Creativity in sessions?
Kevin P. Miller
I love that album) and I was thinking about Kasim Sulton's bass
playing, wondering specifically whether a session player in a situation
like that creates any of the lines, or are they just handed sheet and
play what's written? I'm guessing the latter, especially on something
as heavily produced as that album (Todd Rundgren; yay!). So how much
creative freedom or input does one have in sessions?
Thanks!
Kevin P. Miller
John Shaughnessy
going to wait around at hundreds of $$ an hr for you to try sticking a
diaper in your bass?
I think the answer is some where in-between the arrangement desired and the
reputation of the player. Basically, if a player has a track record of hits,
he is given a lot more leeway to create his own part than an unknown.
If the arrangement is through composed, you are pretty much being told what
to do. But you can always try going "off the chart" if you hear something
better.
In a situation where you have only chord charts, you are free to improvise
and bring all your skills to bear.
The person with the last call is usually the producer though. I have been in
sessions where I thought the part needed to be a lot busier, but was told to
"just play the root". I have been in sessions where I stuck like glue to the
riff because it grooved well, and was told I needed to play "more". You
can't win for trying.
--
Lessons, music and more at www.jmsjazz.com
Conservatives are not necessarily stupid,
but most stupid people are conservatives."
- John Stuart Mill
"Kevin P. Miller" <bpp...@hotmail.com> wrote in message
news:1136346945.4...@o13g2000cwo.googlegroups.com...
Lane Baldwin
"Kevin P. Miller" <bpp...@hotmail.com> wrote in message
news:1136346945.4...@o13g2000cwo.googlegroups.com...
Overall, you'll see everything from one extreme to the other. Some sessions
you'll get a chord chart and a vague idea of the what they want. Other
times, you'll see a part fully written out and be expected to follow if to
the note. In some segments of the industry, such as film and TV work, this
latter way of doing things is the norm, and you're expected to be able to
play the part mistake-free on the first pass.
As for what *you* can expect, that's going to depend on who you work for. In
my own career, 98% of everything I did has been following cord charts and
creating my own lines. It is what the clients expect...and the reason I'm
hired is that they know I can fill the bill. I don't think I've seen more
than a few measures of written parts. A very few times, there'd be a short
segment showing the basic pattern the client wanted, yet I was still
expected to create the part on the spot.
In truth, I prefer creating my own parts to reading...mainly because my
reading chops aren't as good as I'd like them to be. In the few cases I've
gotten a written part, I've been able to spend a few minutes familiarizing
myself with it...so far, I've been OK.
Keep Thumpin',
Lane
Ask not what bass can do for you...Ask what YOU can do for bass.
Special Projects Coordinator & Forum Moderator
Eden Electronics www.eden-electronics.com
gigabit
varying degrees of chord charts, sometimes none. Once on a "Rock" album
the guitarist/composer wrote up almost every note. He didn't mind my
input, 'though. And there's been some where I've had to scribble up a
chart while the track played back in the control room once or twice
before laying it down.
On the band bed track chart sessions , I like the challenge of
identifying and solidifying what it is that I want to play quickly, so
that I really "get there" before the rest of the guys, and the producer
moves on. That seems to be between 1 and 4 takes generally. Definitely
a tricky balance between exploration and safety. LOL, whilst growing up
I always thought it was hanging around for days working on one song.
My session god/hero is Tony Levin. If given the chance I've often
thought of asking your very question of him, he's played so many scary
good tracks, and for so many varied artists.
FundaMental
gigabit
Certainly not representative of me..... His discography is longer than
I have time to even read, let alone consider the time spent in front
of the glass, plus, it goes from Karen Carpenter to King Crimson. He's
on a lot of stuff you would not suspect was him, except for the fact
the song sounds great. That's where I always wanted to be.
" he's called on to bring his own perspective to the basslines."
Agreed, the best sessions are the ones where your personality is
appreciated, and you don't have to hide it, or emulate someone else.
Mike
>don't bring in 20 basses and insist on trying all of them, and if you don't like what the producer wants you to do, do it
>anyway.
This reminds me of that loooong thread started by PD last year. What
ever happened to that dude?
Todd H.
> Boom wrote:
>
> This reminds me of that loooong thread started by PD last year.
> What ever happened to that dude?
Ssshhhhh. Quiet you!! That is a name the Knights who say Ni cannot
hear.
(Things have been relatively reasonable around here w/o him.)
Best Regards,
--
/"\ ASCII Ribbon Campaign | Todd H
\ / | http://www.toddh.net/
X Promoting good netiquette | http://triplethreatband.com/
/ \ http://www.toddh.net/netiquette/ | "4 lines suffice."
bja...@iwaynet.net
Fender"!
And yeah, you are giving great advice...Even if one hates Fenders and
the house Fender sucks. Put the money you get from playing the house 4
string Fender toward your next 7 string bass... :)
Bongo