From a bass player, everyone needs to apply everything here to all solos from everyone! Listen, compliment & contrast, listen, leave space, and above all- listen!
On the other end of the spectrum- as a Flute player- everyone thinks they have to drop the intensity for a Flute. NO!!!!! I WANT that groove to stay and feed off
Not a musician but love jazz. Back in the day I bartended at a higher end jazz club. Can't tell you how dreary it was when the bass solo started. Sucked the energy out of the room night after night. There'd be this sad deadness. But now, I'm thinking maybe the bass player just needed a little more support. 😊
As a bass player, I wholeheartedly agree with all your points - excellent video ! Particularly the parts about keeping up the intensity: 95% of the time, my job as a bass player is to make ALL the rest of you sound as good as possible, primarily through wise note choices that supports the soloist AND the comp’er, all while keeping the time and groove (or ping/pong’ing) with the drummer - AND the comp’er, for that matter. Why should this be any different, just because I’m the soloist ? I try to accomplish this by listening to the music, as if I were a conductor; or in the audience. Or in the mixing room. This way I can focus much more attention towards what the rest of the band is playing and my bass lines and note choices somehow kind of ‘plays them self’. You’re spot on regarding registers. The bass’s first fundamental are in the register from approximately 40Hz (low open E string), but from the ‘driver’s seat’, the bass player will mostly hear the 2. fundamental (an octave higher). So when we play our bebop solo in a lower and middle register, when we’re alone it sounds quite nice - from the driver’s seat. As soon as other instruments are added, a lot of the upper partials/harmonics a drowned out, thus the most prevalent frequencies the audience will hear, would be the low 1st fundamentals; even when we’re moving up to the middle register on the neck. Remember, we’re playing rather sophisticated bebop harmony - but in the Tuba register. So giving us sonic room - frequency wise - is a most welcome trait. Comp’ing in the 40Hz -> ca.2-300Hz area should be used sparingly; or when you see us going into thumb position in the higher register of the neck. It’s then less likely to clash/mask frequencies. Which is also why I always suggest guitarist’s to cut some of those frequencies on their amp, or use a High Pass Filter. Listen to the overall mix balance in the room. This should suggest the register of the comping. If the comp’er emphasize those low(er) frequencies, we REALLY have to fight the bass - even when walking - because those very frequencies from your instruments, including the kick drum, literally affects how our instrument reacts, sounds and feels. Legend has it that Ron Carter once said to a young Herbie Hancock during a rehearsal: “Do you see that capitol ‘S” in “Steinway & Sons” on your piano ? - everything below that ‘S’ belongs to me !” 🙂 All the best, Martin - Denmark
This video is gold, and I feel like it's been needed for years. So many great ideas! Just to add my 2 cents, I think laying out for a bass (or drum) solo is something that should mostly, maybe only, be done by high level players in small ensembles. I don't mean laying out for a bar or two, I mean laying out long enough for them to get lost. Most of the student, amateur, and even young pro bassists in the world who are still learning to take solos really do need help keeping the form, just like 90% of the band does. When a bandleader has to saunter over and cold cue the whole band back in, I always wonder why they ever let that happen to a kid.
This is a great video. On all your solos, there's a bassist who's outlining the form, voice leading, reacting to you. I can't tell you how many times I've begged the guitar or piano to stay in and drive.
ive also noticed that chordal instruments tend to drop out almost entirely, which makes it a lot harder for me because im then given the task of outlining the entire chord instead of being able to pick specific notes from it
Thank you for this video. I'm a bassist, and I also feel that way too many players do a poor job when it comes to comping for bass solos. If a bassist doesn't return your call about a gig... you are likely one of those players.
My grandfather used to tell me this story from his time in the Pacific Theater during WWII. A pair of airmen shot down in an airfight ejected from their aircraft just before crashing into the sea. They managed to float to a tiny island the could just barely see in the water. It took a couple of days and by the time they reached land they were badly dehydrated and exhausted. Not long after crawling onto the beach, they were surprised by a group of indigenous men who surrounded them, bound their arms and legs, and carried them into the jungle, while giving them an odd-tasting liquid to drink. They lost consciousness quickly after drinking, but awoke later -- how much later, they didn't know, was it hours, days, weeks? -- each in a comfortable bower, covered in blankets, inside a clean hut. As they cleared their heads, the one thing that each became acutely aware of was the pulse of throbbing drums somewhere in the jungle nearby. The men were happy to find that they were warm and comfortable, but of course they had no idea what the indigenous people had in mind for them. Were they captives? Or simply patients? Were the villagers cannibals? Were our two heroes nothing more than meat? Eventually, two attractive women came into the hut with food and drink. The women knew a bit of pidgin English. Using that, and a lot of pointing, they were able to communicate about the basics. Where do I go to the bathroom? May I eat and drink this? Eventually they regained their strength and began wandering around the village with apparent freedom. The villagers looked at them with gentle curiosity, but each day they were tended to by two lovely women who gently provided for their needs while guiding them around the village and learning to tell them about how village life was organized. Still, all day, every day, the pulsing drums resonated from somewhere nearby in the jungle. Until one day, almost without warning, the drums stopped. The silence was almost deafening. "That is very bad," said one of the guides. "Why, what's going to happen?" Said one of our heroes. The guide replied: "Now comes the bass solo."
Humble Pie had an excellent bass solo in their song "I Don't Need No Doctor" from their live album Rockin The Fillmore. It breaks down beautifully as the crowd claps to it and then moves to Peter Frampton's guitar solo.
I remember being in my undergrad and I was playing bass for a buddy’s senior recital. We had a rehearsal and I was asked to solo for one of his arrangements. When we got to the solo, the drummer, key player, and guitarist all dropped out. I just kept going while they all panicked trying to figure out whose responsibility it was to support me. Since then I’ve always been critical of a support players comping for bassists. I’m embarrassed to admit, I would purposefully drop out to prove a point from time to time. As petty as I was, I did eventually learn what good comping was like and what felt best to me and then applied it to everyone else’s solos that I’ve gigged with since. Love this discussion so much. Thank you for this!
Yes, for the love of all that is good in the world, don't hang us out to dry. I used to play with a fantastic pianist who did a lot of solo gigs, so his walking lines were great. When I did upper register solos on electric, he'd play a walking line underneath and it was so fun to play over. I've never played with anyone who could accompany a bass solo better than him.
