So I am one of those bass players who can do something and musically, it was back then and now it is even more, if you noticed on the new album, I am not playing all the time anymore.
So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.
I've been into music for a long time. I started playing drums when I was 8 and piano when I was 10, then bass and guitar when I was 18.
I was never much of a bass player.
I hate playing the bass, bro. I've been playing the bass because it's there and I don't want anyone else to play it.
I'm 12 years sober, so I don't have beer! When I used to drink I really liked Bass Ale!
I have assigned many of my father's basses to students, without endangering their lives. Also, they do no harm to the fingers.
Peacock bass like to hide at ambush points, away from the strong canal currents. If you fish early and know those peacock hangouts, you will have little or no trouble catching peacocks on lures and live bait.
There's always going to be the cooler-clubbers who are going to harvest a lot of fish, but I think the hard-core bass fishermen release just about everything they catch these days. Years ago, I think people were willing to release smaller fish, but now I think they're willing to release them all, and that's the important part.
I grew up around salsa, merengue, bachata, bass music, freestyle, hip-hop, techno, house, rave. Miami is special for that. It's a city where you don't know if it's more a part of the US, or of the Caribbean, or of Latin America, or of Europe.
I always think of a voice as an instrument, whether a voice is a trumpet, or violin, or bass. You know what I mean? A horn or wind instrument versus a string instrument. Horn instruments are definitely more toward jazz.
A lot of musicians like to do the bass and the drums with analog and get that tape distortion that's really beautiful. As far as the digital world goes - it's all going to end up there anyway, but when you hear vinyl it does a different thing to you. Nowadays, people do CDs and then vinyl so it's everything goes; it's a such a beautiful world.
My dad taught me to play bass. He's a bass player; he still plays in a band in Michigan to this day. He taught me to play bass when I was about 6. I used to just go to band practice with him, and whoever didn't show up for rehearsal that day, I would take their spot.
Around age 11 or 12, I started playing jazz bass. From there, I went to electric bass and then guitar, which I kept up for a long time.
Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
If you mess around with jazz, you better have a good drummer and a good bass player.
I love rainy and bad-weather days because this type of weather gives me a mental advantage, especially when I'm fishing in a tournament. When the weather is inclement, most fishermen start thinking of reasons why they can't catch bass. But, because I fish so often in bad weather, I'm thinking of all the reasons I can catch bass in bad weather conditions.
Some songs started from a bass line, some started from having the full lyric and Jim, my drummer, who's also the first guy I've been in the studio with him since 16, sometimes he'd have an idea and I'd put a lyric to it and then the track evolves, there's no set way to write a song.
Anybody I'm in a band with can do what they do better than me. I'm a huge believer that I can play bass or whatever I bring to the table - producing, songwriting, orchestrating - and I can look at the other guys and say, "He's got that, he's got this, and I have this." It's a team thing.
My favorite moments are when the bass falls in the pocket with the drums, the guitar is on top just slicing it, and the melody is scraping across like a sidewinder shattering through the monitor. It's just, ahhh, I love it! That's the jones, the hit, the buzz right there. It gets me off.
I spent five years, at least, working with Miles. Together, we recorded ESP, Nefertiti, Sorcerer -- and I can tell you; each of these albums instantly became jazz classics. Hey, we had Wayne Shorter playing tenor sax, Ron [Carter] on bass, Tony Williams played drums. That was great band we had.
My dream as a child was to play with a bass player like Ray Brown, who played with the Oscar Peterson Trio. The feeling I had listening to his work was almost carnal, so to actually play for him was earth-shattering for me.
I first picked up the bass guitar when I was twelve years old, and fooled around with it. By the time I was thirteen I got pretty serious about it.
I bought my first bass because I wanted to be in a Band, and heard that it was the easiest instrument to play. A friend told me that it was the sexiest instrument.
I love a little distortion across the bass; I think it kind of adds something to the sound of the band when the bass is a little overdriven.
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