I really need a 'important papers' folder

Just spent the last few days panicking about not being able to find the paper part of my driving licence. (for not UK readers, we have a two part driving licence – credit-card sized photo card like everyone else, and then a bigger paper bit that has loads more info on it, including any endorsements… so mine says ‘proudly uses modulus basses, accugroove amps and elites strings’ on it… or something.)

Anyway, the reason I was looking for it is that I’ve got a speeding fine, and need to send off my licence to have the points put on in (points being the real endorsements – they don’t really list your bass gear on your licence here… honest).

The way it works is that if it’s an ‘SP30’ offence (not very much over the speed limit) then you get a £60 fine and 3 points. If you get 12 points in 3 years, you get a ban, and I think, a £1000 fine. At the moment I’ve got 6 points on my licence, but they cease to be there after three years, so my first three are coming off, and the new ones are taking their place. So I’ll still have 6 after this. Which is OK. if I had 9, I’d be panicking a bit. And I was panicking, though not because of the points.

ah, we’re back to my lost driving licence. Yes, turned the room upside down… well, the room’s already upside-down, so I guess I just fluffed some bits of paper around a bit. But couldn’t find it. Then was thinking ‘when did I last have it’ which was clearly a trip to the States, which was before I bought my wallet, so what would it be kept in? My bag. I check all the pockets and there it is. So while I’ve been looking for it, I’ve been carrying it around with me.

So now I need a folder for such things – driving licence, passport, etc. Somewhere labeled clearly and easy for a loser like me to find.

At least I’ll know where it is for the next few weeks, while it’s off having the points added to it at the police station.

SoundtrackMartyn Joseph, ‘Whoever It Was Who Brought Me Here Will Have To Take Me Home’ (what a great title. what great music!)

diminishing returns?

The law of diminishing returns suggests that the closer you get to the very top end of the pricing for any item, the less extra quality you get for your money. It’s something I often remind people of when they are looking for new basses and ask me ‘which is better brand A or brand B’. As a general rule, there are very very few basses beyond the 2 grand mark that aren’t any good. The companies wouldn’t stay in business for long if there were. There are some who charge a lot more for their name, and each of them have differences, for sure, but in terms of measurable quality, the differences are pretty minute.

And alongside this story of a violin worth 3.5 million pounds, 8 grand for a top end bass seems pretty reasonable. I mean, you can pay more for a bass – I’ve seen them for up to about 25,000 dollars, but normally that’s cos they are covered in hideous mother-of-pearl inlays, or made with some really rare wood that shouldn’t have been harvested in the first place, not because they actually sound any good.

I wonder what the most expensive bass guitar of all time is? Probably one of the ones said to have been owned by Jaco… I think his classic beaten up Jazz fretless went on sale at some point, but I can’t remember what it fetched at auction… tens rather than hundreds of thousands, I think… Some of the very early Fenders are of similar value…

So we’ve a long way to go to catch up with orchestral musicians, where even rank ‘n’ file section players will take out a mortgage on a new fiddle. I’ve heard a couple of great violins up close, and the difference is marked from a run of the mill 5K one, but we’re back to the diminishing returns. How much better would it have to sound for 3.5 million?

I guess the other big difference is that with any electric bass, you’re factoring in the electronics side of things – if your electronics are running on one or more 9V batteries, there’s a glass ceiling on the kind of quality you’re going to get… Maybe we can convince SSL or Neve to start making phantom powered onboard preamps for basses…

I’ve yet to hear a bass with a sound I like more than my 6 string Moduli, or one that plays as well, in any price range. I feel very fortunate to have such delicious instruments to make noises with.

Italy post no. 8

(written 24/7/05 17.18)

Well, despite starting almost an hour late, my gig went very well, thankfully. Another fabulously receptive Italian crowd, some of whom spoke good enough english to laugh at some of the bollocks I was talking between songs (cut down from the usual 40% of the set to just a short intro to each song).

The challenge was doing an entire set of songs on the fretless, something I haven’t done for a while (not counting the film gig on Friday). So the set list went

Grace And Gratitude
MMFSOG
Amo Amatis Amare
Kindness Of Strangers segued into What A Wonderful World
No More Us And Them
Despite My Worst Intentions

Nice long versions of Kindness Of Strangers and No More Us And Them, and more succinct versions of the others. The Seque into What A Wonderful World fits better with the theme of Kindness… than the bastardised version of ‘What’s Going On’ did – will have to feed that back into the set as a stand-alone track, as I do like it, and the fact that very few people ever recognise it. :o)

So now I’m waiting to be involved in a larger ensemble improv, title ‘Jam For Klaus’ – Klaus is a local bassist who was killed in a car accident last year, so everyone is playing a piece together for him. It’s a really nice idea, and I hope it works and doesn’t descend into bass wankery.

