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Double Bass YOU - on youtube (DB forum thread)



some vivaldi. i really like these pieces played in bass register (for the most part, at least) rather than transposed to cello pitch. sometimes its fun to let a bass sound bass-like.

been having quite a bit of fun using viola da gamba and mandolin to replace piano parts. i'm not a very good mandolinist, i just use it as a practical matter..

mandolin is made by the same luthier as my double bass, edward maday. it's a flat-top little thing with a walnut back and sides and i really love it.
 
Your Portland Jazz Orchestra successfully lands an original, Craig Skeffington's "It's A Waltz, Man."



Solos by Michael Sakash, tenor, Chris Marsh, flugelhorn and Brad Ciechomski, drums
The rig: 1850s German bass, 1980s Woods MI-100, Euphonic VL-110
Entirely live at One Longfellow Square, Portland, Maine
 
“Tweeter and the Monkey Man”

I used to make my dad play this tune for me every day on the way to school when I was around 8 years old - my first favorite song as far as I can remember.

These days I like it ‘cause it’s decidedly ‘not jazz’, lol
 
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I’m on fire with my tune-learning recently, really proud that this stuff is finally starting to click in my brain with this new tuning. I swear, this’ll be the last little video I post here for a while, sorry for the over-zealous saturation as always.
Hoagy Carmichael “‘stardust”
 
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Your Portland Jazz Orchestra successfully lands an original, Craig Skeffington's "It's A Waltz, Man."



Solos by Michael Sakash, tenor, Chris Marsh, flugelhorn and Brad Ciechomski, drums
The rig: 1850s German bass, 1980s Woods MI-100, Euphonic VL-110
Entirely live at One Longfellow Square, Portland, Maine


Nice. Do I detect some Oliver Nelson influence on the intro/head?
 
Nice. Do I detect some Oliver Nelson influence on the intro/head?

Thank you on behalf of the talented people I get to work with in PJO.
I'll pass your comment on to Craig and I know he'll hear it positively.

Almost everybody playing in a big band has one designated part to play. For the rhythm section, less so. IME we bassists have the most freedom to work in a big band and the reason PJO lets me play with them is that I try to bring that to their music and to our listeners' experience.

'Well,' some say, 'a ton of that stuff sounds straight up the street.' And I respond, "Yes, but it's their street."
Craig Skeffington draws on the legacy of Oliver Nelson and brings it where he wants it to go.
I respect that just as much as I respect @damonsmith for blazing the trail he's on.

It's not the only thing I like to do but I sure do like to do it. And I get to play with Brad!
 
That 5’er sounds great and I love the Romani feel of the music. Nice performance!
Thank you! I'm coming up on 3 years with this bass and the sound is maturing beautifully. The low B has been a good way to learn how to play with a lighter touch because while it is technically a heavier string than the rest of the setm it feels a lot more lighter under my right hand. So it really doesn't like a heavy touch, but will roar if I give it just the right amount of energy.
 
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