Every musician on stage should be able to carry the tune by themselves. If they can't, then they haven't done their homework. Comping is not a privilege nor is it a crutch. Much comping heard in today's younger players is mechanical and straight jackets the music. Great topic for discussion Aimee!
Thanks for this... lots of great points as usual. Personally, as a bass player, I like having the keys/guitar and drums along for the ride when I solo... just not overshadowing what I'm doing.
Hi Aimee, I appreciate your suggestion to just "lay out" sometimes. I have always found that easy to do; I started my musical journey as a percussionist in the school orchestra, and in some classical pieces, your part consists of 72 measures of rests, but you better know when to come in! Obviously, performing jazz with all of its improvisation and interpretation is very different from classical orchestral music, where you stick to the notes printed on the page. Nevertheless, I see many parallels, especially when it comes to giving others both the space and the support they need so that they can shine.
GREAT video. As a bass player, my job is to support every element of the song and the solos. When other instruments solo my job is to listen, support, outline, groove, and move with the intensity. When the bass solos the band should do the very same. It’s not the time for the band to drop out. Thank you!
I generally play stabs, sometimes fat ones down low, sometimes light, tinkly ones up high (I love having 88 keys). I'm generally letting everyone know where one is in case the rhythm slightly falters. I'll still try to play a "story", though - let some chords ring, do some light arps in the bridge, lead in to the next section, etc. Just trying to do my job as a good accompanist. Love the examples you present here, great stuff!
Yet another bassist in full agreement. It applies all around. The only thing that I might approach differently is to not only listen to what the soloist is doing, but more importantly, what they are saying. What are they NOT saying? Where does it feel like they are going with this, and how can I help them get there? Am I doing that? The only way to be sure is to listen to a recording of the performance. Did you get it right? Did you leave space? Is there anything more that you could have implied, rather than spelled out?
Admittedly, my experience comping on guitar for Bass is limited to roughly 5 double bass players ranging in skill from “intermediate” to very advanced/pro. I mostly stick to sparse guide tone voicing, stabs, staying away from 1, and dropping out altogether when the bass solo energy builds to a level where I can no longer add anything . I’m not (yet) a pro-level Jazz guitarist and feel I could spend hundreds of additional hours practicing ideas and learning new voicings and movements to improve as an accompanist. Even so, I feel like it’s a lot like human relationships. Over the course of several interactions you’ll find out if you have the right “chemistry” to continue making music together.
Great topic, Ms. Nolte. Yes, we need you behind us. Play! No, don’t play! A bit of support, would be welcome about now? A bass player’s life is a tough one.
I’m a doubler and I will say it makes a massive difference whether you’re playing Upright or Bass Guitar. With upright you gotta stay out of the low end and drop dynamics. If you’re playing electric you can keep the intensity way higher.
On bass gigs, i have worked with pianists that have done everything from playing walking bass left hand to George Shearing chord/melody comping behind my solos. Many times I stopped soloing after 8 bars and got the evil eye. After the gig, I would be asked why I stopped after 8 bars. I can't write what my exact reply was. Let's put it this way: "You must not have liked what I was "saying", therefore I thought it best to shut up and walk changes and avoid solos the rest of the night."
Thank you. People would quit playing entirely. Don’t! Play, just play sparingly and don’t compete with what we are playing. Outline the groove and changes.
great video! I'm a melodic bass player who likes to leave space (in jazz at least, funk is different). My drummer will lay off the ride and back off volume while my guitarist plays chords as swells and it works well for my style
Drummer chiming in here. First, the hats - that's low-hanging quiet fruit for a lazy drummer, and it often ends up breaking what I consider the cardinal rule for comping on any solo, but particularly a bass solo: Stay out of my register. Which leads to another rule - you probably don't need to be feathering four on the floor during the bass solo, because that's definitely in the register. The debate as to who owns the tempo - the bass player or the drummer - is as old as time, but almost every bass player worth spit has that tempo in the back of their head and doesn't need you stomping it out at them. Maybe give a "1" on the changes, but otherwise let that foot sit out. BTW: On the John Clayton and Monty Alexander clip, that's Jeff Hamilton drumming and he's a great one to emulate. I don't know a bass player that doesn't like playing with Jeff. Lastly, pay attention and communicate - not just during the solo (so you see when the bass player - or anyone - gives you stink eye) but before and/or after the gig. For some reason, musicians suck at giving each other good feedback using those pesky "words" that other humans are constantly spitting at one another out in the audience (often during the bass solo). If you want spang-a-lang near the bell of the ride during your solo and nothing else, tell me. If you want texture only so you can go fully off the tempo conveyer belt for the bridge, tell me. If you want me to reinforce your ideas and help build your solo into the scintillating story that you'd intended to give the audience during those 32 bars, tell me. If I guessed right and that's what you want for the second show, tell me. If I can't deliver, that's on me; if I can't read your mind, that's on you.
Bassists need to assign this as required listening for everyone they play with. I'll defer taking a solo 90% of the time because it's boring for everyone to hear bass solo over nothing but closed hi-hat while the piano player goes and gets a drink.
I have no idea why people think they need to drop out for a bass solo. Maybe it's because it's low in pitch and they think it'll be heard better. (Which is dumb). It's simple. State the time. Keep the groove. And if there's no drummer LAY DOWN QUARTER NOTES! Don't be stabbing on off beats. Don't leave empty spaces. Something needs to be a reference. And easy with the subs. Let the bass create the variations.
You said it, listen to the bass solo. That said, the bass player has to show up and express themselves. My worst bass solos are when the piano just plays standard comp stabs that handcuff me! Great reference to Keith Jarrett. Bill Evans, Herbie are also great compers. Paul Chambers solos are often left alone because they are better alone.
All these issues can be solved by just communicating with the bass player ahead of time, and avoiding playing with bass players who are hard to work with. Also, always put the audience/listener first. Never forget that music is entertainment, and that you are an entertainer. The minute you start putting yourself ahead of the listener, you disconnect and abandon your audience.
As a bass player for 30 years, let me say, the best way to comp for a bass solo is to simply lay out. Comping for bass isn’t necessary like it is with other instruments, and it usually does more harm than good. A good bassist doesn’t need any help from the band when taking a solo, except a drum beat (and sometimes not even that). The contrast of having nothing but bass/drums for that minute or 2 is literally THE THING that makes the bass solo sound like a bass solo. More often than not, even mellow chords on a guitar or piano in “the background” aren’t actually perceived as being in the background by the listener… The harmony that’s intended to support the bass can and usually will unintentionally grab the listener’s focus away from the bass because people’s ears are naturally drawn to the higher notes… At that point it just becomes chords over a busy bass line, and the whole purpose is defeated. When that happens to me, I get the same feeling as when someone is talking over me when I’m trying to make an important point.
