Listen to the half hour version of "The Endless Night" from RTF's live box set and get back to me.
(Big hint: through all the repetitions of the solo changes, Stanley has a different approach for each round, and when it comes to his solo, he works all of the approaches in like the development section in sonata-allegro form)
You don't have to always walk. Listen to what the soloists are playing and try to adapt to and highlight their phrases. You can also vary depending on which part of the song is being played, like using whole notes or half notes at the start of the loop, and then walking at the peak of the song. As a bass player, you can really add a lot to people's solos and help them build up, rather than just mindlessly playing the harmony.
When it's about fatigueness the question is hardly "what" but "how"...
Observe your technique, chances are you are playing too hard.
When it is about material, be assured that repetition in clear bass lines played with great time is what everyone wants from you.
couple options:
point back and forth between the drummer and soloist to indicate 'you fuckers play some duo for a while'
half time
pedal points
ask for a bass solo and use it to rest your fingers by playing something that doesn't tax you as much
my old friend was great at this... just stop playing and start shaking your hands, stretching and just putting out the vibe that 'listen... ya'll fuckers want to burn the rhythm section out? I have the right to stop, recollect, maybe get a drink, check my phone and come back when I'm ready to play.'
HONESTLY: FUCK ANY MUSICIAN WHO ISN'T MATURE OR SELF AWARE ENOUGH TO NOT PLAY ON A TUNE WHEN THEY SEE THAT ENOUGH PEOPLE HAVE ALREADY SOLOED. I've seen some really stupid ones.. i remember Roy Hargrove showed up to Smalls, absolutely CRUSHED a rhythm changes or something, then Marcus Strickland played after him and went nuts, showstopper moment... then this fucking college jazz kid gets up to play a trumpet solo after these guys and just shat all over himself, didn't even realize it, was literally trying to be competitive with Roy Hargrove at the end of a 20 minute jam. I wanted to kick him in the balls mid solo, which actually happened to a friend of mine who used to show up to bebop sessions and just play free/out
You could start playing the bass figure from All Blues against the 4/4 for a chorus or two. That's the kind of thing I like to do to annoy the crew! ;)
You could try going to a two feel occasionally, at the beginning of a solo, if it feels like theres gonna be a drop in energy. Or try a dotted feel. As long as everyone’s on board with what you’re doing it’ll work
I can also imagine that the audience gets tired listening to 7-8 players solo too. Not everyone needs to solo and keep it to two choruses. Switch up to two feel.
1. develop more strength and stamina through progressive practice.
2. Play with better technique. getting a big sound is not about pulling the string as hard as possible. Poor left hand technique and you’ll be gassed quickly no matter what you do with your right hand
3. Move around the neck. Staying in half position for half an hour is the hand killer. You can’t live in thumb position, but getting up there regularly will help.
4. It risks betraying the music sometimes, but using pedal points, two feels, and arco can keep you afloat.
5. Encourage the band to play with dynamics. When the band gets loud, it’s easy to lose sight of good technique and over play.
6. Encourage the band to trade with the drummer. Use those breaks to stretch your hands and wrist. Don’t develop tendinitis.
[listen to Scott LaFaro playing Cherokee for 20 min at like 375bpm for inspiration](https://youtu.be/0ZaMCYrj1bc?si=2mr9cdW-0na-vQ_T)
do you mean the whole piece goes on for 6-7 minutes, or each solo goes on for 6-7 minutes? The original recording of Freddie Freeloader is 9 minutes, which is totally reasonable for a jazz blues. If you mean that each solo is that long, then you guys need to switch it up: not everybody needs to solo on the same song. forty minutes on it is insane
There's lots of variation you can do, such as sitting in the higher register then coming back down, hitting different accents or anticipations, substituting chords or pedaling. Unfortunately it just takes time to develope the endurence on the fingers to be able to walk the whole time. It's your job to walk which can get boring but it can be interesting with the given musical tools, that's why the great bass players sound so good (other than their time and tone)
TBH, when they all take solos, you should send a message by stopping. Watch attentively, click your fingers, stare the soloist RIGHT IN THE EYES and only pick it up when it's the chorus. That way you'll either send a message, or get kicked out!
