It is still a great and noble challenge to go from living-room Manring-esque solo explorations to a blues-rock jam. Both have challenges but the goal is the same; serve the music. Only the right notes, at the right time.
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What "Keep It Simple" Really Means
- Thread starter hernameisrio
- Start date
Recording are your "truth" teller.
How do you really fit into the mix? with the band? with the music?
You may be a legend in your on mind.
Playing "lead" bass is great if you're a solo player. That's why it's called the "rhythm" section, not the lead section.
How do you really fit into the mix? with the band? with the music?
You may be a legend in your on mind.
Playing "lead" bass is great if you're a solo player. That's why it's called the "rhythm" section, not the lead section.
I have been told repeatedly, "play only what the original bass player played; do NOT get busy."
And I make up lots and lots of stuff.
But I make sure it's stuff that complements the song, and nobody ever complains. I think that's what matters. You don't have to keep it just mind-numbingly simple. But you BETTER make sure you're holding down the bottom end.
I've stopped everyone before and said "listen to this," and played the EXACT NOTE FOR NOTE BASSLINE to a song, and the played my own, and then said (coyly,) "which one do you prefer.
They pick mine every time.
Find that groove that WORKS, and play it like it's your very life.
And NO WANKING!
And I make up lots and lots of stuff.
But I make sure it's stuff that complements the song, and nobody ever complains. I think that's what matters. You don't have to keep it just mind-numbingly simple. But you BETTER make sure you're holding down the bottom end.
I've stopped everyone before and said "listen to this," and played the EXACT NOTE FOR NOTE BASSLINE to a song, and the played my own, and then said (coyly,) "which one do you prefer.
They pick mine every time.
Find that groove that WORKS, and play it like it's your very life.
And NO WANKING!
You want to hear some restrained lines that are not about showing off skill or earning the respect of other musicians, try basslines that are programmed in a sequencer. No reason to show off there. Some will be varied and busy, others will be a quarter-note playing the root on one and that's all.
I'm serious, I listen to and cover a lot of songs that aren't done with "real instruments".
I'm serious, I listen to and cover a lot of songs that aren't done with "real instruments".
Ok, let's put it this way. About 20 years ago, I worked for a record company and sat in on many A&R meetings and listening sessions. Listened to A LOT of submissions from bands looking for record deals. There were A LOT of cassettes and cd's tossed in the trash! Understanding that what people create is their vision and that's great but there is an art to GOOD songwriting and adding more than a song needs is not always best. If you're happy with what you've produced and can live with knowing that other folks don't like it.......more power to you! Just don't get mad when folks don't dig it! Or critique it negatively!
That is the one thing I cannot tolerate. Sorry, I play like me. Yeah, I stay honest to the song, but I will not play note-for-note. Gotta do what I do. If the band can't deal with that, then they need to get a different bass player.
I'm ok with it but still, it is a lot biased by the fact you are looking for what could be sold. To me it says your artistic judgement is impaired when you make music ( or any art forms ) to get money because you will restrain yourself of doing wild thing or truly following your muse by making sure it will sell.
As long as you are upfront about your playing style BEFORE joining the band, there shouldn't be a problem. When I joined my current band, I talked about my playing style, what I was looking for, and what they could expect from me. I told them if they wanted someone to play roots and 5ths and copy the record exactly, we weren't a good fit and that I wanted to do some material that was challenging for the BASS and have an opportunity for improvisation. We've had no issues and the only comment I've heard was that I should play MORE in one of the songs that I happened to be playing like the record. I don't know why people don't have these discussions before they get in a band.
I wouldn't call it impaired or restrained! I come from the school of pop songwriting going back to the 60's! It's just what's in me. And what comes from you is all good! I support you! Doesn't mean I have to like your songs whether they come from the heart or not. Who knows, "your" songs may be really good! But honestly, I've heard a LOT of really bad music in my 53 years of living! From folks who are really passionate about their music! I say keep doing what you're doing! A hit song is within us all!
I think it was Dave Pomeroy who said (about bass in country music) words to the effect of, "The first time through the song, play as few notes as possible. The next time, play half of them."
"Keep it simple" clearly didn't translate to your writing here 
So I've picked up what I feel are some pretty formidable bass chops after only being seriously at it (read: playing every day, playing in bands, and falling head-over-heels for bass in general!) for a little less than a year. Despite my very fast (and fun!) progress, it amuses me to find that I'm still kinda hitting all the silly little phases of learning this instrument inside out. For example, lately I've been in my "I know how to slap so now I'm going to study Level 42 obsessively" phase. This has also coincided with my "I need to learn to play disco and play as many notes as possible because Bernard Edwards is awesome" phase. I'm being overly simplistic and making fun of myself, but you get the idea!
As a result, my playing in the band has gotten a little busier with more slapping and popping. Today, the lead singer approached me via Facebook Chat about laying back a little more and simplifying.
