Ron Carter on Chet Baker's Tidal breeze. Killer swing with Mel Lewis, killer tone, solid time, ornaments for ages. This song taught me that rakes rule the groove ! ;-)
To Mr. "pdbass"-have been playing bass(first electric and then years after, upright)since the late 70s-and from watching you demonstrate your skills on the upright, I can tell you got "finesse"; that overall level of quality that sets one apart from their peers-it was a pleasure to see you at "work"(or is it play?)! Continue to do your "thing" and I think many will be blessed for it(even as they already have been yes?). Also-have noticed your manner of "delivery of notes" to produce a certain sound or effect is somewhat different from the way I would do it at times-but it all comes out the same(sound-wise, that is), and I never realized that this was the case until I saw you play tonight on this video; I experienced a similar thing decades ago, when I was strictly a bass guitarist, and having observed others who played differently from me, but obtained the same sound basically, it seemed. I didn't realize until tonight though, while watching this video, that once again, METHOD of delivery, though differing from bassist to bassist, will often produce the same sound or effect. And for the record, I studied for about 2 years with an instructor, then began to continue teaching myself form that point on, as I did from the beginning, with the bass guitar. I'll admit, self-taught may/does have it's advantages at times, but there's nothing like having the advantage of a teacher, who will expedite one's progress on whatever instrument one is learning, compared to the time one will spend learning the same, through being self-taught, especially in the beginning, when one needs to learn the fundamentals of music theory as it is applied to any musical instrument one is learning. I have no real regrets however, for the years I spent teaching myself, because in the process I think I accomplished a great deal; it's kind of all behind me now-I'm in my mid 60s and have seen things "come and go" if you get my meaning. There's also a whole lot more I could say about these matters but I'll leave it at that for now-and I enjoy watching the bass being played by a young master like yourself; keep up the good work! Respectfully, I'd like to say also, I disagree with how many "ghost notes you say should be placed during the chorus of one's playing; I hear where the pros use them more often than you suggest they should be used-and so do I. Could it be then that what you've suggested boils down to a matter of choice? Personally I think the use of ghost notes throughout one's playing-but not overused-can be a fun way of keeping one's interest when walking a bass line, so that one does not get bored about it. But then again, I say this is my personal opinion about the matter-and you are sir, a first-rate bass player in my opinion! P.S.: Would you recommend some recordings that you've played on-in particular, of most recent, that would reflect the clearly evidential progress you've made since, perhaps, you first began recording? There's so many good cats on the instrument that most of us will probably never, ever know about-I'd like to have some of your recordings in my collection, young man! UPDATE(2-11-23): Just came from practicing on the upright and I found this: what you're saying about the overuse of the Ghost Note can be applied to the walking 12 bar blues line(which is what you were demonstrating when or when not to use the ghost note)but for standards-it leaves a void when that rule of 'no more than 2 or 3' is applied. In all of the years that I've been playing the upright(including an almost seven year layoff), I've never given the idea much thought, other than to use personal discretion(or is it feeling?)when it comes to using the Ghost Note; only after seeing/hearing your video, did the idea ever become considered. And in retrospect I think it would've helped, and provided greater clarity of truth(especially for the novice or beginner)to say the rule of not overusing the Ghost Note is best applied(yes?)to the walking 12 bar blues bassline. 2-10-23.
Fav moment? Look for a record called All Morning Long (it's on youtube, Red Garland and Coltrane), it's a great example of a more heavy handed use of these techniques and still swingin. Our Delight, as well as the title track.
Leroy Vinnegar's walking solo on Sonny Rollins' version of Alone Together has got some of my favorite use of ornaments. also with Rollins, NHØP's walking solo on Oleo from the Denmark tour in 1965
Quincy Jones wrote and played some great stuff. But, "Killer Joe" is my most favorite. Probably because I fell in love with it the very first time i heard. Everything around me cam to a halt. And I only heard the music! Beautiful!
Dude, do you give private lessons??? Not every teacher has the "Ability" to teach. You, my friend, have the special gift. I really want to improve my bass walking and you are just the person to help.
Huge Ray Brown fan here, But sometimes the "bombs" can sound like overplaying the instrument. With the big E string smacking and buzzing against the finger board. Can be a distraction from what is going on musically even though it feels good for the bassist. Just my opinion.
Another amazing video. A lot to digest here and I really appreciate the recording suggestions. So much to learn by just listening to the greats (like yourself). Much thanks!