Very well put. Laying out in general, especially for all instruments other than drums (and sometime drummers too laying out) helps create more sonic space for everyone.Easier to build from there.
Fellow bassist here... I absolutely HATE when they lay out completely. I like hearing the chords. Looks like we should just be assertive and tell them our preferences.
Most bass players BS the form and chord progressions during their solo when nothing else is played. Moreover, most upright bass players have a muddy tone and it’s very ambiguous as to the accuracy of their pitch. The end result is that the song as a whole loses a lot of energy during bass solos. It becomes an exercise in satisfying the individual musician at the expense of satisfying the audience’s attention.
@michaelkiese7794 as a bassist... I confirm that I do BS the form and changes when nothing else is played. I need to hear the harmony. Really great players probably don't, but don't hate on us hobbyists.
Hi Aimee - great post, I've worked on this to the satisfaction (and relief) of many bassists I've played with over the years. Your Keith Jarrett and Fred Hirsch references are spot-on, and Bill Evans to me is the one of best ever, including what-when he plays and what-when he doesn't. Just 'drop the needle down' on any of Scott LaFaro's solos from the Village Vanguard sessions to learn something from him. Check out Wynton Kelly's tasteful backup to Paul Chambers' brief solo on Freddie Freeloader (Kind of Blue, around here th-cam.com/video/ZZcuSBouhVA/w-d-xo.html ), which keeps the group energy flowing into the finish. Or what Chick Corea does for Eddie Gómez on Quartet No.2 Part 2 (the Coltrane movement, around here th-cam.com/video/UQx96DsZXxA/w-d-xo.html ), setting up Michael Brecker to bat in the cleanup spot afterwards, wow, just wow. Chick's comping technique is severely underrated in this regard throughout his whole career. Like you're touching on I think, there's not so much a formula as there is feeling the groove and the bassist, focusing on what they want (not always the same!) and helping them find it. Making the soloist better as you say, the art of all great accompaniment. Cheers!
Bass player here - I think it’s not as much about the intensity that drops, because maybe that’s what you are looking for - it’s that someone needs to pick up what the bass player drops. The roots, the rhythm and the groove. All too often, bass solos end up being all three things at once, basically a busy bass line with fills. Thats not really a solo. In my opinion.
As a bass player, I generally (but not totally!) disapprove of bass solos. 😁 (There's more important things for the bass to be doing, as a rule.) That said, everything said in this vid is right on the mark. (I particularly liked the analogy with the conversational sin of making someone else's story about you.) Much of it applies whichever instrument is soloing. (Or even not soloing!) Not listening enough to the others, too absorbed in your own playing/performance, is an all too common failing - I should know, I've been guilty too! The particular challenge with bass solos is that there's a fundamental dimension to the music that is suddenly gone, and that needs to be addressed by e.g. something(s) else taking over that role, or perhaps by making a feature of its absence. With acoustic basses that problem/opportunity is all the greater, because the rest of the band needs to drop in volume/density so it can be heard. .
Great topic! I hate when I’m listening to a great band and the bass player is grooving his ass off for their solos, following their peaks and valleys and then everyone drops out and leaves the bass player hanging when it’s their turn to solo. How do you think that guitar solo would have sounded if the band had all dropped out? Hopefully if it’s people you play with regularly this is discussed in rehearsal.
Thank you madame Nolte... Surprisingly, recently I started playing bass on my left hand while doing melody on the right (via keyboard splitting). But no, I cannot solo with that left-bass-hand :-). I cannot even go out of sync! But anyway, ifff one day I can achieve total hand independence, I will remember your words on it... I wonder if you have / or can make an introductory series about oldie-goldie music and artists from 50s, 60s, 70s, [80s (not oldie but goldie)]. How to know the good musicians, and their good music? And especially their relation to people's memories, habits, culture ...
Slightly tangential, in your examples of the piano comping, I hear the pianist using the sustain pedal sometimes and then other times not. Can you do a video on the art and science of when, why and how to use the pedals? If you already have a video on that, my bad. I need to dig deeper. Thanks in advance!
I feel more bass players are responding to this than anyone else, and here's another one. Very well done! Personally, I would have put keeping the groove as number one unless the bass solo is groove-oriented rather than melody-oriented. Energy comes from the groove. Solo or not, if the bass isn't holding down the groove and the drummer goes for a coffee, who else is going to do it? And keeping track of the form is huge as well. Oscar Peterson was one who was just so good at this. Mostly, know your bassist and give support, as your bassist gives to you. We're not all Victor Wooten. th-cam.com/video/Gg4hrXgTvsI/w-d-xo.html
Aimee, the best example I know of a guitarist comping is Joe Pass, "Joe's Blues" (in G), from his 1970 album Intercontinental. This website provides audio plus a rough transcription: th-cam.com/video/7rbXwutwfFc/w-d-xo.html. Unfortunately, that transcription glosses over Joe's comping behind Eberhard Weber's fine bass solo (3:00-4:15), and Kenny Clare's shorter drum solo (4:50-5:20). However, a complete transcription is contained in Joe's 1970 book "Joe Pass Guitar Method " (be careful -- Joe published other books around that time with just slightly different titles), which is apparently still available in paperback at Amazon for a mere $16. Certainly adaptable to piano. Guitarists need to read because Joe did not believe in tab (nor do I).
I knew this bassist that fancies himself a jazz player, but whenever he gets a solo he just keeps soloing for the rest of the song. I don't understand how he gets booked.
Maybe an unpopular opinion, I'm a bass player, but no matter how inventive or dexterous (that Gary Peacock example was amazing) I usually find bass solos pretty boring because the instrument is an impulse provider and just lacks a lyrical voice. Yet the bass is so exciting when it's pushing a groove uniting beat and harmony.
I beg to differ - it can be a very lyrical instrument in the hands of a lyrical player, but not many bass players focus on lyricism, it’s not a big part why most players choose to play bass, nor is it a big part of the role of the bass. But when it’s done well, it can bring tears just as swiftly as a cello or violin.
I am with you. Every once in awhile you get the right situation for lyrical bass playing: Jaco with Joni Mitchell for example was beautiful. But no one expects the sax player to be the bass so why the opposite?