Other than that, my work here is done – oh no, I’m lying, I’m doing a little AccuGrooveA/Modulus demo slot later on. The distributors of AccuGroove and Modulus here are lovely peoples, who hopefully I’ll get to work with again some time soon.

Anyway, time to get back to hawking my wares to the receptive CD buying Italian public. We like it here.

One busy day in the studio!

Had a really fun studio session today. It was with Andrew Buckton, a singer/songwriter who lives in Bath. I’ve played with Buck for years, and been on his last two albums. We did Greenbelt together last year.

This was his first recording project for about 4 years, and was designed to be very low maintainance – one day to record everything, just him, me, Jez on piano/keys and Tom Hooper on drums.

So we set up in Jez’ home studio this morning and got to work. We’d not heard any of the songs ahead of time, so the form with each track was for Buck to play it, or at least a bit of the verse and chorus, we chat about possible arrangement ideas, sometimes try out a few bars of a particular idea, then hit record and go. Lots of the tunes were first take, one take jobs, which is particularly satisfying. Only one actually had an edit in the middle – we re-did the instrumental playout on one song to change the chord progression we were playing to. On most of them, there’ll be the occasional bar of bass/guitar or keys that needs cutting ‘n’ copying from elsewhere in the song just to tidy up the timing, but for the most part it was all done there and then – solos were recorded live, Any track that needed bass note and chords from me was played that way in real time with no looping – i just came up with ways of voice the chords to be able to play both. It was a very fun challenge.

Bass-wise I used all three Moduluses, and just for fun wedged a bit of foam under the strings near the bridge on the four string – it sounded amazing! I’m definitely going to keep the foam in my bag for studio sessions in future. Made the bass feel very different to play, and the sound was fantastic – much more old-school sound.

A couple of the tracks had fun slidey fretless lines, one had a really incessant fast 16th not octave pattern (which was the first time I got to try out recording this thumb-down, thumb-up, index finger, middle finger sequence on someone else’s music, using it to play two notes on the low note then two on the octave, playing 16s at about 120bpm, which was harder than if we’d been doing it at 180, as it’s a technique that lends itself most readily to daft-fast playing.)

I took my whole live rig with me – loopers, mixing desk ‘n’ all. Didn’t use any of the loopage, but did need the mixing desk to set up monitoring for myself and buck, and used a couple of the channels on the desk as preamps for acoustic guitar and keyboard. The moral of the story is TAKE EVERYTHING to a studio session. I always take whatever I might possibly in my wildest imagination need. If you don’t use it, it’s good exercise carrying it to and from the car anyway. Be prepared – I was a cub-scout, and a crap one, but I do try and stick to that bit of the motto…

The arranging side of the session was as much fun as the playing – Buck, like most singer/songwriters, tends to favour certain kinds of feels and guitar strumming patterns, so the challenge is finding ways to subvert that into another style that a) suits his voice and the melody and b) says something about the subject matter. Buck’s songs are often pretty bleak, sometimes with a redemptive twist at the end. Others are more devotional spiritual songs. Lovely stuff that requires and deserves sensitive arrangements. I think today we did the best job we’ve done on any of his albums. Tom Hooper played beautifully on drums, and was a delight to play with – very relaxed feel, fantastic timimg and a great sound. And he’s a nice bloke – what more could one want from a drummer??

So now it’s down to jez to do the mixing – tidy up the audio files, get the levels sorted, add reverb, compression, EQ and any other processing that might need doing, and probably add a keyboard overdub or two. I’m really looking forward to hearing the finished product, and of course, I’ll let you know when it’s available!

Soundtrack – Lucy Kaplansky, ‘Ten Year Night’.

Tour diary vol II

So, we were up to the Espresso Garden gig, which was lots of fun. The following night (Thursday) was another gig with Michael Manring, this time at The Brookdale Lodge – this place has a heck of a lot of weird mythology around it, involving mobsters, prostitutes, ghosts and god-knows-what-else. Very odd place.

As a gig venue, however, it rules. Firstly because dinner is served in the restaurant, which has a river running through the middle of it (I kid you not), and secondly because the music room has a great PA, a marvellous soundman, and a nice stage to play on.