Great lesson and really well laid out. For those who want to explore these ideas a bit deeper - over different keys and a few more variations - there's Modern Walking Bass Technique, Vol. 1: A Contemporary Rhythmic Approach by Mike Richmond. It's kind of a classic - I'm sure you've played through it, Paul. Keep up the good work!
Nice presentation and examples! Other recordings I love in this regard are For Dancers Only on Junior Mance‘s (R.I.P.) Happy Time, Basin Street Blues (piano solo Section) in Miles‘ Seven Steps To Heaven and Come Rain Or Come Shine on This Here Is Bobby Timmons.
Thank you for sharing your knowledge. It’s a joy to hear your thoughts. One of my favourite jazz albums, the 1957 “Poll Winners” which featured Barney Kessel, Shelly Mann and the incomparable Ray Brown. Ray’s outstanding inventive, bass playing on this recording was brilliant. If you have listened to the album I’d be really interested to hear your opinion.
I hear ‘bombs’ in so much of modern edm and experimental music. I’d be super interested in your take on a group like Go Go Penguin. The way you break music down it’s like you know my language. Dig it PT.
Paul, great video as always! You sound is amazing on this. Please tell me again the bass you have, strings and your pickup/mic you use. I thought it might be a Pollman? Played with Stanley T? Great. Sugar is a CTI classic. Ron was the house bassist on so many of those classic sides. A few favs: Concierto, She Was Too Good to Me, In the Beginning, Detour Ahead and so many more.....
Thank you! It is a Pöllmann. 1972. I did not use any amplification--only the mic on the camera. It gets a little noisy, but it works in a pinch. Ron is, quite simply the GOAT!
And I thought I invented the 'ghost' note back in 1975: in my jargon, it's called a 'F-up!' ;-P (Just because I read notation doesn't mean you need to notate your excerpts! OK?)
Anyone else notice that he is out of tune with himself? He is not playing the same notes the same way. Actually that is quite common with string bass players. Most other musicians either don't notice or they figure that the bass is a classical instrument and must be in tune. But on a micro basis it does affect horns. Especially on fast tunes - it's nearly impossible to hit exactly when playing fast.
one ornament that i could never figure out is when a bassist (Eddie Gomez) does a 1/16 note or 1/32 note glissando? starting from the high c just past the thumb position on the g string. It starts with c then f# on the d string, then chromatically goes down to the b on the g string, then f on the d string, b flat on the g string , then e on the d string, and chromatically on down. But really fast. Insectoid fast. I can't do it as fast as Eddie Gomez.
Stanley Clarke, THE ONE AND ONLY STANLEY CLARK,,,,, ANOTHER PHILLY MUSICIAN TO JOIN THE DECEASED GROVER WASHINGTON JR..... OTHER GREAT PHILLY BASSISTS INCLUDE JACKO PASTOR IOUS AND MILT HOW HINTON
Very well done video! Do you have a name for the "device" Cleveland Eaton (total monster) used a lot as Basie's bassist where he plays (I think) a triplet missing the middle note as the "1"? ua-cam.com/video/MV5apkGSkfM/v-deo.html Anyway...talk about a guy who could mix up his walking lines as well as any you named...Cleveland just kicked butt. I've always like this device because it supplies so much drive. Yeah, definitely more appropriate in a big band versus a lounge band.
Ron Carter on Chet Baker's Tidal breeze. Killer swing with Mel Lewis, killer tone, solid time, ornaments for ages. This song taught me that rakes rule the groove ! ;-)
You’re Paul Thompson and THIS....is your masterclass! I learned a lot watching this!
🙏🏽🙏🏽🙏🏽
One of my favorite things about playing with you is when you catch the and of 4 with me at the end of phrases. It always feels so good!
🙏🏽🙏🏽🙏🏽
Good info here. Recording yourself will quite possibly reveal the overuse of ghost notes. Worked for me.
Great video, Paul!
Great! Many thanks, Paul!
That combined approach was spicy👍
Last thing was the best technic in all the vidro thanks man
Great Teacher
To Mr. "pdbass"-have been playing bass(first electric and then years after, upright)since the late 70s-and from watching you demonstrate your skills on the upright, I can tell you got "finesse"; that overall level of quality that sets one apart from their peers-it was a pleasure to see you at "work"(or is it play?)! Continue to do your "thing" and I think many will be blessed for it(even as they already have been yes?).