“Everyone always talks during the bass solo.” As an adolescent I liked solos of any instrument. Now, decades later, I prefer when bands play together. A certain instrument surely can take the lead, but it shouldn’t be a show of “look at me how skilful of fast I am”. Peter Hook from New Order often played melodies rather than soloing. The bass on Nice’n’Sleazy from the Stranglers also is a bass in the foreground without soloing. Solos seem like etudes to me, and etudes shouldn’t be performed in front of an audience IMHO.
Sad to see so many people here saying bass solos are bad, especially from bass players themselves. Perhaps they simply haven’t learned how to solo, too many years walking and not learning much else.
Try as I may, (as a guitar player) bass solos escape me, my mind wanders and I completely lose where they are in the progression. Berry Oakley was the only bass player that I can follow his thread.
As a bass player (and drums, piano, vocals and guitar) almost no one comps well that I’ve heard in terms of appropriate for allowing the story to be told. Even Kieth Jarret. I think almost everyone plays way too much in the beginning and is not really listening. It’s not about appeasing the audience either.
@aimeenoltemusic I wish someone could give me advice about going back into music; I just turned the big 6-0. Not trying to blow my own horn but I was considered a 'very talented musician' when I was younger: drums keyboards vocals... I can't seem to find anywhere where I fit in and I don't like playing in bars-any advice would be appreciated.
@AimeeNolte Thank You -I live in a medium sized" affluent" town 45 minutes north of New Orleans, but I rarely if ever go to New Orleans-not my cup of tea. Some of my friends are in bands that are making $4,200 for one LOCAL wedding!!!
Why do bass players feel a need to solo? I used to be a lead guitarist. I hated playing solos. I play bass now. You know what. I play a really big and heavy guitar between riffs to bridge between the percussion of the drums and guitars with a 4 or 5 string guitar. I love playing music and live anonimity. And love playing bass. Hair in my face and the few backup vocals if that even. Dont want or need a solo playing bass. Moved to bass because I didn't want to play a solo. I just want to play music. Get a little wild and move a little but hate attention on me.
Three comments. Wall of text coming up. 1) Anyone else have a hard time hearing bass without headphones and turning up the volume quite a bit? Sometimes I'm wondering if I'm losing my hearing when people are praising the bassist, but I don't hear much unless I put on headphones or listen live in the real world. 2) As someone new to playing musak (i.e. a beginner piano "player") in their early 50s, I haven't grasped how solos and jam sessions work (or group improv.) There must be disagreement on who goes when and what should be played. And do solo hogs exist? Players who wedge themselves into the solo and don't pass the hot potato. And there must be competing "solo-ists" stomping on each other. How about the one fish swimming upstream while all the rest are swimming downstream. I'm thinking of Jim Carrey impersonating Vanilla Ice with the shoe flying or Yoko Ono screeching at Chuck Berry. Everything is out of lockstep. And there must be players trying to force a different genre into the song such as forcing their metal guitar licks in soft rock song. I have to think of jamming in a band is like trapeze act. Everyone must to play their part, on time, and in the right place, otherwise the whole thing collapses. 3) I guess this is why some bands break up? Choosing band mates must be like choosing romantic partners. If they don't mesh, it won't work out. Maybe these are stupid questions to pro musicians, but to someone with zero band experience it's a mystery. I have to use my i.m.a.g.i.n.a.t.i.o.n. 🧽🌈 to figure out how this works.
For question 2: Either talk it out before or somebody had better be willing to herd the cats. As a drummer, that's often me - when I think you've solo'd over that form enough times, it's crash boom bang and the next cat blows.
I think things like the I Hear a Rhapsody version reaaally take away from the bass solo. The simple truth is, basses are optimized to be a low frequency instrument. The human ear is optimized for mid range frequencies. If you leave the bass register to get into more melodic playing in middle ranges, it gets fragile, quiet and easily overwhelmed by other sounds in that frequency range. Doubly so of the voicingd are super dense and crunchy
Having worked as a semi pro bassist, in different genres, for several decades. I approve of this message. Thank you for yet another insightful and well presented tutorial. I watched it on Nebula, of course. ✌✌
i know you're married, but do you want to get marriage proposals from bass players? because this kind of content will do that. joking aside, THANK YOU!
No! The first thing you need to do is Talk To Your Bass Player! See what they want - some bassists want this, some want that. Plus a bass guitar has no problem at all with audibility or energy levels. The approach here needs overhauling.
"Bass players don't want intensity to drop." Yesssssssss!!!! Please!!!!!
So true!
Wow, I've never heard anyone outline this so clearly, and with such a complete explanation, as Aimee does here!
From a bass player, everyone needs to apply everything here to all solos from everyone! Listen, compliment & contrast, listen, leave space, and above all- listen!
🙏 Amen
or possibly "complement"
@@peternicholas2393 Yes.
Maybe even both.
Bass player here, thank you so much for this for post. When we're "being the horn player" somebody has to do what we usually do.
On the other end of the spectrum- as a Flute player- everyone thinks they have to drop the intensity for a Flute. NO!!!!! I WANT that groove to stay and feed off
Not a musician but love jazz. Back in the day I bartended at a higher end jazz club. Can't tell you how dreary it was when the bass solo started. Sucked the energy out of the room night after night. There'd be this sad deadness. But now, I'm thinking maybe the bass player just needed a little more support. 😊
This is great. I'm learning to play bass.😂 Really enjoy your content. Fantastic examples and clarity of your message here.
I like how you explain music. It makes me consider things that I never thought of before.
As a bass player, I wholeheartedly agree with all your points - excellent video ! Particularly the parts about keeping up the intensity: 95% of the time, my job as a bass player is to make ALL the rest of you sound as good as possible, primarily through wise note choices that supports the soloist AND the comp’er, all while keeping the time and groove (or ping/pong’ing) with the drummer - AND the comp’er, for that matter. Why should this be any different, just because I’m the soloist ?
I try to accomplish this by listening to the music, as if I were a conductor; or in the audience. Or in the mixing room. This way I can focus much more attention towards what the rest of the band is playing and my bass lines and note choices somehow kind of ‘plays them self’.
You’re spot on regarding registers. The bass’s first fundamental are in the register from approximately 40Hz (low open E string), but from the ‘driver’s seat’, the bass player will mostly hear the 2. fundamental (an octave higher). So when we play our bebop solo in a lower and middle register, when we’re alone it sounds quite nice - from the driver’s seat. As soon as other instruments are added, a lot of the upper partials/harmonics a drowned out, thus the most prevalent frequencies the audience will hear, would be the low 1st fundamentals; even when we’re moving up to the middle register on the neck. Remember, we’re playing rather sophisticated bebop harmony - but in the Tuba register.