Thanks to a borrowed mixer, I was able to do my ‘proper’ setup for the first time on the tour, with the Echoplexes in an auxiliary channel and the MPX-G2 in stereo. The sound was fantastic. Accugroove had lent me two identical cabinets to the ones I use at home, and a poweramp, so I was pretty much rocking.

The gig went well, though the big storm outside meant the audience wasn’t huge (brookdale is up in the Santa Cruz mountains, a pretty hazardous drive in the rain!)

So we’re up to Friday – Friday I set off from Santa Cruz, called in at the new AccuGroove world HQ (very nice it is too!) on my way up to meet Jeremy Cohen in Berkley. Jeremy and I have been chatting online for years, and have met up at past NAMM shows and last year in London when he and his wife were visiting. Now it was my turn to hang out on their turf, and then take Jeremy to see Kaki King at Freight and Salvage, a fantastic acoustic music club, with a lot of history, great sound and a fab view from everywhere in the room.

Saturday was masterclass day in San Jose – after Bob the original host falling ill, Mark Wright at AccuGroove became Mr Fixit and organised for the clinic to move to the Koinonia coffee shop, which was where the AccuParty in the evening was going to be anyway.

The day was a big success, the guys who came all asked lots of great questions, played well, and seemed to take lots away from it (if you were there, don’t forget to keep the discussions going over at the forum).

The clinic was followed by the AccuParty – a fun little hang out, time for people to try out the AccuGroove cabinets, and a chance for me to play some cool duets with Edo Castro.

Sunday – breakfast with the Turners, then left their lovely home and headed north to Novato to see more of my favourite people in California, Anderson Page, who works for Modulus and has been a good friend for many years, and Laura. After all the driving around gigging and teaching of the previous week, an evening in watching Pink Floyd live at Pompeii, drinking gorgeous wine (a present from Jim at the masterclass – future masterclass attendees take note!) and catching up was just what the doctor ordered. A marvellous evening on every level.

Monday morning I took my basses into Modulus – Joe Perman, who used to work there, has come back, and in the interim, my carved top fretted 6 was built, so he wanted a look at that, and while there sorted out the set up and intonation for me (thanks Joe!).

From there, I drove up to Sacramento to see Mike Roe. Mike’s the singer/guitarist in the 77s, who I’ve opened for in Sacramento before, and also in Orbis, an ambient side-project who opened for Michael Manring and I a couple of times. Dinner with Mike and Devon followed by watching about half of ‘Standing In The Shadows Of Motown’ made for another great evening.

Tuesday following breakfast I set off back to the Bay Area, calling in to see Michael Manring on the way, to discuss the next step in our plan for solo bass world domination. And then it was back to AccuGroove-land, for dinner with Mark Wright and family, and talking long into the night before flying home Wednesday.

All in all, a great trip – meeting up with so many great people in such a short space of time give me faith in the world. It often seems like a crappy place with the good people few and far between, but there are loads of ’em around. Much fine music was made, and much fun had.

Soundtrack – the CDs I took with me included – Talking Heads, ‘Stop Making Sense’; Athlete, ‘Vehicles and Animals’; Iain Archer, ‘Flood The Tanks’; Peter Gabriel, ‘Greatest Hits’; The Cure, ‘Greatest Hits’; Jing Chi, ‘3D’; Prefab Sprout, ‘Steve McQueen’; Julie Lee, ‘Stillhouse Road’; Pierce Pettis, ‘Everything Matters’; The Dum Dums, ‘It Goes Without Saying’; John Scofield, ‘Up All Night’; Bruce Cockburn, ‘Live’.

American Tales pt 1

So I’m currently in Santa Cruz, having survived NAMM, and the drive north, and one gig with Michael Manring.

Got in last Tuesday, and was staying with the wonderful Doug, Vida and Dani for the first couple of days – it’s great to come out here and immediately feel at home. It just serves to reinforce my dislike of hotels.

Two days with the Lunns, then off down to NAMM. NAMM, for those new to the game, is a HUGE music equipment trade fair. The connection with the music industry means there are a fair few lovely people around. The commercial side of it means there are also a lot of losers on the make there. I tend to view NAMM as an archepelego (spelling, harv?) of lovely people in a sea of turd. you just run from one booth of nice people to the next, hoping not get hijacked by some moron trying to sell MIDI leiderhosen or the keyboard the doubles as a trouser press for musicians on the move…

All in all, it was a fab experience – I played at and compered the BassQuake event on Thursday night, which was much fun – Dan Elliot, the BassQuake founder, does an amazing job of putting together a great show every year.

