I’ll check it out!
Listen to Roxy Music “Oh Yeah”. Neil gets a killer muted tone that makes a P bass player like me cry with envy!
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Why do the session legends all use P basses? (SBL Video Discussion)
- Thread starter citizenchris099
- Start date
Listen to Roxy Music “Oh Yeah”. Neil gets a killer muted tone that makes a P bass player like me cry with envy!
Here's Neil with John Tropea! One of my faves!
Love it! Notice how he is just smiling away while playing, just loving it! A great personality goes a long way in life and those kind of guys find the work.....and the work finds them!
Hey! This thread served no useful purpose until it became a Neil Jason lovefest! Some of my favorites from his long resume - the Franks tune and “Fame” are good examples of his personal sound and style, but the Cyndi tune is what it is and he did most of not all of that multi-million selling album.
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Check out Roxy Music “Avalon”. Neil’s Jazz Bass splits duties with Alan Spenner’s Wal. Sweet stuff, a favourite.
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????? Sorry but you are completely wrong
He’s wrong that it makes him “laugh real hard”? Opinions on comedy, like art, are highly subjective. You two disagree, but it’s really of no consequence to either of you.
And to say he is “completely” wrong is a pretty arrogant assumption that you are completely right, however both are highly unlikely. Some art and artists, because of their delusions, can be pretty funny. Oh well...
Ok jaco marcus Stanley clarke John pattitucci Dave Holland Christian mc bride speranza Spalding will lee Ron carter Richard bona they have done quite well despinte not being artist me be I’m not wright but he is absolutely ridiculous
Good point, and that does happen. Tony Levin gets hired for "his" sound, as does Pino, Flea (when he does side work), and there are others. But that is probably not the typical case. More typically, the bass is supposed to fit in with the drums in the track and fill out the sound -- and not draw too much attention to itself. It also helps if it's easy to record and mix, so that the artist, engineer, producer, etc., can spend time worrying about a bunch of other stuff. As humans, we seem to get used to things and resist change: e.g., not many quarter tone chords in pop music, songs with the same basic chord progressions over and over, same lyric/song themes, same instrumentation, etc... The P bass is just another cog in the wheel of musical conformity that changes glacially. As a human who resists change, I love the P bass sound, and unfortunately, I'm probably not going to reinvent the instrument like Jamerson or Jaco anyway
jamerson, jaco and Larry graham invented everything they were the foundation of the electric bass for ALL of usGood point, and that does happen. Tony Levin gets hired for "his" sound, as does Pino, Flea (when he does side work), and there are others. But that is probably not the typical case. More typically, the bass is supposed to fit in with the drums in the track and fill out the sound -- and not draw too much attention to itself. It also helps if it's easy to record and mix, so that the artist, engineer, producer, etc., can spend time worrying about a bunch of other stuff. As humans, we seem to get used to things and resist change: e.g., not many quarter tone chords in pop music, songs with the same basic chord progressions over and over, same lyric/song themes, same instrumentation, etc... The P bass is just another cog in the wheel of musical conformity that changes glacially. As a human who resists change, I love the P bass sound, and unfortunately, I'm probably not going to reinvent the instrument like Jamerson or Jaco anyway
Clearly those elite bassists are artists. But not every musician is on that level. Go back and read your post. The word “Absolutely” paints you into a corner. There are A LOT of grey areas in between black and white.
Look at it this way: I respect Picasso. I also kind of respect a guy that glues macaroni to paper in the shape of a happy face... but if Mr Macaroni starts wearing a beret and acting all pretentious and “artsy fartsy” while telling his boss he doesn’t take orders because he’s an artist, well, I’m gonna laugh at that guy.
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Yes I know but the words of Leo thunder puts him on the other corner yes my words sound a little aggressive but really don’t wanna fight no one TB member
Jamerson is my hero, and Jaco is obviously a legend as well... that being said, if I were a tour manager, I wouldnt want either of those artists in my group due to their antics... another reason people sometimes laugh at “artists”.
I agree he was in the other corner. And I’m just playing devil’s advocate out of boredom. All is well in the universe. That being said, I believe Leo may have been referring to some of Max Blasto’s early posts in this thread. He went out of his way to express how he was artist and thus above the wishes of producers and engineers. He may be an outstanding bassist... I certainly hope his music is better than his posts.
Love peace and health for every body in TB I think sometimes it’s really difficult for me to express my fillings in English
TB is a hard website to be on for native English speakers as well. Don’t feel bad!
There are a couple of places in the Mamas' and Papas' "Twelve-thirty" where Osborn just goes crazy, but he is so buried under everything else (including the cello) that you almost would have to know the part was there to hear it.
The only reason Osborn became a P guy was because when Fender decided to sponsor Ricky Nelson on a tour to Australia, instead of a Precision (which is what JO had wanted and was accustomed to ), he got the new (at that time and for promotional purposes) Jazz bass. Osborn liked the Jazz neck and so kept the bass. Otherwise he likely would have been a P guy as well throughout his career. But he did try to make his Jazz sound like a P.
Everything said in the original video is absolutely correct. Fenders are notorious for sounding great in a mix. That's a fact, and matches my own experience. That's why i play them. Another fact is that alot of souped up active basses sound cold and sterile as poopie. The versatility is completely shot, and they don't transfer well to many style of music. I don't blame the engineer one bit. An engineer can't fix a poopy source.
- Jan 17, 2015
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- 201
- Disclosures
- Someone told me pants are optional.
Just started on this thread (only got through page 2 so far) and had a thought about this issue from a different angle:
I'd hate to be the engineer/producer in charge of everything, who called for a session bassist and forgot to mention that I'm looking for a specific sound from a specific type of instrument. In the meantime, as Vinnie says, there's 40+ string musicians out there getting paid...
I'd wonder if I was ever going to work again
I'd hate to be the engineer/producer in charge of everything, who called for a session bassist and forgot to mention that I'm looking for a specific sound from a specific type of instrument. In the meantime, as Vinnie says, there's 40+ string musicians out there getting paid...
I'd wonder if I was ever going to work again
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