Also-have noticed your manner of "delivery of notes" to produce a certain sound or effect is somewhat different from the way I would do it at times-but it all comes out the same(sound-wise, that is), and I never realized that this was the case until I saw you play tonight on this video; I experienced a similar thing decades ago, when I was strictly a bass guitarist, and having observed others who played differently from me, but obtained the same sound basically, it seemed. I didn't realize until tonight though, while watching this video, that once again, METHOD of delivery, though differing from bassist to bassist, will often produce the same sound or effect.
And for the record, I studied for about 2 years with an instructor, then began to continue teaching myself form that point on, as I did from the beginning, with the bass guitar. I'll admit, self-taught may/does have it's advantages at times, but there's nothing like having the advantage of a teacher, who will expedite one's progress on whatever instrument one is learning, compared to the time one will spend learning the same, through being self-taught, especially in the beginning, when one needs to learn the fundamentals of music theory as it is applied to any musical instrument one is learning.
I have no real regrets however, for the years I spent teaching myself, because in the process I think I accomplished a great deal; it's kind of all behind me now-I'm in my mid 60s and have seen things "come and go" if you get my meaning. There's also a whole lot more I could say about these matters but I'll leave it at that for now-and I enjoy watching the bass being played by a young master like yourself; keep up the good work!
Respectfully, I'd like to say also, I disagree with how many "ghost notes you say should be placed during the chorus of one's playing; I hear where the pros use them more often than you suggest they should be used-and so do I. Could it be then that what you've suggested boils down to a matter of choice? Personally I think the use of ghost notes throughout one's playing-but not overused-can be a fun way of keeping one's interest when walking a bass line, so that one does not get bored about it. But then again, I say this is my personal opinion about the matter-and you are sir, a first-rate bass player in my opinion!
P.S.: Would you recommend some recordings that you've played on-in particular, of most recent, that would reflect the clearly evidential progress you've made since, perhaps, you first began recording? There's so many good cats on the instrument that most of us will probably never, ever know about-I'd like to have some of your recordings in my collection, young man!
UPDATE(2-11-23): Just came from practicing on the upright and I found this: what you're saying about the overuse of the Ghost Note can be applied to the walking 12 bar blues line(which is what you were demonstrating when or when not to use the ghost note)but for standards-it leaves a void when that rule of 'no more than 2 or 3' is applied.
In all of the years that I've been playing the upright(including an almost seven year layoff), I've never given the idea much thought, other than to use personal discretion(or is it feeling?)when it comes to using the Ghost Note; only after seeing/hearing your video, did the idea ever become considered. And in retrospect I think it would've helped, and provided greater clarity of truth(especially for the novice or beginner)to say the rule of not overusing the Ghost Note is best applied(yes?)to the walking 12 bar blues bassline. 2-10-23.
Simple, clear and concise as usual. Bravo.
Fav moment? Look for a record called All Morning Long (it's on youtube, Red Garland and Coltrane), it's a great example of a more heavy handed use of these techniques and still swingin. Our Delight, as well as the title track.
Leroy Vinnegar's walking solo on Sonny Rollins' version of Alone Together has got some of my favorite use of ornaments. also with Rollins, NHØP's walking solo on Oleo from the Denmark tour in 1965
Quincy Jones wrote and played some great stuff. But, "Killer Joe" is my most favorite. Probably because I fell in love with it the very first time i heard. Everything around me cam to a halt. And I only heard the music! Beautiful!
You have established a practice schedule for many situations. Useful for all types of jazz and swing performances. Thanks
So very cool and thanks
Great video once again!
Wow Paul, your time feel is superb!
🙏🏽🙏🏽🙏🏽
Good one.
Damn! You’re Good!!
Dude, do you give private lessons???
Not every teacher has the "Ability" to teach. You, my friend, have the special gift. I really want to improve my bass walking and you are just the person to help.
I sure do. Shoot me a DM.
Terrific video! EVEN better than usual.
Great content Paul. Love hearing about good tracks to check out, and gotta love those Ray Brown bombs!
Huge Ray Brown fan here, But sometimes the "bombs" can sound like overplaying the instrument. With the big E string smacking and buzzing against the finger board. Can be a distraction from what is going on musically even though it feels good for the bassist. Just my opinion.