On the show floor, I did one short set a day each for Modulus and AccuGroove, and spent lots of time just milling around catching up with people I rarely get to see. Some great friends where there – Anderson from Modulus, Mark and David from AccuGroove, Peter Murray, Michael Manring, Doug Lunn (again), Warren from Fodera, Wally and Lady Bo, Carl at Lakland, Eric Roche, Steve and Jill Azola, Rick and Jessica Turner, Dave Swift, Muriel Anderson, Sarita Stewart, John East, John Fearrante, Otiel Burbridge, Jeff Campatelli, Bill Walker, Bob Amstadt, Lowell, Dude. etc. etc. etc. loads and loads of great people, many of whom I only get to see once a year. Eating is a sacrament at NAMM – for me, I break bread with the Subway people every day – a foot long veggie delight, being my element of choice. Getting to eat with friends at NAMM is great, time away from the convention centre. Friday it was with Doug, Vida, Dani and Vinnie, Saturday with Peter Murray, Lunch was with Bob Amstadt on Saturday, and Tal Wilkenfeld on Sunday (fantastic young bassist from Australia working in NYC – you’re going to be hearing much more from her, I guarantee it).

So NAMM was lots of fun once again, and by not writing for a mag this year, I had a lot more time for just hanging out and enjoying the show.

During NAMM I was staying with Bob (QSC Bob from all the bass forums) and Alison – great people, who made me very welcome. The best thing about travelling is the people. The worst is missing the small person and the cats, but emailing whenever possible, and the occasional snatched phone call is having to do for now…

Sunday night after NAMM, Doug Lunn and I headed off the the Knitting Factory in LA to see Kaki King play – Kaki’s a killer guitarist, produced by the wonderful David Torn. She’s from that post-Hedges school, with a few twists of her own, and a great line in on-stage patter. A killer gig.

Tuesday was the long drive north, up here to Santa Cruz, staying with Rick and Jessica Turner. Rick and I could be stuck in a room together for months and not run out of things to talk about. They are both two of the most interesting and marvellous people I know, so coming here is my Northern California home, in the way that staying with the Lunns is in SoCal.

which brings us up to last night’s gig, back at the Espresso Garden in San Jose with Michael Manring. playing with Michael is, as you know from my raving after the UK gigs, the most enjoyable and fullfilling musical enviroment i’ve ever found myself in, and last night was great. Thanks to everyone who turned out.

And now I’m off out for lunch with Rick Walker, another great friend and fab percussionist.

more later…

uplateupdate

So I was just getting over my jetlag from LA when I did a shift at the St Luke’s homeless shelter overnight on Saturday, got to bed just before 4, slept til gone 3 on Sunday afternoon, and couldn’t sleep last night til 4am… sod it, back to square one.

Well, the latest on Paul is that I saw him on thursday in hospital, and he’s doing really really well considering what he’s been through. Amazing really.

I’m back teaching again now, after leaving a few days blank when I got back in order to get over the jetlag. I really miss teaching when I’m away (it was great to do the masterclass in San Jose as a chance to do some teaching while in the US). And the promo for the gig with Michael Manring are in full swing – emailing radio and magazines, doing up flyers and posters to stick up and handout… all good fun.

i’m also working on getting some gigs for/with Muriel Anderson – wonderful guitarist, and lovely person, that I saw play in London last year, and who is back here in May – so been talking to promotion people about that too, hoping that we can get some stuff together. And then there’s the ongoing work of getting solo gigs and duo gigs with Theo! It never stops. Fortunately I’ve not got a couple of promoters who are helping out – Iain at Stiff Promotions is doing a marvellous job, and Richard Ravenhill who is putting on the Brighton gig is a superstar too!

Got an email at the weekend saying that my AccuGroove cabinets should be shipped out to me this week – I’m rather excited about getting them, having played through them in the States for the tour, and loving the sound. We still don’t know if these ones will be the prototypes of my signature powered cabs, or just passive ones, requiring a poweramp separately for now, but either way, the sound is the nutz, and I’m rather excited! :o)

The combination of my new bass, new cabs, and some groovy new sounds on my Lexicon MPX-G2 has given me a great renewed impetus for writing – as soon as it all arrives, I’m going to start work on the next solo album. I’ve got lots of ideas and concepts to work on, and am finding the right kind of music for the fretted 6 string. It won’t be out til the end of the summer at the earliest, and depending on what happens with distribution deals, I may have to repress ‘And Nothing But The Bass’ before then (as it’s just about sold out), but I’m really looking foward to working on it!

