Why is it that when you have a chord such as 13b9 or 13b9#11, the bass line in many of the modern jazz styles is playing only the b7th at best and often only a bland major scale pattern? Surely that can't be right.
I don't know any modern bass player who'd be accompanying in this way over a chord like that. Even the bebop styles manage some chromatic movement so you'd expect even more 'harmonic awareness' from the bass in later 60's or 70's styles not less.

I hadn't noticed before because the piano comping is usually outlining the chord but what if youre playing with just bass and drums? I'm having to put all sorts of chords in there to get the bass to do what it should in this situation.

So.. better bass playing over extended dominants please!!

Regards

Alan

Last edited by alan S.; 12/20/09 07:41 PM.