Thunderbird Club

[GonePlaid]

So...Cream?



My '62 AVRI Precision. It's only worn Swing 66s since I got it, and the only thing I changed on it was the pickguard (anodized gold, never cared for the tort), and I doubt I'll ever change a thing about it, it's my benchmark bass.The Frankenstein precision has also now reached that territory after switching pickups to the same ones as in the '62, and will also primarily wear Swing 66s, thoughI sort of bought it as a test bed so there may be more tweaking and string experiments down the line.

Interestingly enough, I just changed thee strings on my Greco II. My basses almost universally wear Rotos, but a couple years back I bought a set of Fender 9050 flats to try on my Precision. Played one set with them, went out back and swapped back to the Rotos for the 2nd set, hated the flats. Ended up trying them on my Jazz and they felt better there, but still not as good as Rotos, but it allowed for some variety in case a song or band called for flats. Yesterday, on a whim, I decided to switch the flats over to the Greco, and I must say, I actually like them on the 'bird. There's something about the voicing of the bass and strings that really complements one another, and they're much brighter and more defined than the dead rotos I took off it. I think I'm going to leave them for the time being, test them out in rehearsal and try them on an upcoming gig (the band leader has asked me to be a little less bright, and the recordings were done with flats, so...). Dunno if I prefer them as much as fresh Rotos, but I can now see them having a place and me actually using flats on the 'bird.

The reference was to the 'jazz' discussion that was going on a few posts back. Baker's accents made sense (usually) and the solos were what fit the songs. Bruce kept a solid bass foundation throughout.

 

[D.M.N.]

The reference was to the 'jazz' discussion that was going on a few posts back. Baker's accents made sense (usually) and the solos were what fit the songs. Bruce kept a solid bass foundation throughout.

Oh, I'm not disparaging Cream, they're one of my favorite groups, but live they would go in all sorts of directions, each soloing, and while I love Bruce's playing, idk if a solid foundation is what he did. His playing was very angular and he was frequently doing runs all over the board, with off-kilter fills and odd note choices, though on their studio output he certainly played it a lot ore straight. I mean it worked, and he was always "on-time" (though playing around the beat), but when I think solid bass foundation, I think JPJ. I think to understand Bruce's playing you really have to view it from a jazz perspective, especially when it comes to note choice and placement, as well as how Cream played off each other in their extended improvisational pieces (Spoonful, I'm So Glad, Sweet Wine). As bluesy as his playing was, live I think you can really hear the influence of Bebop, where he's playing something completely against the beat and melody and venturing into atonality.

You can hear some good examples on Wheels of Fire and here:

 

[Dadagoboi]

Big fan of Cream but Free did it better IMO, everyone pulling in the same direction.



And Bruce never played a solo this coherent, again IMO.

 

[TBird1958]

That clip of Mr. Big is one of my all time faves, what a player Andy Fraser was at such a young age. I love, love, love his tone here with that mountain of Marshalls and the EB, if I could only play that!

 

[Count Bassie]

Oh, I'm not disparaging Cream, they're one of my favorite groups, but live they would go in all sorts of directions, each soloing, and while I love Bruce's playing, idk if a solid foundation is what he did. His playing was very angular and he was frequently doing runs all over the board, with off-kilter fills and odd note choices, though on their studio output he certainly played it a lot ore straight. I mean it worked, and he was always "on-time" (though playing around the beat), but when I think solid bass foundation, I think JPJ. I think to understand Bruce's playing you really have to view it from a jazz perspective, especially when it comes to note choice and placement, as well as how Cream played off each other in their extended improvisational pieces (Spoonful, I'm So Glad, Sweet Wine). As bluesy as his playing was, live I think you can really hear the influence of Bebop, where he's playing something completely against the beat and melody and venturing into atonality.

You can hear some good examples on Wheels of Fire and here:

Truth. Jack's playing had never been meat and potatoes bass. Adventurous, daring, even deconstructive... the volatility between him and Baker was the gas that lit Cream's fire.

 

[JJR58]

Oh, I'm not disparaging Cream, they're one of my favorite groups, but live they would go in all sorts of directions, each soloing, and while I love Bruce's playing, idk if a solid foundation is what he did. His playing was very angular and he was frequently doing runs all over the board, with off-kilter fills and odd note choices, though on their studio output he certainly played it a lot ore straight. I mean it worked, and he was always "on-time" (though playing around the beat), but when I think solid bass foundation, I think JPJ. I think to understand Bruce's playing you really have to view it from a jazz perspective, especially when it comes to note choice and placement, as well as how Cream played off each other in their extended improvisational pieces (Spoonful, I'm So Glad, Sweet Wine). As bluesy as his playing was, live I think you can really hear the influence of Bebop, where he's playing something completely against the beat and melody and venturing into atonality.

You can hear some good examples on Wheels of Fire and here:

To me, the best ever JB was with FZ on Apostrophe', (on the title track) and Lou Reeds Berlin, (on the tracks he played).
Aside from my b.s. I totally agree with you.

 

[D.M.N.]

Big fan of Cream but Free did it better IMO, everyone pulling in the same direction.



And Bruce never played a solo this coherent, again IMO.

