Ron Carter Bass Method Pdf 15
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It shows you how the bass functions, and the hand positions and locations on the instrument so you can find those beautiful notes too. And it has QR codes that link to video demos so you can watch the Maestro play the exercises himself.
1/2 through 5 1/2 positions*Etudes*Scales*Horizontal Technique*Arpeggios*Pizzicato*Bass solos*Tips for players*Improvisation tips*Ideal for both upright and electric bass.*Perfect for bass players and teachers alike.
"We jazz bassists all have the same notes. The difference is in our finding different and new places to play them on the instrument. This is what makes our own sound unique to us" - Ron Carter
"We are fortunate, as students, (and we are ALL Ron Carter students) that Sansei has codified his approaches to bass playing into concise and practical methods. Many decades of teaching at the highest level, at schools like Juilliard and Manhattan School of Music, and clinics and masterclasses at virtually every top conservatory in the world, insures his position at the top of the Jazz Bass Totem Pole, and the Bass Education Totem Pole!"
RON CARTER, JAZZ INNOVATOR: A revealing conversation with celebrated bassist and cellist Ron Carter, whose smart, elegant, and funky bass lines helped anchor the worlds of jazz, R&B, and rock. Noted music journalist and author Ashley Kahn, will include musical and video selections as Carter discusses a long and versatile career, which includes performing with Miles Davis; triumphs as a bandleader, and his most recent recording project, The Great Big Band.
New DVD Now Available! Click here to purchase the new "Jazz Improv Soloing DVD Course by Carol Kaye on Guitar". See and hear video clips below: Chapter 3 - Minor Chords Chapter 8 - Working With Chord Charts Chapter 10 - Jam with bass legend Jim Hughart/Credits
9 p.m. Pat Metheny Trio and Kenny Garrett: Festival artist-in-residence Metheny makes the first of four weekend appearances with his inventive trio, including bassist Scott Colley and drummer Antonio Sanchez. Joining the party is special guest Garrett, a fire-breathing Detroit-born alto saxophonist.
1:15 p.m. Steve Carryer & Friends featuring the Detroit Guitar Ensemble: Five guitarists run wild in this ensemble led by the longtime jazz guitar teacher at Wayne State University, with piano-bass-drums backing.
2:45 DJF 2015 Jazz Guitar Competition Winner: Tal Yahalom: The Israeli-born guitarist and composer appears with his trio Kadawa, including bassist Almog Sharvit and drummer Ben Silashi.
4:15 Mack Avenue Super Band: The charismatic bassist Christian McBride takes over leadership of the 2015 edition of the Detroit-based Mack Avenue Records all-star band. With saxophonists Tia Fuller and Kirk Whalum, trumpeter Freddie Hendrix, vibraphonist Gary Burton, pianist Christian Sands and drummer Carl Allen.
2:30 Anat Cohen Celebrando Brasil: From Rio to Minas: Cohen, a distinctive clarinetist who also plays tenor saxophone, explores Brazilian-flavored repertoire with a quartet including pianist Jason Lindner, bassist Linda Oh and drummer Daniel Freedman.
1:45 p.m. Diego Rivera Quintet: Rivera, a swinging tenor saxophonist with a warm sound, pinpoint diction and storyteller instincts, teaches at Michigan State University. His band includes MSU colleagues Etienne Charles on trumpet and Xavier Davis on piano, with Joseph Vasquez on bass and Nate Winn on drums.
7 Manuel Valera & Groove Square: Sophisticated and subtle fusion from a Cuban-born pianist and composer. With saxophonist John Ellis, guitarist Nir Felder, bassist Orlando le Fleming and drummer E.J. Strickland.
8:45 Rene Marie Experiment in Truth: A veteran singer who always delivers the goods, valuing improvisatory risk and a flair for reinventing familiar material on the spot. With pianist John Chin, bassist Elias Bailey and drummer Quentin Baxter.
5 Jungle Funk: Will Calhoun, Doug Wimbish, Vinx: A power trio anchored by drummer Will Calhoun, best known for his work with the rock band Living Colour, but with credits ranging from Wayne Shorter to the Rolling Stones. With fellow Living Colour vet Wimbish on bass and Vinx on percussion and vocals.
1:45 p.m. Dave Bennett Quartet: The Detroit-based clarinetist, a Benny Goodman-inspired player who can raise a ruckus or play it smooth as the wind, leads a quartet with pianist Cliff Monear, bassist Jeff Pedraz and drummer Doug Cobb.
3:30 Monty Alexander Harlem-Kingston Express: The veteran pianist, best known for his swinging mainstream work, here works with a bass-and-percussion-heavy sextet at the intersection of his Jamaican roots and the blues-and-bop that has defined his life in jazz.
2:30 p.m. Cliff Monear Trio: One of Detroit leading pianists, whose expert accompanying sometimes overshadows his own bright work as a soloist, fronts a trio with bassist Jeff Pedraz and drummer Stephen Boegehold.
Recent commentators have been more positive overall. Stanley Crouch wrote: "the music still sounds fresh. The trumpeter was in superb form, able to execute quickstep swing at fleet tempi with volatile penetration, to put the weight of his sound on mood pieces, to rear his way up through the blues with a fusion of bittersweet joy and what Martin Williams termed 'communal anguish.' The rhythm section played with a looseness that pivots off Williams's cymbal splashes and unclinched rhythms, Carter walking some of the most impressive bass lines of the day, and Hancock developing his own version of the impressionism that Evans was making popular."[15] Davis biographer John Szwed wrote: "The mixture of the abstract and the earthy that Davis had so often seemed to be reaching for began to take shape with this record. Wayne Shorter's ease with indeterminate melodies and his eagerness to join the rhythm section in churning up the music to the point that it threatened to break loose from the traditions of jazz gave Davis the space he needed to reexamine his own playing."[7]
Brian Morton noted: "E.S.P. is... the first record on which Miles seems to be flirting with rock. 'Eighty-One' has a strong backbeat, and the kind of regular, repetitive bass line and percussion that was characteristic of funk, and still considered somewhat infra dig in jazz. Any suggestion that Miles only began to explore a rock idiom on 1969's Bitches Brew misses the mark by a good four years."[8] 2b1af7f3a8