So giving us sonic room - frequency wise - is a most welcome trait. Comp’ing in the 40Hz -> ca.2-300Hz area should be used sparingly; or when you see us going into thumb position in the higher register of the neck. It’s then less likely to clash/mask frequencies. Which is also why I always suggest guitarist’s to cut some of those frequencies on their amp, or use a High Pass Filter. Listen to the overall mix balance in the room. This should suggest the register of the comping. If the comp’er emphasize those low(er) frequencies, we REALLY have to fight the bass - even when walking - because those very frequencies from your instruments, including the kick drum, literally affects how our instrument reacts, sounds and feels.
Legend has it that Ron Carter once said to a young Herbie Hancock during a rehearsal: “Do you see that capitol ‘S” in “Steinway & Sons” on your piano ? - everything below that ‘S’ belongs to me !” 🙂
All the best,
Martin - Denmark
This video is gold, and I feel like it's been needed for years. So many great ideas!
Just to add my 2 cents, I think laying out for a bass (or drum) solo is something that should mostly, maybe only, be done by high level players in small ensembles. I don't mean laying out for a bar or two, I mean laying out long enough for them to get lost.
Most of the student, amateur, and even young pro bassists in the world who are still learning to take solos really do need help keeping the form, just like 90% of the band does. When a bandleader has to saunter over and cold cue the whole band back in, I always wonder why they ever let that happen to a kid.
Great point. For awhile, you gotta make sure everyone knows where the form is - and even where ONE is occasionally🙌🏼
This is a great video. On all your solos, there's a bassist who's outlining the form, voice leading, reacting to you. I can't tell you how many times I've begged the guitar or piano to stay in and drive.
You successfully described what a bass player thinks of in support of soloing musicians. Thank you
drummers playing the hihat during my solo is one of my pet peeves lol. thank you for this vid
ive also noticed that chordal instruments tend to drop out almost entirely, which makes it a lot harder for me because im then given the task of outlining the entire chord instead of being able to pick specific notes from it
Awesome.
NHØP said it best. Thank you, on behalf of us bassists!
Thank you for this video. I'm a bassist, and I also feel that way too many players do a poor job when it comes to comping for bass solos. If a bassist doesn't return your call about a gig... you are likely one of those players.
Thank.you.for.this. 😭🙌🏽
Emily Remler is an excellent guitarist to listen to for her comping ability. She was one of the few guitarists that can really comp for a bass player
My grandfather used to tell me this story from his time in the Pacific Theater during WWII.
A pair of airmen shot down in an airfight ejected from their aircraft just before crashing into the sea. They managed to float to a tiny island the could just barely see in the water. It took a couple of days and by the time they reached land they were badly dehydrated and exhausted. Not long after crawling onto the beach, they were surprised by a group of indigenous men who surrounded them, bound their arms and legs, and carried them into the jungle, while giving them an odd-tasting liquid to drink. They lost consciousness quickly after drinking, but awoke later -- how much later, they didn't know, was it hours, days, weeks? -- each in a comfortable bower, covered in blankets, inside a clean hut. As they cleared their heads, the one thing that each became acutely aware of was the pulse of throbbing drums somewhere in the jungle nearby.
The men were happy to find that they were warm and comfortable, but of course they had no idea what the indigenous people had in mind for them. Were they captives? Or simply patients? Were the villagers cannibals? Were our two heroes nothing more than meat?
Eventually, two attractive women came into the hut with food and drink. The women knew a bit of pidgin English. Using that, and a lot of pointing, they were able to communicate about the basics. Where do I go to the bathroom? May I eat and drink this?
Eventually they regained their strength and began wandering around the village with apparent freedom. The villagers looked at them with gentle curiosity, but each day they were tended to by two lovely women who gently provided for their needs while guiding them around the village and learning to tell them about how village life was organized.
Still, all day, every day, the pulsing drums resonated from somewhere nearby in the jungle. Until one day, almost without warning, the drums stopped. The silence was almost deafening. "That is very bad," said one of the guides. "Why, what's going to happen?" Said one of our heroes. The guide replied: "Now comes the bass solo."
Good examples of bass solos that work, from hard rock, are Free, Mr. Big (Andy Fraser) and Uriah Heep, Why (Gary Thain).
Another bass player here, thanks for discussing this!
Humble Pie had an excellent bass solo in their song "I Don't Need No Doctor" from their live album Rockin The Fillmore. It breaks down beautifully as the crowd claps to it and then moves to Peter Frampton's guitar solo.
I remember being in my undergrad and I was playing bass for a buddy’s senior recital. We had a rehearsal and I was asked to solo for one of his arrangements. When we got to the solo, the drummer, key player, and guitarist all dropped out. I just kept going while they all panicked trying to figure out whose responsibility it was to support me.
Since then I’ve always been critical of a support players comping for bassists. I’m embarrassed to admit, I would purposefully drop out to prove a point from time to time.
As petty as I was, I did eventually learn what good comping was like and what felt best to me and then applied it to everyone else’s solos that I’ve gigged with since. Love this discussion so much.
Thank you for this!
Great topic!
Well done, Aimee. Thank you!
When Evans laid out on Scott LaFaro it seemed natural, too. The conversation didn’t die. The listening was crucial. Awesome video.
Yes, for the love of all that is good in the world, don't hang us out to dry. I used to play with a fantastic pianist who did a lot of solo gigs, so his walking lines were great. When I did upper register solos on electric, he'd play a walking line underneath and it was so fun to play over. I've never played with anyone who could accompany a bass solo better than him.
This is just fantastic advice for every ensemble player
Amen, glory hallelujah. Thank you. As a bass player who likes to solo..this is how I want to be supported by the rhythm section.
Every musician on stage should be able to carry the tune by themselves. If they can't, then they haven't done their homework. Comping is not a privilege nor is it a crutch. Much comping heard in today's younger players is mechanical and straight jackets the music. Great topic for discussion Aimee!
Thanks for this... lots of great points as usual. Personally, as a bass player, I like having the keys/guitar and drums along for the ride when I solo... just not overshadowing what I'm doing.
