"I don't like these guys because they're not like the other guys who I like."
Seriously?
Seriously?
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Uber bassists- I don't get it.
- Thread starter Paulabass
- Start date
Seems fairly roots driven. Not my style of music, but his playing is simple, suits the style, and supports the song.
A YouTube video showcasing Victor's solo ability to pound away at eight note roots likely won't get many hits. Many love to watch wankery. It's impressive because the majority can't do it. It gets old, but I get it.
A YouTube video showcasing Victor's solo ability to pound away at eight note roots likely won't get many hits. Many love to watch wankery. It's impressive because the majority can't do it. It gets old, but I get it.
I saw the name of this thread and thought "Oh, great. Somebody's developed an app so you can order a bassist on demand!"
I agree that technical flash gets old, especially when it's flash-for-flash's-sake. Not sure I'd personally call the bassists listed by the OP as "uber" (and not sure they consider themselves as such). Aren't most bass players humble?
I agree that technical flash gets old, especially when it's flash-for-flash's-sake. Not sure I'd personally call the bassists listed by the OP as "uber" (and not sure they consider themselves as such). Aren't most bass players humble?
You can still drive 55 in a Ferrari.
Well here's an example of Manring being about as hi-tech and weird as it is possible to be, but I defy anyone to claim that this is not a tremendous and emotional piece of music.
I may not like what someone is playing but it would not stop me admiring the skill.
buldog5151bass
Kibble, milkbones, and P Basses. And redheads.
To me, any playing should be to make the song sound better. Playing for the sake of showing off technique/talent is just that - showing off.
Jamestown played Ain't No Mountain High Enough, Darling Dear, Mercy Me, My Girl, and Can't Hurry Love - 'nuff said.
Jamestown played Ain't No Mountain High Enough, Darling Dear, Mercy Me, My Girl, and Can't Hurry Love - 'nuff said.
Something I've learned over the years on TB.
Slapping the string with fingers or pick = idolized bass god.
Slapping the string with a thumb = show-off wankery
Slapping the string with fingers or pick = idolized bass god.
Slapping the string with a thumb = show-off wankery
I have been digging a bit deeper since posting this.
Many of the players I mentioned have indeed have discographies of them playing a supporting role.
I will admit that a lot of the players mentioned, I got my impressions of from Youtube. If you search a particular bass player on Youtube, the first several hundred videos are of said player soloing. Youtube does not give a well rounded view of a players body of work. The most viewed videos are of their 'wow me' chops.
I also did not take into account that perhaps the highly technical stuff IS the reason some people like it, and they are giving the listeners what they want. I saw an early incarnation of G3 Satriani, Vai, and Johnson. They didn't get a lot of applause, and people leaving the concert talked more about 64th. note sweep picking than if the music moved them in any way. They still probably thought it was money well spent because of the display of dazzling technique.
Many of the players I mentioned have indeed have discographies of them playing a supporting role.
I will admit that a lot of the players mentioned, I got my impressions of from Youtube. If you search a particular bass player on Youtube, the first several hundred videos are of said player soloing. Youtube does not give a well rounded view of a players body of work. The most viewed videos are of their 'wow me' chops.
I also did not take into account that perhaps the highly technical stuff IS the reason some people like it, and they are giving the listeners what they want. I saw an early incarnation of G3 Satriani, Vai, and Johnson. They didn't get a lot of applause, and people leaving the concert talked more about 64th. note sweep picking than if the music moved them in any way. They still probably thought it was money well spent because of the display of dazzling technique.
for me, whether i like listening isn't really about how fast or technical they are.
i love watching and listening to les claypool do his thing. he's amazing but i also love his music. victor wooten when he's on not so much, but it's not because of his amazing chops - just personal preference.
i love watching and listening to les claypool do his thing. he's amazing but i also love his music. victor wooten when he's on not so much, but it's not because of his amazing chops - just personal preference.
ray brown talks about this. people with all these notes and no sound. i think we can agree when he says "sound" the ability to support with simplicity is implied.
the other thing is you don't need to like the people that everybody else adores. i love motorcycles, and i don't begrudge my harley-loving friends, but i just don't like them, so i don't buy them. that's fine isint it?
be honest to yourself and like what you like. FYI james jamerson was also a virtuoso. it just means highly skilled. mozart was a virtuoso, i don't hate him for it. joe satriani is a virtuoso, i don't really enjoy his stuff. the word can be applied to an awful lot of stuff; some with true mastery, others with extreme technical precision, and to say one is good and another is bad is a waste of time. find what you like, and enjoy it!
the other thing is you don't need to like the people that everybody else adores. i love motorcycles, and i don't begrudge my harley-loving friends, but i just don't like them, so i don't buy them. that's fine isint it?
be honest to yourself and like what you like. FYI james jamerson was also a virtuoso. it just means highly skilled. mozart was a virtuoso, i don't hate him for it. joe satriani is a virtuoso, i don't really enjoy his stuff. the word can be applied to an awful lot of stuff; some with true mastery, others with extreme technical precision, and to say one is good and another is bad is a waste of time. find what you like, and enjoy it!
