly depends on the structure of the song and does having a s solid chord/note played underneath what the bass is doing an enhancement of the part or is it better sounding without anything.
I have done many recordings to where each is used.
You really just need to see which sounds better and IF it enhances the song or not.
LISTEN to it both ways.
Just my 1-1/2 cents worth
But my personal taste is it mostly depends on the structure of the song and does having a s solid chord/note played underneath what the bass is doing an enhancement of the part or is it better sounding without anything.
I have done many recordings to where each is used.
You really just need to see which sounds better and IF it enhances the song or not.
LISTEN to it both ways.
Just my 1-1/2 cents worth
buldog5151bass
Kibble, milkbones, and P Basses. And redheads.
I agree that I want someone defining the chord structure of the song during solos. I think either long held notes or short accents at the changes with ample rest in between. Root if you're the only horn player. If it's a section divide the chord tones up among the players. I'm sure there are lots of other options that will work without being invasive, but I would probably stay away from the melody or any seriously moving lines.
I only like to have about 4 beats, but every time it's arranged that way, others are on top of it. I don't even bother to change what I was doing anymore. No one wants to hear a bass solo.
^this^
My job is to work with the drummer so our combined effort causes people listening to have trouble controlling the urge to jump up and move various body parts in new and exciting ways.
The some of the best solo comping for Double Bass in a Jazz setting was done by the venerable Jazz pianist Hank Jones. Hank would provide a chord bed for,the bassist to solo over. One thing I don't want is the drummer ticking on a closed Hi Hat. That's very limiting because it locks the time in a box. Great time feel from the kit during my solo is a good thing, but I'm solid enough that I'm not looking for a click track from the set.
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I think the drums can tick and accent. Really it should be worked out between the players. I think it's cool in a drum solo when there are punctuations from the bass or guitar or horns. But if the soloist is expecting everyone to back off just hold it for a minute.
Ask your bassist directly -- Back when we were playing, I'd get maybe one short solo per set on jazz instrumentals. Keys and guitar step way back adding just add some color chords, and drums and (for us) congas would keep the beat in a more simplified/focused way. We also did some solo breaks on instrumentals where we would trade fours or eights all around, and for these only the drums would keep going. That gives everyone a chance to shine and is less monotonous.
I gotta say that bass solos are not something I enjoy all that much, or look forward to. I like the times where there are bass breaks with the drums, or the two or three tunes we did where the bass starts. That's cool. But I don't like bass solos that cause the rhythm to disappear. Part of that's on the shoulders of the bass soloist I think -- you have to solo in a way that keeps the groove alive -- and part is on the shoulders of the band, to really be rhythmic but simple in support. My $.02 anyway... Thanks for asking the question. Good luck with your bassist and band!
I gotta say that bass solos are not something I enjoy all that much, or look forward to. I like the times where there are bass breaks with the drums, or the two or three tunes we did where the bass starts. That's cool. But I don't like bass solos that cause the rhythm to disappear. Part of that's on the shoulders of the bass soloist I think -- you have to solo in a way that keeps the groove alive -- and part is on the shoulders of the band, to really be rhythmic but simple in support. My $.02 anyway... Thanks for asking the question. Good luck with your bassist and band!
Comping. A good example is the horn arrangement in "So What." A short riff or motif to lay out the chord, and then quiet. A little rhythmic piano comping is also cool to outline the changes, paying attention to what notes the bass player is playing, and also to what the drummer is doing.