There are also plans to head back out to Italy soon, and do some more recording with Luca Formentini – Luca’s new solo album, ‘Subterranea’ is out now, and is excellent – a really inspired collage of guitar-originated sounds that for the most part sound very little like a guitar, along with some found-sound samples and lots of processing. CDs like that stand or fall on the ambience, and Luca’s Cd is beautifully recorded and put together, and has been spinning a lot in my CD player over the weekend. I’m really looking forward to making some more music with him.

Soundtrack – right now, Prefab Sprout, ‘Life Of Surprises’ (am in a Prefab Sprout obsessional phase at the moment). before that, The Ben Taylor Band, ‘Famous Among The Barns’; Luca Formentini, ‘Subterranea’; Kofi Bakerk, ‘Karisma’; John Lester, ‘Big Dreams And The Bottom Line’; Daft Punk, ‘Homework’; and Vida Vierra, ‘Woman Of The Waters’ – Vida – along with her husband Doug and daughter Dani – is one of my favourite people in the world, and is a marvellous singer/songwriter, dancer, choreographer and activist. Most of my favourite memories of this most recent trip to California aren’t of gigs (though the gigs were great), but are of spending time with Vida Doug and Dani, and with Rick and Jessica Turner – lovely people one and all.

Road Tales Pt 1.

As you may be able to tell by the time this is posted, I’m jetlagged. very jetlagged. Two hours sleep, then wide awake. It’s 4.38am, and I’m trying to think of things to do, listening to Muriel Anderson’s ‘A Journey Through Time’ (Muriel’s great, and will hopefully be coming to the UK in April…), and chatting to Trip on MSN.

So California stories – flew in on Sat 10th, and got the SuperShuttle to Anaheim, where I was recording a record with Kofi Baker and Ned Evett. Got set up and crashed out.

The next three days were a mix of hanging with Ned while Kofi taught, and then recording all evening – as late as my jetlag going that way would allow us. the material was largely improvs, most of which we then played again in some sort of structured way to see what came out. It’s now all in the editing – some great material was certainly recorded, but the wheat and chaff need separating! Kofi and Ned are both marvellous musicians, so it was a lot of fun to do, and a bit of a challenge to be back playing complex rythmic twiddly stuff after lots of ambient noodling…

then, NAMM – huge trade show in Anaheim, music gear manufacturers, dealers, distributors, journos and players descend on the convention centre, in a desparate attempt to do business. the makers are trying to hawk their wares – some by just making good stuff, others by getting porn stars to stand around on their booths, or lame 80s has-been rock stars doing signings… normally means the product isn’t worth looking at.

I was playing for Modulus and AccuGroove, and doing a show report for Bass Guitar Magazine, and catching up with lots of old friends – it’s one of the downsides of being a bassist is that there are rarely more than one of us on a gig, so we only meet up in airports and at NAMM… Also got to meet up with lots of friends from talkbass, the dudepit, churchbass, TBL, the lowdown, and my street-team! the now annual tradition of dinner with David Torn, Doug Lunn and Vida Vierra was as marvellous as ever, and playing at the Bass Bash was a blast, as was my gig in the lobby of the Marriott next to the show (ah yes, solo bass goes loung-core…)

NAMM ended sunday, on monday trip and I drove to Costa Mesa for a coffee house gig lined up for us by Bob Lee – nice little coffee shop, played outside, Seth Horan turned up and did a couple of tunes and was wonderful. Trip’s set was marvellous too, and his ‘did I suck?’ question at the end was so laughable it almost warranted a kick in the plums. Lots of friendly faces turned up, including Fred Hodson from Talkbass (thanks Fred!), Kerry Getz and Jason Feddy. Crashed at Kerry’s house, and on Tuesday morning Bob Lee showed Trip and I round QSC, and they lent me a poweramp for the tour (the AccuGroove powered cabs weren’t finished in time for the tour, so I took a pair of passive ones, and used the QSC amp, which sounded great.

Tuesday afternoon was the gig at CalArts with Andre LaFosse, which went well, and included a marvellous duo version of MMFSOG. Then off to see Vida and Dani for a few days. I’ve probably spent 3 months total in California now over the last 5 years, and this was the first time I’ve been to the beach! Took a walk along Venice beach, wandered around book shops and record shops, and soaked up the atmosphere. Also took a walk round the Yogananda peace garden in Santa Monica which is a beautiful inspiring place, where I’d be spending a lot of time were I living nearby…

Wednesday night went to see Abe Laboriel playing with 3 Prime at the Baked Potato – a trip to LA wouldn’t be complete without either seeing Abe or going to the BP, and as always the band were amazing.