Love Free, but I think it's rather hard to compare the two. Free is such a funky, grooving band, a very laid back and relaxed rhythm section. Absolutely love Trouble on Double Time, I'm a Mover, Walk in My Shadow, etc. On Crossroads you can because it's the same song, but while Kossoff's soloing is superb, Free's version lacks the ferocity of Cream at full tilt which is what I love about the song, Free keeps it funky. Who does it better I think is jut too much of a personal taste (won't bring Taste and Rory into this) thing, personally I prefer the energy and explosiveness of Cream's take.

I do love Fraser's solo in that song, very melodic and flowing. As far as Bruce soloing, like @JJR58 mentioned, Apostrophe is essentially Bruce let loose, but I'd also point to his solos in these two pieces that show his blues influence in his soloing and are a little less jazz-leaning than his improv when the whole band was going full-tilt.

 

[yobtaf]

well I gave the epi bird a few months but Its not my thing, so I will be selling it and turning in my number. If you are in my area hit me up. LA and IE calif
thanks for all the info I got from you guys, and gals.

 

[Count Bassie]

well I gave the epi bird a few months but Its not my thing, so I will be selling it and turning in my number. If you are in my area hit me up. LA and IE calif
thanks for all the info I got from you guys, and gals.

A fair shake!

 

[D.M.N.]

well I gave the epi bird a few months but Its not my thing, so I will be selling it and turning in my number. If you are in my area hit me up. LA and IE calif
thanks for all the info I got from you guys, and gals.

Which Epi?

 

[Gaolee]

Oh, I'm not disparaging Cream, they're one of my favorite groups, but live they would go in all sorts of directions, each soloing, and while I love Bruce's playing, idk if a solid foundation is what he did. His playing was very angular and he was frequently doing runs all over the board, with off-kilter fills and odd note choices, though on their studio output he certainly played it a lot ore straight. I mean it worked, and he was always "on-time" (though playing around the beat), but when I think solid bass foundation, I think JPJ. I think to understand Bruce's playing you really have to view it from a jazz perspective, especially when it comes to note choice and placement, as well as how Cream played off each other in their extended improvisational pieces (Spoonful, I'm So Glad, Sweet Wine). As bluesy as his playing was, live I think you can really hear the influence of Bebop, where he's playing something completely against the beat and melody and venturing into atonality.

You can hear some good examples on Wheels of Fire and here:

I will admit to being a little like that. Dialing it down is generally a good idea, especially if you aren't as skilled as Jack Bruce. Which I'm not. The other thing that's taken a long time is figuring out that the amp makes the noise. Ripping the strings off the bass actually makes it quieter most of the time.

 

[MCF]

Truth. Jack's playing had never been meat and potatoes bass. Adventurous, daring, even deconstructive... the volatility between him and Baker was the gas that lit Cream's fire.

Too young to have seen Cream. I was a Freshman in high school and saw West, Bruce and Laing after they released the first album, which I really liked. It was in Hollywood. I have no idea where. I remember being really disappointed. Very short set. Sound was too loud. The few songs they played from the album weren’t all that great. They played some Cream and of course Mississippi Queen. I bought their second album but I don’t recall playing it but a few times. I still have it in almost virgin condition. His recordings with Cream are great. But when I saw him live, it was muh...

 

[MCF]

To me, the best ever JB was with FZ on Apostrophe', (on the title track) and Lou Reeds Berlin, (on the tracks he played).
Aside from my b.s. I totally agree with you.

Ok. Now I have to dig out the album and figure out what he played on. For me, that album wasn’t at all about the bass, which I didn’t pay any attention to. It was the pushing the envelope lyrics that got me. Low Reed was one amazing garage bander. Raw and poetic at the same time.

 

[Count Bassie]

Ok. Now I have to dig out the album and figure out what he played on. For me, that album wasn’t at all about the bass, which I didn’t pay any attention to. It was the pushing the envelope lyrics that got me. Low Reed was one amazing garage bander. Raw and poetic at the same time.

Jack played bass on the title cut for sure...

 

[yobtaf]

Which Epi?

 

[GonePlaid]

Played a rehearsal last night for a New Years gig with a 17 piece(including me)big band. Very strong horn men, excellent dynamic drummer, good to excellent guitar and electric piano. Also, 2 fine vocalists. Why is this significant? Played the NR 'Bird and nobody said "spit." They didn't give the first rats @$$ what the bass looked like. I/it got the job done and put down a solid foundation for the band. Take that GenPop!

 

[JJR58]

Ok. Now I have to dig out the album and figure out what he played on. For me, that album wasn’t at all about the bass, which I didn’t pay any attention to. It was the pushing the envelope lyrics that got me. Low Reed was one amazing garage bander. Raw and poetic at the same time.

Jack plays some stunning, melodic stuff on that album.

 

[Chucky Stiletti]

I will admit to being a little like that. Dialing it down is generally a good idea, especially if you aren't as skilled as Jack Bruce. Which I'm not. The other thing that's taken a long time is figuring out that the amp makes the noise. Ripping the strings off the bass actually makes it quieter most of the time.

most of the times...

 

[JJR58]

most of the times...

Nooooooooooooooooooooooooooooooooooo!!!!!!!!!!!!!!!!!!

 

[Chucky Stiletti]

Jack played bass on the title cut for sure...

dig his tone on this..