What a great topic, and your just knowledgeable and intuitive on this subject,well done
Thanks for the video! Great tips!
excellent! thank you
Hi Aimee, I appreciate your suggestion to just "lay out" sometimes. I have always found that easy to do; I started my musical journey as a percussionist in the school orchestra, and in some classical pieces, your part consists of 72 measures of rests, but you better know when to come in! Obviously, performing jazz with all of its improvisation and interpretation is very different from classical orchestral music, where you stick to the notes printed on the page. Nevertheless, I see many parallels, especially when it comes to giving others both the space and the support they need so that they can shine.
GREAT video. As a bass player, my job is to support every element of the song and the solos. When other instruments solo my job is to listen, support, outline, groove, and move with the intensity. When the bass solos the band should do the very same. It’s not the time for the band to drop out. Thank you!
Thank you for pointing this out!
Thanks, This will help me teach how to comp in my workshops.
I generally play stabs, sometimes fat ones down low, sometimes light, tinkly ones up high (I love having 88 keys). I'm generally letting everyone know where one is in case the rhythm slightly falters. I'll still try to play a "story", though - let some chords ring, do some light arps in the bridge, lead in to the next section, etc. Just trying to do my job as a good accompanist.
Love the examples you present here, great stuff!
Yet another bassist in full agreement. It applies all around. The only thing that I might approach differently is to not only listen to what the soloist is doing, but more importantly, what they are saying. What are they NOT saying? Where does it feel like they are going with this, and how can I help them get there? Am I doing that?
The only way to be sure is to listen to a recording of the performance. Did you get it right? Did you leave space? Is there anything more that you could have implied, rather than spelled out?
Admittedly, my experience comping on guitar for Bass is limited to roughly 5 double bass players ranging in skill from “intermediate” to very advanced/pro. I mostly stick to sparse guide tone voicing, stabs, staying away from 1, and dropping out altogether when the bass solo energy builds to a level where I can no longer add anything .
I’m not (yet) a pro-level Jazz guitarist and feel I could spend hundreds of additional hours practicing ideas and learning new voicings and movements to improve as an accompanist.
Even so, I feel like it’s a lot like human relationships. Over the course of several interactions you’ll find out if you have the right “chemistry” to continue making music together.
Thanks for highlighting Fred Hersch, who is such a tremendously sensitive pianist and - in my view - doesn't get all the props he richly deserves.
Great topic, Ms. Nolte. Yes, we need you behind us. Play! No, don’t play! A bit of support, would be welcome about now?
A bass player’s life is a tough one.
I’m a doubler and I will say it makes a massive difference whether you’re playing Upright or Bass Guitar. With upright you gotta stay out of the low end and drop dynamics. If you’re playing electric you can keep the intensity way higher.
True about backing any soloist 👍🏻
really helpful video. and I know this is all about the music, but that is a sweet sweater.
Haha, I love a good sweater! Thx!
On bass gigs, i have worked with pianists that have done everything from playing walking bass left hand to George Shearing chord/melody comping behind my solos. Many times I stopped soloing after 8 bars and got the evil eye. After the gig, I would be asked why I stopped after 8 bars.
I can't write what my exact reply was. Let's put it this way: "You must not have liked what I was "saying", therefore I thought it best to shut up and walk changes and avoid solos the rest of the night."
😅 oof
Thank you from a bass player! 🙏🏻
Thank you.
People would quit playing entirely. Don’t! Play, just play sparingly and don’t compete with what we are playing. Outline the groove and changes.
the best album to listen for this is Bill Evans Live at the Village Vanguard with Scott LaFAro on Bass;..a masterpiece!!!!
Thank you.
Yeah, I think of Keith behind Peacock as something similar to Evans behind LaFaro. For sure listen and don't fence me in.
great video! I'm a melodic bass player who likes to leave space (in jazz at least, funk is different). My drummer will lay off the ride and back off volume while my guitarist plays chords as swells and it works well for my style
Drummer chiming in here. First, the hats - that's low-hanging quiet fruit for a lazy drummer, and it often ends up breaking what I consider the cardinal rule for comping on any solo, but particularly a bass solo: Stay out of my register. Which leads to another rule - you probably don't need to be feathering four on the floor during the bass solo, because that's definitely in the register. The debate as to who owns the tempo - the bass player or the drummer - is as old as time, but almost every bass player worth spit has that tempo in the back of their head and doesn't need you stomping it out at them. Maybe give a "1" on the changes, but otherwise let that foot sit out.
BTW: On the John Clayton and Monty Alexander clip, that's Jeff Hamilton drumming and he's a great one to emulate. I don't know a bass player that doesn't like playing with Jeff.
Lastly, pay attention and communicate - not just during the solo (so you see when the bass player - or anyone - gives you stink eye) but before and/or after the gig. For some reason, musicians suck at giving each other good feedback using those pesky "words" that other humans are constantly spitting at one another out in the audience (often during the bass solo). If you want spang-a-lang near the bell of the ride during your solo and nothing else, tell me. If you want texture only so you can go fully off the tempo conveyer belt for the bridge, tell me. If you want me to reinforce your ideas and help build your solo into the scintillating story that you'd intended to give the audience during those 32 bars, tell me. If I guessed right and that's what you want for the second show, tell me. If I can't deliver, that's on me; if I can't read your mind, that's on you.
Bassists need to assign this as required listening for everyone they play with. I'll defer taking a solo 90% of the time because it's boring for everyone to hear bass solo over nothing but closed hi-hat while the piano player goes and gets a drink.
I have no idea why people think they need to drop out for a bass solo. Maybe it's because it's low in pitch and they think it'll be heard better. (Which is dumb). It's simple. State the time. Keep the groove. And if there's no drummer LAY DOWN QUARTER NOTES! Don't be stabbing on off beats. Don't leave empty spaces. Something needs to be a reference. And easy with the subs. Let the bass create the variations.
You said it, listen to the bass solo. That said, the bass player has to show up and express themselves.
My worst bass solos are when the piano just plays standard comp stabs that handcuff me!
Great reference to Keith Jarrett. Bill Evans, Herbie are also great compers.
Paul Chambers solos are often left alone because they are better alone.
Especially with the bow. Yeah good thoughts!
Wonderful
Springy moment: did you see at 13:53 how the springer spaniel woke up and got into the groove (at the back of the stage)?
All these issues can be solved by just communicating with the bass player ahead of time, and avoiding playing with bass players who are hard to work with.
Also, always put the audience/listener first. Never forget that music is entertainment, and that you are an entertainer. The minute you start putting yourself ahead of the listener, you disconnect and abandon your audience.