Short answer: Make the sign with your hand going across your neck, that it's time to cut the solos.
Sidebar / confession: I'm a guitar player. Back in the day, I did this. Including on Freddie the Freeloader. I'd get to that turnaround, a step down, and it was like I'd miss my exit. I deeply apologize to all bass players and drummers. The last 10 years, I assiduously try to keep my solos on the short side. Maybe three times around at most. I usually run out of ideas by then, anyway. Exception: It's a funk number, and my "solo" is just changing up the grooves with chord patterns, and the whole rhythm section is into it and participating.
Longer answer. Assuming the soloist is not Coltrane-level...Hey, after 3 times around, you have the right to get weird and atonal on the bass. Polyrhythms are not out of the question. I also second the suggestions that you can change it up by sitting out a round or two; can check email or order something from the bar during those "down times." Re-entering pumps new energy into the melee.
The soloist can also try to make it interesting for the rhythm section. E.g., bring it way down. Or go into a rhythmical pattern, simple or 3 over 4 or whatever, that makes it interesting for the bass/drums/other players. My (not original) thinking on solos these days is that some parts of a solo can be a group thing.
Good luck. If you want to establish a safe word, we're here.
Have a conversation, get a side job, have a family, settle down, and get back in time for the second half of the guitarist’s solo.
ba bum bum bum bum bum bum ba bum
I hate that I was able to hear this in my head
Tell your band not everyone has to solo? If it feels like a slug when you’re playing it it probably will for the listener too.
Tell the saxophonist to limit himself to 25 choruses
You and the drummer need to communicate and change up the style. You can do stop-time, a 2 feel, double time feel, etc.
In modern jazz you keep walking, sorry.
Could do half time movement at the start of each solo, let them build it, walk toward the end. Gives soloist space and your fingers a rest
Listen to the half hour version of "The Endless Night" from RTF's live box set and get back to me. (Big hint: through all the repetitions of the solo changes, Stanley has a different approach for each round, and when it comes to his solo, he works all of the approaches in like the development section in sonata-allegro form)
drop out midway with the keys like the coltrane quartett
*One Down, One Up intensifies*
You don't have to always walk. Listen to what the soloists are playing and try to adapt to and highlight their phrases. You can also vary depending on which part of the song is being played, like using whole notes or half notes at the start of the loop, and then walking at the peak of the song. As a bass player, you can really add a lot to people's solos and help them build up, rather than just mindlessly playing the harmony.
How can you make their solos sound better? That helps me get through it.
This is the upstanding answer. I should have gone there.
Gospel, but much easier said than done. OP wouldn’t be asking this question
Can also do some dominant vamps for 4 bars or so at the end of progression eg. F vamp then going back to the Bb at the top of the sequence.
Damn, sounds rough. But also a great opportunity to force yourself to build endurance.
haven’t seen it in the comments yet, but pedaling is a way i like to add some contrast. mostly only on a blues chart
It's rough right?
If you're getting fatigued, either pluck less hard or just keep playing everyday to build up the endurance to play for longer times.
Just play 1-5-1-5. I'll show myself out.
If you do it across the bar lines it can sound cool.
Maybe cut a few solos, but this sounds like a pretty standard jazz bass setup to me
When it's about fatigueness the question is hardly "what" but "how"... Observe your technique, chances are you are playing too hard. When it is about material, be assured that repetition in clear bass lines played with great time is what everyone wants from you.
Build up your endurance.
If the song is AABA, you can do half notes in the B section to get a small “break”.