Friday started with breakfast with Jimmy Haslip, and was followed by the long drive to Santa Cruz, which was even longer due to it taking two hours to get out of LA! But got to Rick and Jessica Turner’s place late evening, and talked for hours. Some tours are all about heavy gig schedules and travellings. Others are all about the people you meet. This was a people tour – the gigs were great, but it was the friendships, talking long into the night, eating lovely food, plotting world domination that made this trip special. I travel half way round the world and get treated like family, it doesn’t get much better than this.

Saturday (24th Jan we’re up to), was dudepit clinic day, at Bob Streetteam’s house – 11 guys, lots of a basses, and a day of talking and thinking about music, and playing some stuff to demonstrate a few concepts which will hopefully keep the guys going til next year. Bob did a sterling job of organising and hosting the event – well above and beyond any expected level of support from a street-teamer. I’m constantly amazed at people’s generousity. There’s plenty of dark stuff going on in the world, and while governments are going about their f-ed up evil business, nice people are running counter to it, demostrating friendship and grace that makes you smile at the world, and gives you hope.

Sunday was KPIG day – Michael Manring and I playing solo and duo on this most wonderful of radio stations.

Next couple of days are spent shuttling backwards and forwards between AccuGroove world HQ (Mark’s house) in Cupertino, and Santa Cruz, catching up with more old friends and hanging out with the Turners and Muriel Anderson.

Then the ‘big’ gigs – three dates with Michael Manring and Trip Wamsley. All three gigs went really really well – loads of friends turned up, Trip and Michael both played really really well, we all sold CDs, had a blast, played some very cool trios and a tasty cover of Bruce Cockburn’s ‘Pacing The Cage’ each night. Each gig afforded us more time to see friends – staying with Bob Streetteam, and Mike Roe was great – and to play lots of fine music to lovely people. The Espresso Garden show was sold out, with lots of people unable to get in (fortunately they were able to stand by the door and listen, but still…)

Then, the long drive back to LA, introducing Trip to the delights of Prefab Sprout on the way, back to see Doug, Vida and Dani, out for Doug’s birthday, a trip round socal delivering gear back to its rightful owners, and a deep sleep.

Sunday, departure day, started with a dance class – no, I didn’t dance, much as I’d have liked to – I was part of the percussion section, which was more fun than one should have on a sunday morning. Doug dropped me at the airport, and after 74 levels of security checking, got on the plane, and fortunately sat next to a fascinating woman called Gael, and chatted for most of the way home, pausing to watch ‘Whale Rider’ and ‘School Of Rock’.

A great trip – possibly my fave trip so far to the states. some great gigs, new family, catching up with old friends, fun at NAMM, great contacts for the future, and a sense that all is not lost with the world despite the crapness of so many things from Dubya to the Dean Girls.

Doug, Vida, Dani, Rick, Jessica, Elias, Trip, Michael, Kelly M, Dan, Wally, Mark, Suzy, Bob A Kelly A, Mike, Kofi, Ned, Kerry, Bob L, DT, Seth, Becca, Jimmy, Anderson, Gael, Keith, Muriel and any others who’ve slipped my mind momentarily – many marvellous friends old and new, thankyou all. (good lord, three weeks in LA and I’ve come back an unreconstructed hippie…!)

And now it’s 5.23am, I need sleep. badly.

more on Tuesday’s gig with Theo soon…

Soundtrack – Muriel Anderson, ‘A Journey Through Time’, Mike Roe, ‘Say Your Prayers’, Luca Formentini, ‘Subterranean’ – three lovely friends with three lovely albums.

Christmas arrives early

in my house, with the arrival of my new bass.

here she is –

The spec – Modulus fretted 6 string, carved top (the first bass like this that Modulus have ever made!) semi-hollow, Chechen fingerbaord and top, Mahogany body, Bartolini pickups and (I think) Aguilar circuit. I’ve already strung it up with a set of Elites Flatwounds, which sound amazing on it, and will get a U-Retro preamp put in it ASAP (same as the one in my fretless 6 string).

Suffice to say, it’s an unbelievably beautiful bass, sounds incredible, is a dream to play and I’m really excited about the musical possibilities it offers me!

Sadly my pictures don’t do the beauty of the craftsmanship proper justice – I’ll get some better pix taken ASAP…

Soundtrack – still Rob Jackson