As a bass player for 30 years, let me say, the best way to comp for a bass solo is to simply lay out. Comping for bass isn’t necessary like it is with other instruments, and it usually does more harm than good. A good bassist doesn’t need any help from the band when taking a solo, except a drum beat (and sometimes not even that). The contrast of having nothing but bass/drums for that minute or 2 is literally THE THING that makes the bass solo sound like a bass solo. More often than not, even mellow chords on a guitar or piano in “the background” aren’t actually perceived as being in the background by the listener… The harmony that’s intended to support the bass can and usually will unintentionally grab the listener’s focus away from the bass because people’s ears are naturally drawn to the higher notes… At that point it just becomes chords over a busy bass line, and the whole purpose is defeated. When that happens to me, I get the same feeling as when someone is talking over me when I’m trying to make an important point.
As a fellow 30-year veteran, I disagree 100%
Very well put. Laying out in general, especially for all instruments other than drums (and sometime drummers too laying out) helps create more sonic space for everyone.Easier to build from there.
Fellow bassist here... I absolutely HATE when they lay out completely. I like hearing the chords. Looks like we should just be assertive and tell them our preferences.
Most bass players BS the form and chord progressions during their solo when nothing else is played.
Moreover, most upright bass players have a muddy tone and it’s very ambiguous as to the accuracy of their pitch.
The end result is that the song as a whole loses a lot of energy during bass solos. It becomes an exercise in satisfying the individual musician at the expense of satisfying the audience’s attention.
@michaelkiese7794 as a bassist... I confirm that I do BS the form and changes when nothing else is played. I need to hear the harmony. Really great players probably don't, but don't hate on us hobbyists.
Hi Aimee - great post, I've worked on this to the satisfaction (and relief) of many bassists I've played with over the years. Your Keith Jarrett and Fred Hirsch references are spot-on, and Bill Evans to me is the one of best ever, including what-when he plays and what-when he doesn't. Just 'drop the needle down' on any of Scott LaFaro's solos from the Village Vanguard sessions to learn something from him.
Check out Wynton Kelly's tasteful backup to Paul Chambers' brief solo on Freddie Freeloader (Kind of Blue, around here th-cam.com/video/ZZcuSBouhVA/w-d-xo.html ), which keeps the group energy flowing into the finish. Or what Chick Corea does for Eddie Gómez on Quartet No.2 Part 2 (the Coltrane movement, around here th-cam.com/video/UQx96DsZXxA/w-d-xo.html ), setting up Michael Brecker to bat in the cleanup spot afterwards, wow, just wow. Chick's comping technique is severely underrated in this regard throughout his whole career.
Like you're touching on I think, there's not so much a formula as there is feeling the groove and the bassist, focusing on what they want (not always the same!) and helping them find it. Making the soloist better as you say, the art of all great accompaniment. Cheers!
Bass player here - I think it’s not as much about the intensity that drops, because maybe that’s what you are looking for - it’s that someone needs to pick up what the bass player drops. The roots, the rhythm and the groove. All too often, bass solos end up being all three things at once, basically a busy bass line with fills. Thats not really a solo. In my opinion.
Certainly not an oft-talked about issue/skill. 💯
Band-Maid is a master class on this topic. MISA!!
ask them what they want.
Thank you, Amy Bass solos where everybody plays quieter, and the bass player plays the same thing
your so good
As a bass player, I generally (but not totally!) disapprove of bass solos. 😁 (There's more important things for the bass to be doing, as a rule.)
That said, everything said in this vid is right on the mark. (I particularly liked the analogy with the conversational sin of making someone else's story about you.)
Much of it applies whichever instrument is soloing. (Or even not soloing!) Not listening enough to the others, too absorbed in your own playing/performance, is an all too common failing - I should know, I've been guilty too!
The particular challenge with bass solos is that there's a fundamental dimension to the music that is suddenly gone, and that needs to be addressed by e.g. something(s) else taking over that role, or perhaps by making a feature of its absence. With acoustic basses that problem/opportunity is all the greater, because the rest of the band needs to drop in volume/density so it can be heard. .
Maybe you'd like to do a round-up of "higher energy" soloes for other instruments, including more exemplary bass?
Great topic! I hate when I’m listening to a great band and the bass player is grooving his ass off for their solos, following their peaks and valleys and then everyone drops out and leaves the bass player hanging when it’s their turn to solo. How do you think that guitar solo would have sounded if the band had all dropped out? Hopefully if it’s people you play with regularly this is discussed in rehearsal.
Keeping the intensity! Too often the bass sol I in a club becomes an opportunity to order a drink or chat.... :(
Thank you madame Nolte... Surprisingly, recently I started playing bass on my left hand while doing melody on the right (via keyboard splitting). But no, I cannot solo with that left-bass-hand :-). I cannot even go out of sync! But anyway, ifff one day I can achieve total hand independence, I will remember your words on it... I wonder if you have / or can make an introductory series about oldie-goldie music and artists from 50s, 60s, 70s, [80s (not oldie but goldie)]. How to know the good musicians, and their good music? And especially their relation to people's memories, habits, culture ...
8:30 , wow I’ve never thought about it that way …. noted lol
Slightly tangential, in your examples of the piano comping, I hear the pianist using the sustain pedal sometimes and then other times not. Can you do a video on the art and science of when, why and how to use the pedals? If you already have a video on that, my bad. I need to dig deeper. Thanks in advance!
Nice
When I'm asked to solo I feel like playing the bass line a little busier or trade 4's with the drummer. So I look at the drummer.
I feel more bass players are responding to this than anyone else, and here's another one. Very well done! Personally, I would have put keeping the groove as number one unless the bass solo is groove-oriented rather than melody-oriented. Energy comes from the groove. Solo or not, if the bass isn't holding down the groove and the drummer goes for a coffee, who else is going to do it? And keeping track of the form is huge as well. Oscar Peterson was one who was just so good at this.
Mostly, know your bassist and give support, as your bassist gives to you. We're not all Victor Wooten.
th-cam.com/video/Gg4hrXgTvsI/w-d-xo.html
☝️♥️🙏 thanks Aimee .