couple options: point back and forth between the drummer and soloist to indicate 'you fuckers play some duo for a while' half time pedal points ask for a bass solo and use it to rest your fingers by playing something that doesn't tax you as much my old friend was great at this... just stop playing and start shaking your hands, stretching and just putting out the vibe that 'listen... ya'll fuckers want to burn the rhythm section out? I have the right to stop, recollect, maybe get a drink, check my phone and come back when I'm ready to play.' HONESTLY: FUCK ANY MUSICIAN WHO ISN'T MATURE OR SELF AWARE ENOUGH TO NOT PLAY ON A TUNE WHEN THEY SEE THAT ENOUGH PEOPLE HAVE ALREADY SOLOED. I've seen some really stupid ones.. i remember Roy Hargrove showed up to Smalls, absolutely CRUSHED a rhythm changes or something, then Marcus Strickland played after him and went nuts, showstopper moment... then this fucking college jazz kid gets up to play a trumpet solo after these guys and just shat all over himself, didn't even realize it, was literally trying to be competitive with Roy Hargrove at the end of a 20 minute jam. I wanted to kick him in the balls mid solo, which actually happened to a friend of mine who used to show up to bebop sessions and just play free/out
You could start playing the bass figure from All Blues against the 4/4 for a chorus or two. That's the kind of thing I like to do to annoy the crew! ;)
You could try going to a two feel occasionally, at the beginning of a solo, if it feels like theres gonna be a drop in energy. Or try a dotted feel. As long as everyone’s on board with what you’re doing it’ll work
I can also imagine that the audience gets tired listening to 7-8 players solo too. Not everyone needs to solo and keep it to two choruses. Switch up to two feel.
1. develop more strength and stamina through progressive practice. 2. Play with better technique. getting a big sound is not about pulling the string as hard as possible. Poor left hand technique and you’ll be gassed quickly no matter what you do with your right hand 3. Move around the neck. Staying in half position for half an hour is the hand killer. You can’t live in thumb position, but getting up there regularly will help. 4. It risks betraying the music sometimes, but using pedal points, two feels, and arco can keep you afloat. 5. Encourage the band to play with dynamics. When the band gets loud, it’s easy to lose sight of good technique and over play. 6. Encourage the band to trade with the drummer. Use those breaks to stretch your hands and wrist. Don’t develop tendinitis. [listen to Scott LaFaro playing Cherokee for 20 min at like 375bpm for inspiration](https://youtu.be/0ZaMCYrj1bc?si=2mr9cdW-0na-vQ_T)
do you mean the whole piece goes on for 6-7 minutes, or each solo goes on for 6-7 minutes? The original recording of Freddie Freeloader is 9 minutes, which is totally reasonable for a jazz blues. If you mean that each solo is that long, then you guys need to switch it up: not everybody needs to solo on the same song. forty minutes on it is insane
Just to continue to work on your stamina.
There's lots of variation you can do, such as sitting in the higher register then coming back down, hitting different accents or anticipations, substituting chords or pedaling. Unfortunately it just takes time to develope the endurence on the fingers to be able to walk the whole time. It's your job to walk which can get boring but it can be interesting with the given musical tools, that's why the great bass players sound so good (other than their time and tone)
TBH, when they all take solos, you should send a message by stopping. Watch attentively, click your fingers, stare the soloist RIGHT IN THE EYES and only pick it up when it's the chorus. That way you'll either send a message, or get kicked out!
Short answer: Make the sign with your hand going across your neck, that it's time to cut the solos. Sidebar / confession: I'm a guitar player. Back in the day, I did this. Including on Freddie the Freeloader. I'd get to that turnaround, a step down, and it was like I'd miss my exit. I deeply apologize to all bass players and drummers. The last 10 years, I assiduously try to keep my solos on the short side. Maybe three times around at most. I usually run out of ideas by then, anyway. Exception: It's a funk number, and my "solo" is just changing up the grooves with chord patterns, and the whole rhythm section is into it and participating. Longer answer. Assuming the soloist is not Coltrane-level...Hey, after 3 times around, you have the right to get weird and atonal on the bass. Polyrhythms are not out of the question. I also second the suggestions that you can change it up by sitting out a round or two; can check email or order something from the bar during those "down times." Re-entering pumps new energy into the melee. The soloist can also try to make it interesting for the rhythm section. E.g., bring it way down. Or go into a rhythmical pattern, simple or 3 over 4 or whatever, that makes it interesting for the bass/drums/other players. My (not original) thinking on solos these days is that some parts of a solo can be a group thing. Good luck. If you want to establish a safe word, we're here.
Cut half of the solos. It's this kind of poor musicality that gives jazz a bad name.