Very nice! And Sugar? Thank you, hadn't heard this before.
Another amazing video. A lot to digest here and I really appreciate the recording suggestions. So much to learn by just listening to the greats (like yourself). Much thanks!
Thanks Paul, appreciate this.
Great lesson and really well laid out. For those who want to explore these ideas a bit deeper - over different keys and a few more variations - there's Modern Walking Bass Technique, Vol. 1: A Contemporary Rhythmic Approach by Mike Richmond. It's kind of a classic - I'm sure you've played through it, Paul. Keep up the good work!
Of course! The bible for hiccups! LOL.
Excellent stuff, as usual.
These videos are so well done. I have been incorporating these techniques into my jazz guitar walking bass lines. Thank you very informative.
Thanks for watching 🙏🏽
Great work, Paul. By the way, your bass sounds incredible!
🙏🏽🙏🏽🙏🏽 Dave!
Nice presentation and examples! Other recordings I love in this regard are For Dancers Only on Junior Mance‘s (R.I.P.) Happy Time, Basin Street Blues (piano solo Section) in Miles‘ Seven Steps To Heaven and Come Rain Or Come Shine on This Here Is Bobby Timmons.
Ron is the GOAT when it comes to these concepts
Manhattans Transfer's Killer Joe. 11:24
fantastic lesson and information. Top notch.
I like a slide in either direction and a slide with a pull-off.
Great video.
Great video bro !!! 👏
Your videos are great thanks
Thank you for sharing your knowledge. It’s a joy to hear your thoughts.
One of my favourite jazz albums, the 1957 “Poll Winners” which featured Barney Kessel, Shelly Mann and the incomparable Ray Brown.
Ray’s outstanding inventive, bass playing on this recording was brilliant. If you have listened to the album I’d be really interested to hear your opinion.
LOVE that record!!
Poderoso
I hear ‘bombs’ in so much of modern edm and experimental music. I’d be super interested in your take on a group like Go Go Penguin. The way you break music down it’s like you know my language. Dig it PT.
I will check them out for sure!
Ghost notes, hmmmm.
Great video!!!
Paul, great video as always! You sound is amazing on this. Please tell me again the bass you have, strings and your pickup/mic you use. I thought it might be a Pollman? Played with Stanley T? Great. Sugar is a CTI classic. Ron was the house bassist on so many of those classic sides. A few favs: Concierto, She Was Too Good to Me, In the Beginning, Detour Ahead and so many more.....
Thank you! It is a Pöllmann. 1972. I did not use any amplification--only the mic on the camera. It gets a little noisy, but it works in a pinch.
Ron is, quite simply the GOAT!
Man, you gonna make a double bassist outta me yet!
And I thought I invented the 'ghost' note back in 1975: in my jargon, it's called a 'F-up!' ;-P
(Just because I read notation doesn't mean you need to notate your excerpts! OK?)
Anyone else notice that he is out of tune with himself? He is not playing the same notes the same way. Actually that is quite common with string bass players. Most other musicians either don't notice or they figure that the bass is a classical instrument and must be in tune. But on a micro basis it does affect horns. Especially on fast tunes - it's nearly impossible to hit exactly when playing fast.
one ornament that i could never figure out is when a bassist (Eddie Gomez) does a 1/16 note or 1/32 note glissando? starting from the high c just past the thumb position on the g string. It starts with c then f# on the d string, then chromatically goes down to the b on the g string, then f on the d string, b flat on the g string , then e on the d string, and chromatically on down. But really fast. Insectoid fast. I can't do it as fast as Eddie Gomez.
i like Eddies playing. Is this from a specific recording that I can listen to?
Stanley Clarke, THE ONE AND ONLY STANLEY CLARK,,,,, ANOTHER PHILLY MUSICIAN TO JOIN THE DECEASED GROVER WASHINGTON JR..... OTHER GREAT PHILLY BASSISTS INCLUDE JACKO PASTOR IOUS AND MILT HOW HINTON
Very well done video! Do you have a name for the "device" Cleveland Eaton (total monster) used a lot as Basie's bassist where he plays (I think) a triplet missing the middle note as the "1"? ua-cam.com/video/MV5apkGSkfM/v-deo.html Anyway...talk about a guy who could mix up his walking lines as well as any you named...Cleveland just kicked butt. I've always like this device because it supplies so much drive. Yeah, definitely more appropriate in a big band versus a lounge band.