I reckon this is another bass bible in the vein of 'Standing in the Shadows of Motown'. Even though John Goldsby is an upright player and the players presented in the book are too, electric players can learn so much from this book. It goes through the main jazz bass players from the swing era onwards. The rest of the book is dedicated to the technique and styles involved. This is a treasure trove.
This is written by a legendary jazz player, Tribal Tech's Gary Willis. I don't think it is just me who has a really geeky side when it comes to learning and improving and with tips such as 'Cable Discipline' and 'Steel Wool Trick' this book does not disappoint. There is some great stuff in here from health and posture tips to gear to practice and memorisation techniques.
The Jazz Bass Book: Technique and Tradition (Bass Player Musician's Library)Book
The Jazz Bass BookTechnique and TraditionBy John Goldsby (Foreword by Ron Carter)8.5" x 11", 242 pages, with photos and audio files (software for playback included)Goldsby is a respected bass player and Bass Player Magazine columnist. His book, "The Jazz Bass Book," is an in-depth look at the tradition, history and personalities of jazz bass. Designed for bass players and jazz fans alike, it is - as far as we know - the first comprehensive reference of its kind.More than a player's manual, this book portrays jazz bass as a vital element of 20th century American music. Citing examples from key jazz recordings over the years, the book defines the essence of the musical contributions made by more than 70 important jazz bassists, including Ray Brown, Eddie Gomez, Charles Mingus, Milt Hinton and many others. It explores all facets of jazz bass playing from the development of "walking", to the musical interaction inside a rhythm section, to the contribution made by every important jazz bassist.
Bassists get expert guidance on mastering proper technique, practice methods and improvisation, plus new insight into the theoretical and conceptual aspects of jazz. The companion Audio featuring bass plus rhythm section allows readers to hear technical examples from the book, presented in slow and fast versions. It also offers play-along tracks of typical chord progressions and song forms. The track list features Goldsby on bass along with the masterful assistance of Bill Dobbins (piano) and Hans Dekker (drums).Useful for the bassist who pursues self-study, the analyses of classic lines - and the stylistic idiosyncrasies of the different sub-genres - allow one to break them down and gain a new understanding and appreciation. It's also great for someone interested in jazz history; you can trace the development of this uniquely American art form through its greatest players - from early New Orleans jazz through swing, bebop, and the avant-garde. The book contains exclusive interviews, transcriptions, and profiles, and has many photographs.John Goldsby is author of two instructional books for bassists, and writes regularly for Bass Player and the German-language Bass Professor. A widely recorded jazz artist, his CDs as a leader include the critically acclaimed Viewpoint and Tale of the Fingers. He has also appeared as a sideman on numerous recordings with many jazz greats. Goldsby currently is solo bassist with the world-renowned WDR Big Band, based at the radio and TV station in Cologne, Germany. He also teaches bass and jazz ensemble at the Musik Hochschule (Music Conservatory) in Essen, Germany, and has taught regularly at the Jamey Aebersold Summer Jazz Workshops in the US and London.
More than a player's manual, this book portrays jazz bass as a vital element of 20th century American music. Citing examples from key recordings in the jazz canon, the book defines the essence of the musical contributions made by more than 70 important jazz bassists, including Ray Brown, Eddie Gomez, Charles Mingus, Milt Hinton and many others. Bassists get expert guidance on mastering proper technique, practice methods and improvisation, plus new insight into the theoretical and conceptual aspects of jazz. The companion audio featuring bass plus rhythm section allows readers to hear technical examples from the book, presented in slow and fast versions. It also offers play-along tracks of typical chord progressions and song forms.
More than a player's manual, this book portrays jazz bass as a vital element of 20th century American music. Citing examples from key recordings in the jazz canon, the book defines the essence of the musical contributions made by more than 70 important jazz bassists, including Ray Brown, Eddie Gomez, Charles Mingus, Milt Hinton and many others. Bassists get expert guidance on mastering proper technique, practice methods and improvisation, plus new insight into the theoretical and conceptual aspects of jazz. The companion online audio features bass plus rhythm section which allows readers to hear technical examples from the book.Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
My initial plan was to do research and catalogue the available existing method books for Jazz bass education. But during the process I realized that matters were more complex than I had foreseen. Jazz (bass) methods were often based on classical music methods but Jazz education demands a different skillset and approach. I reexamined the fundamental building blocks necessary to successfully teach Jazz double bass. For this I designed a graphic theoretical framework that helped me analyze the existing methods. With this information I built a data base and webpage that offers analytical information about the available methods. Methods not limited to the traditional books but also on line learning programs and other methodical teaching material. Furthermore I examined the influence of the technological developments that the computer, smartphones, tablets and the internet have to offer. Teaching Jazz in the 21st century has proven to be much more of a modulair approach than the traditional linear approach. Tip This page contains media that is intended to start playback automatically on opening. This may include sound. Your browser is blocking automated playback. Please click here to start media.
Jazz musician Jaco Pastorius, former bass guitarist with Weather Report, Blood, Sweat and Tears and other big-name musical groups, died from injuries he received in a beating. He was 35.Police said the troubled Pastorius, who recently had been living on the streets, was beaten Sept. 12 when he tried to enter an after-hours club known as Midnight. Pastorius had been banned from the club because of erratic behavior in recent years, police said.Officials said Pastorius reportedly started kicking the door of the club and manager Luc Havan beat Pastorius, injuring him critically. Havan has been charged wih aggravated battery.Pastorius spent his last few years living on the street but in the late 1970s and early 1980s, his rapid-fire fingering techniques and composing talent brought him a reputation as one of the top jazz bass players in the world.In addition to Blood, Sweat and Tears, he toured with Herbie Hancock, Joni Mitchell and Weather Report and was nominated for three Grammys.In the 1970s Pastorius, a self-taught musician, joined a musical group called the Las Olas Brass, replacing the bass player. Friends agree that Pastorius avoided drugs and alcohol at the time. University of Miami jazz teacher Whit Sidener, who played saxophone with Pastorius during that decade, said Pastorius was "clean-living.""He would just laugh at people who drank," said guitarist Randy Bernsen, a longtime friend of the musician.But police said several south Florida bars had banned Pastorius because of drunken, distruptive behavior."What happened, I guess only Jaco knows," his brother Gregory said last week.Pastorius pleaded guilty in 1982 to resisting a Pompano Beach police officer with violence, and was the subject of stories in 1984 of drunkenness and street living in New York. He was divorced from his wife in 1985.Gregory Pastorius said his brother had been diagnosed by a doctor as a manic depressive and that alcohol abuse made the disorder worse.Several incidents followed. He reportedly slept in a park, was arrested for several times for drunken driving or driving without a license, breaking into an unoccupied park and driving a stolen car around the running track of a park.On Sept. 11, Pastorius jumped onto a theater stage during a performance by Carlos Santana and had to be removed. Later that night he received the beating that eventually killed him.John Francis Pastorius III was born Dec. 1, 1951, in Pennsylvania. His family, who nicknamed him "Jocko," moved to Fort Lauderdale in 1959.After graduating from high school in 1969, Pastorius began appearing in nightclubs around south Florida with such bands as Wayne Cochran and the C.C. Riders and the Peter Graves Orchestra. He later changed the spelling of his name to Jaco for unknown reasons, his family said."Jocko was always on the go," Gregory said. "Whatever it was, he excelled at."
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