Aimee, the best example I know of a guitarist comping is Joe Pass, "Joe's Blues" (in G), from his 1970 album Intercontinental. This website provides audio plus a rough transcription: th-cam.com/video/7rbXwutwfFc/w-d-xo.html. Unfortunately, that transcription glosses over Joe's comping behind Eberhard Weber's fine bass solo (3:00-4:15), and Kenny Clare's shorter drum solo (4:50-5:20). However, a complete transcription is contained in Joe's 1970 book "Joe Pass Guitar Method " (be careful -- Joe published other books around that time with just slightly different titles), which is apparently still available in paperback at Amazon for a mere $16. Certainly adaptable to piano. Guitarists need to read because Joe did not believe in tab (nor do I).
I knew this bassist that fancies himself a jazz player, but whenever he gets a solo he just keeps soloing for the rest of the song. I don't understand how he gets booked.
Maybe an unpopular opinion, I'm a bass player, but no matter how inventive or dexterous (that Gary Peacock example was amazing) I usually find bass solos pretty boring because the instrument is an impulse provider and just lacks a lyrical voice. Yet the bass is so exciting when it's pushing a groove uniting beat and harmony.
I beg to differ - it can be a very lyrical instrument in the hands of a lyrical player, but not many bass players focus on lyricism, it’s not a big part why most players choose to play bass, nor is it a big part of the role of the bass. But when it’s done well, it can bring tears just as swiftly as a cello or violin.
I am with you. Every once in awhile you get the right situation for lyrical bass playing: Jaco with Joni Mitchell for example was beautiful. But no one expects the sax player to be the bass so why the opposite?
“Everyone always talks during the bass solo.”
As an adolescent I liked solos of any instrument.
Now, decades later, I prefer when bands play together.
A certain instrument surely can take the lead, but it shouldn’t be a show of “look at me how skilful of fast I am”.
Peter Hook from New Order often played melodies rather than soloing.
The bass on Nice’n’Sleazy from the Stranglers also is a bass in the foreground without soloing.
Solos seem like etudes to me, and etudes shouldn’t be performed in front of an audience IMHO.
Sad to see so many people here saying bass solos are bad, especially from bass players themselves. Perhaps they simply haven’t learned how to solo, too many years walking and not learning much else.
I think this is dead on
Try as I may, (as a guitar player) bass solos escape me, my mind wanders and I completely lose where they are in the progression. Berry Oakley was the only bass player that I can follow his thread.
As a bass player (and drums, piano, vocals and guitar) almost no one comps well that I’ve heard in terms of appropriate for allowing the story to be told. Even Kieth Jarret. I think almost everyone plays way too much in the beginning and is not really listening. It’s not about appeasing the audience either.
How do you know when the stage you're on is level?
The drool is dripping from both sides of the bass player's mouth.
Turns out if it's not Jazz you'll never get a bass solo :(
@aimeenoltemusic I wish someone could give me advice about going back into music; I just turned the big 6-0. Not trying to blow my own horn but I was considered a 'very talented musician' when I was younger: drums keyboards vocals... I can't seem to find anywhere where I fit in and I don't like playing in bars-any advice would be appreciated.
Depends what city you’re in, I think
@AimeeNolte Thank You -I live in a medium sized" affluent" town 45 minutes north of New Orleans, but I rarely if ever go to New Orleans-not my cup of tea. Some of my friends are in bands that are making $4,200 for one LOCAL wedding!!!
Why do bass players feel a need to solo?
I used to be a lead guitarist. I hated playing solos. I play bass now. You know what. I play a really big and heavy guitar between riffs to bridge between the percussion of the drums and guitars with a 4 or 5 string guitar. I love playing music and live anonimity. And love playing bass. Hair in my face and the few backup vocals if that even. Dont want or need a solo playing bass. Moved to bass because I didn't want to play a solo. I just want to play music. Get a little wild and move a little but hate attention on me.
The lick. 6:32
I'ma add it to a new compilation I'm making.
Three comments. Wall of text coming up.
1) Anyone else have a hard time hearing bass without headphones and turning up the volume quite a bit? Sometimes I'm wondering if I'm losing my hearing when people are praising the bassist, but I don't hear much unless I put on headphones or listen live in the real world.
2) As someone new to playing musak (i.e. a beginner piano "player") in their early 50s, I haven't grasped how solos and jam sessions work (or group improv.) There must be disagreement on who goes when and what should be played. And do solo hogs exist? Players who wedge themselves into the solo and don't pass the hot potato. And there must be competing "solo-ists" stomping on each other. How about the one fish swimming upstream while all the rest are swimming downstream. I'm thinking of Jim Carrey impersonating Vanilla Ice with the shoe flying or Yoko Ono screeching at Chuck Berry. Everything is out of lockstep. And there must be players trying to force a different genre into the song such as forcing their metal guitar licks in soft rock song.
I have to think of jamming in a band is like trapeze act. Everyone must to play their part, on time, and in the right place, otherwise the whole thing collapses.
3) I guess this is why some bands break up? Choosing band mates must be like choosing romantic partners. If they don't mesh, it won't work out.
Maybe these are stupid questions to pro musicians, but to someone with zero band experience it's a mystery. I have to use my i.m.a.g.i.n.a.t.i.o.n. 🧽🌈 to figure out how this works.
For question 2: Either talk it out before or somebody had better be willing to herd the cats. As a drummer, that's often me - when I think you've solo'd over that form enough times, it's crash boom bang and the next cat blows.
Bluesy maybe, but that seems like jazz to me...🤔.
It's semi permanent vacation from structure gives it away.
I think things like the I Hear a Rhapsody version reaaally take away from the bass solo.
The simple truth is, basses are optimized to be a low frequency instrument. The human ear is optimized for mid range frequencies. If you leave the bass register to get into more melodic playing in middle ranges, it gets fragile, quiet and easily overwhelmed by other sounds in that frequency range. Doubly so of the voicingd are super dense and crunchy
Great video! Why are plugging a business at the end of the video? Makes it feel……..cheap?
You can watch my video called “why I’m not quitting TH-cam “if you really care about the reason.🙌🏼
Having worked as a semi pro bassist, in different genres,
for several decades. I approve of this message.
Thank you for yet another insightful and well presented tutorial.
I watched it on Nebula, of course.
✌✌
so few players know this.
Hopefully a few more will know it now💙
@@AimeeNolteThanks for what you do
We are talking upright basses and not bass guitars right?
Forget what I wrote previously. I don't do jazz.
i know you're married, but do you want to get marriage proposals from bass players? because this kind of content will do that.
joking aside, THANK YOU!
No! The first thing you need to do is Talk To Your Bass Player! See what they want - some bassists want this, some want that. Plus a bass guitar has no problem at all with audibility or energy levels. The approach here needs overhauling.