I admire each of the artists/ styles mentioned. There are times that I listen to them and really connect with what they're doing, and other times not so much, but always have respect for their abilities. I think what I really connect with is their ability to use the bass as an instrument that covers more of the song than the "traditional" bass part. It may cover the vocal, or the percussion, etc., while still incorporating the bass part as well. I find it very interesting and creative. Kind of like a one man band?, sometimes annoying, but quirkishly cool.....
In my opinion, dislike is a better word choice than hate.
Hate is a sharp pointed hurtful thing to throw out there. You should really mean it, if you're going to use it.
I hate sushi.
Hate is a sharp pointed hurtful thing to throw out there. You should really mean it, if you're going to use it.
I hate sushi.
Cave Puppy
"Humph Bo, he's wond!" - John Lennon
I equate folks that aspire to play (pick, slap, finger style, etc.) as fast as they can to folks that want to excel at sports and the folks that like that kind of playing. Music played at that kind speed and ability is more like becoming physically adept at something like being having the highest batting average or rushing a hundred yards in a game. It takes some of the same strength, endurance and fortitude to play fast music like some folks play their sports.
I fundamentally agree (with the possible exception of Stanley Clarke) with the OP. I'd much rather hear deep tones that contribute to the overall sound. Just yesterday I was listening to Joe Osborn on headphones and I was getting goosebumps!
There are two schools of thinking
'Less is more' and 'More is more'
It really comes down to taste
What got me into Victor Wooten was his loop of Isn't she lovely
He got the groove, feel and timing down on his loop and then did some amazing solos on top
Showing the best of both worlds of bass playing
'Less is more' and 'More is more'
It really comes down to taste
What got me into Victor Wooten was his loop of Isn't she lovely
He got the groove, feel and timing down on his loop and then did some amazing solos on top
Showing the best of both worlds of bass playing
Smooth_bass88
vaxx!
- Oct 31, 2006
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You’re gonna have to give us some context. Who do you find exciting and who “plays a song” in your opinion
When I was a kid, I could listen to virtuoso albums all day long. The technical ability to play complex stuff was a turn on to me at that time. I don't know if it was because I was young or just some other phase in my taste.
I'm less interested in complex music for the sake of complexity these days. A lot of it feels boring.
But I'm not opposed to it across the board. If the music is well-written, and if I feel something cool going on between the band members, I still like it. There is excellent music that happens to be complex - some, though not all, of the Elektric Band albums were like that. "Eye of the Beholder" is simply a great record, never mind how complex it is.
I think I enjoy super-virtuoso bass players in particular as sidemen more than as leaders, unless they happen to be great writers. I love Marcus Miller, but actually more when he's on someone else's record. His solo albums sound to me like the same idea over and over again.
Patitucci is a transcendent writer; some of his bandleader stuff is a little out there but all very good.
I love Gary Willis but have noticed that his last few solo albums have been recorded globally by sending files from one musician to the next to add their parts from whatever part of the world they are in. I notice an absence of group dynamic compared to his older solo efforts and definitely compared to the Tribal Tech work.
I'm less interested in complex music for the sake of complexity these days. A lot of it feels boring.
But I'm not opposed to it across the board. If the music is well-written, and if I feel something cool going on between the band members, I still like it. There is excellent music that happens to be complex - some, though not all, of the Elektric Band albums were like that. "Eye of the Beholder" is simply a great record, never mind how complex it is.
I think I enjoy super-virtuoso bass players in particular as sidemen more than as leaders, unless they happen to be great writers. I love Marcus Miller, but actually more when he's on someone else's record. His solo albums sound to me like the same idea over and over again.
Patitucci is a transcendent writer; some of his bandleader stuff is a little out there but all very good.
I love Gary Willis but have noticed that his last few solo albums have been recorded globally by sending files from one musician to the next to add their parts from whatever part of the world they are in. I notice an absence of group dynamic compared to his older solo efforts and definitely compared to the Tribal Tech work.
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