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Double Bass Plays like Edgar...

#41
Geez, he's just a kid. I don't see anything wrong with the discussion, but saying somebody like this sounds too much like Edgar leaves me wondering what he's supposed to do when he's studying with the guy. I copy other players all the time in an effort to learn. I wish I could pull off what this kid is copying here!
 
#45
I think some of you should chill out. He is obviously pretty damn good. And, that is an old recording so one would think he is even better now. Really, is playing like Edgar a bad thing? Does this have as much to do with style as the pursuit of perfection in clarity and tone? Edgar's practice methods are crazy, and if he is disciplined enough to do them then damn. Let him play. It doesn’t appear that he wants, or needs any of your criticism. He is a undergrad in college, and in that video he looked really young (maybe 16-18), so you should really hold back on what you have to say.
 
#48
Jason Sypher said:
I wonder why honest, humble critique is anathema to TB?
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It isn't, and I certainly apologize if I implied otherwise.

I think it makes for a much more interesting and educational forum than just talking about what strings you use or which gig bags holds up the best.
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Me too.
 
#49
I also think in this context the obvious choices are a typical folk/country line or "playing like Edgar". If I had an interest in this area, coping Edgar would be my first order of business.

I try to be really careful with Peter Kowald's material. But, I know it, I have studied thoroughly and sometimes the situation demands it.
When I recorded with him he found out I could throat sing like him and demanded that we do it together. I said it is too much like him, and in his warm but gruff German accent he said. "But I am here!".
Now that he is gone, sometimes it almost seems like a responsibility to do it when it comes up.
Since Edgar could not be at that music camp or wherever they are, the violinist is very fortunate to have MR. Kowert there!
Being that Kowert studies with Edgar it would be a waste of time if COULDN'T do that.

Lastly, you don't have like everything Edgar Meyer does, but he it is undeniable that he is just great.
He has information and technique that is useful to all of us. I just put on Spiro solos after watching that nice little film on Bach with him. I can't imagine Edgar not exerting some influence on ANY bass player who is paying attention.
 
#50
Jason Sypher said:
I wonder why honest, humble critique is anathema to TB?
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It shouldn't be. When I was in art school, we had critiques often, at least once per week per class. The critique from professors and students is used as a tool to direct your vision and bring the work into focus.
The critique put forth in this forum should be viewed in the same manner, as long as it is presented in a respectful and constructive way.
 
#52
Jason Sypher said:
If I had an interest in this area, coping Edgar would be my first order of business."

With great respect, I find this astounding. I think knowing as much as you can about what Edgar does is essential if you are inclined towards "progressive folk" music or whatever you want to call it. In fact, I think everyone should know a little something about what Edgar does. I have transcribed some of those signature licks and runs but I would never pull one out in a live playing situation out of, well, embarrassment. Yes, I would be embarrassed to publicly play a lick that was clearly Edgar's. Maybe I'm too hard on myself, I don't know. If he were a fiddler, instead of a bassist then, I might be looser about it. I don't know, it just doesn't feel right to me. Learn from others, fine, but be yourself. Otherwise, why do it? I think I would do anything he told me to do to get more relaxed and a better sound out of the bass in a heartbeat. To be honest, I never liked the whole "imitate your heroes until you have your own sound" thing. I tried at first, but it just never worked for me. Did you ever read the Ben Allison story about someone coming up to him at a gig and calling him "Wilbur Haden"...he changed his sound the next day.
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I think doing it at home or at a music camp is different than at a gig. Also, with Edgar a lot of it is technique. With Ware and Haden it is more about a certain tone, the musical ideas are simple (Or deceptively simple) played with a strong signature sound and tone and specific placement in the rhythm.

Being able to do what Edgar or Scodanibbio or Barry Guy or Garcia-fons does requires technical skills that are very useful beyond their specific applications.
So I think there is a big difference in terms of both usefulness and in finding your own way in copying musicians approaches that essentially technical vs. stylistic.

Wilbur Ware and to lesser degree Haden have been big influences on me as well, I just don't think stopping there is a great plan because as I said before they themselves exhausted the the bulk of the interesting choices within those particular limitations.
 
#53
Well, his technical and musical prowess are clear! The Edgar thing is just his educational step to the next level.

These are kids at a music camp for gawd's sake!

I'd say his playing posture is gonna cause some problems down the line though, unless he makes some educated choices in that area as well. That left shoulder, ouch. Shuffling around to find the perfect spot to play is a cover for the pain he's already feeling. Normally, I wouldn't want to make this comment, and I hope for his sake that I'm wrong.

IMHO
 
#54
MR PC said:
Shuffling around to find the perfect spot to play is a cover for the pain he's already feeling.
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The cat was looking for some LEVEL SPOT in the dirt so that his bass wasn't too low or high!!!! Haven't you ever done that?
It seems alot of you have not only Sensitive powers, but Psychic powers as well. By looking and listening to one little morsel of the kids day, you can make all these criticisms and judgements. I bet one of you can tell us what color dress his grandmother wore on her wedding day.
Let's tar and feather the god damn copy-cat!!!!
 

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