You know those defining moments when you see the path in front of you split off...and whichever way you choose, it all comes down to how you react to someone else's opinion (or criticism)? Like when your boss has a talk with you at work about your performance...or when your significant other has a Talk with you...and you find yourself having to really think about how to respond. Well, this was one of those moments. He caught me on a bit of an off day, having had a rough night with too much coffee and not enough sleep. So my first impulse was to defend my playing and to defend my ability (and therefore, I falsely assumed, my "right") to play what I wanted. To fight him on it a bit.
But then I scrolled up and read what I wrote and realized that I sounded like a spoiled little bass snob kid...not like a professional musician. I mean, I didn't jump down his throat, but I basically got into the semantics of what it means to "keep it simple" and what I would and would not do.
Until I pictured myself sitting in my room for the rest of my life playing along to "I Want Your Love" and wondering why I wasn't getting gigs. So I asked if he had any examples of what he meant. He sent me some links of songs to illustrate what he was talking about...and because I didn't want this whole thing to crash around my ears, I decided to shut up and listen.
And suddenly, I just had this moment where I truly understood how it's possible to keep it simple but still have a definitive groove, a way to make people dance. He referenced Talking Heads and James Brown and I just kinda went, "...OH! YEAH!" because for a split second I thought he meant he just wanted me to stand in the back like an idiot and play whole notes. And I was like, ""
But once I used my ears without letting my pride interfere, I understood what he meant: I wasn't letting the music breathe enough. Or to quote "Amadeus": "Too many notes!" Just because I CAN play all those notes, doesn't mean I SHOULD. It sounds so simple and obvious, but it can be astonishingly difficult to get that perspective when you're the one playing and you can't really step back and listen from an objective viewpoint.
So, I took some notes out! And then, something amazing happened as I was playing along to Talking Heads; I could hear the band. I could hear what I was playing, and how it integrated into the structure of the song, but I could also hear everyone else. I could hear the spaces BETWEEN the notes...not just the notes themselves. That was when I truly understood my role as a bass player...what it really means to hold down the groove without getting all tangled up on the neck.
Given how sleep-deprived I am, I might be doing a bad job of explaining this, but I guess I finally reached the path where I either can accept that "less is sometimes more" or I can sit in my room playing disco and getting, like, old and bitter.
They're the first tastes I'd trust, because few of my gigs are about me anymore- most are about the music. They usually have a greater understanding of what they're hearing and why than people who don't play. There are exceptions, of course- there's an older guy who runs a jazz show on the local college station who I think has great taste and a great grasp of music, even tho I don't think he plays anything.
I'd love to see more women at the gigs, but I'd REALLY love to see women who didn't seem to want to "connect" with a singer (who would provide the focus for all the other sounds they haven't put themselves in a position to understand). I know they're out there, because I've played with a few. Most of the ensembles I play with don't have a singer.
We get more players in the audience --usually they're male-- than "civilians"
I suppose, but people listening is an even better compliment than people dancing. They tend to return, so I'm cool with that.
"Keep it simple" clearly didn't translate to your writing here
Touche! 4 hours of sleep, whaddya want from me? LOL
I simplified my basslines and then I simplified them some more. Then I recorded some of my basslines and decided to simplify them even more. Less is more. 
scottfeldstein
Roots and fifths and a little extra.
My first get together with my current band started out with a discussion of what music we all liked. During that discussion I handed over my iPhone and said "have a scroll through the artists in my music library." I think we learned almost everything we needed to know about one another during that talk. The 30 minutes we spent actually playing music after that went well, too.
That's a good way to learn about bandmates, actually...a lot of times in my band, we'll make mixes for each other. Part of what helped me wrap my head around what this guy wants, was being able to hear examples by artists that I really like. Once he started dropping names that were already people I was playing along to and enjoying, I realized this would all be good for me. There's so much variety in so many different styles of music...I'm constantly surprised at the things I get into when it comes to listening and playing. There's always something new to be discovered and there's always something for everyone. Heck, I just really like to play...at this point, I think I'd be able to take any genre or style and have a blast with it!
I'd say Jack Cassady is a guy who is surely capable of playing well all the notes one might not want to hear. In this wonderful Hot Tuna session, he plays just enough [Invalid or Expired Link Removed] notes and not one more.
iJazz
iJazz
I think if one wants to be a "busy" player, that's OK, but one should realize that it may mean choosing / creating a genre that isn't oriented towards dancing and airplay. And one still has to work within the bounds of good musical taste.
In bands that play arranged music, you can't just change the bass part without changing everything. If the entire band isn't up to providing the bassist with some space to spread out, then a "busy" bassist will clash with the band and get blamed for it.
In bands that play arranged music, you can't just change the bass part without changing everything. If the entire band isn't up to providing the bassist with some space to spread out, then a "busy" bassist will clash with the band and get blamed for it.
