Laurence Cottle transcription — ‘Quite Firm’

The stats on my site tell me a few things. One is that, particularly on Fridays, my visitors are predominantly Gardener’s World fans who have arrived here through the TV show’s ‘Community’ page on the BBC website, thanks to a pretty nothingy post I wrote about it one time. It has 33 comments.

Another thing is that quite a few people get here by searching for ‘Laurence Cottle transcription’ (brave souls), which is the kind of visit I’d prefer to encourage. So…

Here’s a transcription — the hideously fiddly yet actually quite listenable bass part from Laurence Cottle’s ‘Quite Firm’. There’s a few versions of the track on his website, a couple on the big band album and a small band one from ‘Live!’. I’ve used the Live! version as a template and transcribed the head. It’s really good writing, fits in brilliantly with the horn lines and in a perverse sort of way falls quite nicely under the fingers — definitely a bass player’s line. Here’s the PDF:

Quite Firm – Bass Guitar

And here’s a clip of me just about getting through the A and B sections (playing along to the ‘Bonus’ version from big band album, because the Live! one is out of tune with A=440Hz):

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Good teaching — Scott Devine and Geoff Chalmers

Great weekend — a day after my lesson with Geoff Chalmers, I went for one with another Leeds-based player, Scott Devine who by all accounts is one of the very best electric bassists in the UK. His website and free video lessons are extremely popular, so when I found out he was based in Leeds I had to go for a lesson in person. We focused on building a consistent technique, listened to a lot of cool stuff and went over some soloing approaches and a few clever tricks. Most of all, it was great to meet someone with so much experience who is still head over heels in love with playing and talking about bass.

The important thing about Scott and Geoff is that neither of them have a dogmatic approach to either technique or theory, so there was no prospect of any overloading or confusion despite having the two lessons back to back. It’s very true that, (paraphrasing George Millard), ‘there are some things you have to be able to do and that’s how it is’, but my two teachers were well aware that the details of how you approach doing those things can vary dramatically to suit each person.

Whether you prefer to think of a G altered scale or an Ab harmonic minor, they’re both good ways to pull off wicked-cool altered licks and impress your friends. It’s important to be able to get the fat, punchy sound that Geoff in particular emphasised to me, but whether you descend by raking or strict finger alternation is down to comfort. Both Geoff and Scott had rock solid technique and focused on giving me ways to develop my own, rather than sticking religiously to the particular details of their techniques. These two are highly recommended!

Jazz recital recordings

Recital season at Leeds University is just finishing, and I played on a couple of the jazz ones: George Millard‘s and James Kelsall‘s. Good fun. They all get recorded on one of those handheld recorders, so I’ve grabbed the audio and done a bit of tape-simulated mastering as best I can.

I’ll be putting some more up on my media page soon, but for now here’s a couple from George’s. He put together a septet with Steve Hanley (drums), Aron Kyne (piano), me (bass), Matt Yardley (trumpet), Ben Lowman (bari) and his teacher, Jim Corry (tenor). All of them were great and very generous with their time, and the recital just seemed like a really nice gig. Blues for CT is a Parker blues from Jim Corry’s Tribute to Atlantic Jazz project, and Clinicology is a Phil Woods head over Cherokee, with a Nigel Hitchcock intro stuck on the beginning. Enjoy:

[All the original recital recordings are up at: http://www.personal.leeds.ac.uk/~lecdrhg/final_recitals_summer_2012/]

Cherokee, George’s recital

Here’s a quick video of what I’m mostly practising at the moment. It’s from Nigel Hitchcock’s ‘Snakeranch Sessions’ album (on which Laurence Cottle plays), which is downloadable here, and if you listen carefully you can hear that it’s an introduction to Cherokee. The album is full of very fast bass and alto sax unison lines, which is a sound I really like — the poppy attack of bass gives a bit more definition and the smoother, fuller notes on sax sort of make sure that you can actually hear what the note is at that speed. Really good.

Anyway, George Millard has transcribed (and pretty much nailed) this introduction for his recital, which is at 5pm on the 31st of May at Leeds University’s School of Music, and features Steve Hanley, Aron Kyne, Ben Lowman and Matt Yardley, and me. Possibly someone else too.

Here’s a video of practice in progress — I’m not sure if I’ll actually play the unison line next week but in any case it’s been horrible and annoying to practice, which is probably a good thing. Below that, there’s a clip of Laurence Cottle and Nigel Hitchcock playing it even faster than they do on the CD. Madness.

Sela Bar Jazz jam on Tuesdays

There’s a new-ish and really good jam night on nowadays at Sela Bar in Leeds. It’s probably my favourite venue for jazz here, very cosy and dark, with surprisingly brilliant pizza and posh beer. The jam features a different house band each week, mostly made up of students, graduates, or tutors from Leeds College of Music, and it goes on really late — sometimes you actually feel like there’s a sense of what it was like in certain places and times in the past when jazz was the night-time thing that everyone did. Go and have a look!

I’ve added a couple of rough recordings from last week, when me and George Millard went along. Thanks Luke Reddin-Williams (who’s drumming on these ones) for recording it. Probably next time I’ll take some videos/photos as well and put them up here — very highly recommended.

EDIT — Here’s next week’s event: Jami Sheriff Trio

LUU Big Band Tour 2012

Some background info and assorted media (further down) from Tour 2012.

Band/Tour

Leeds University Union Big (formerly Dance) Band, which I play bass for and used to MD, just got back from the annual tour of France. This involves going to the same campsite near Bergerac every year, which is nice because it means the gigs we play around the area are always sold out.

Matt Yardley and George Millard are MD-ing from lead trumpet and lead alto respectively this year and have taken this year’s talented group of musicians further than I imagined the band would ever go musically, so well done them. Recordings featuring them are further down this post.

What has been most fortunate though is that this happened to coincide with the presidency of James Kelsall who has done more, and done it better, than any performance-group-leader I’ve ever met. At last year’s AGM, dressed up in period drama costumes on tour, he had two ambitious aims: record a studio album, go and play at the North Sea Jazz Festival. The CD, ‘Swingin[g] from the Treehouse’ is now becoming available, and in July we’re going to play at North Sea. Along the way we’ve also recorded music and video for ITV’s upcoming drama Mrs Biggs and on 12th May we’re bringing the very famous Liane Carroll to Leeds for a gig. It’s all pretty amazing and makes me very glad to have happened to be studying at Leeds this year. Well done JK!

Recordings

Here are some bootleg recordings from my phone and a few videos from tour.

Concerto for cootie — matt yardley, trumpet

Lovely Ellington chart, very very carefully arranged and excellently played. 2:39 onwards is pretty cry-y.

bei mir bist du schon — george millard, clarinet

Funny sort of dance hall style chart, the kind where on the video all the musicians’ bodies and smiling faces are perfectly stationary apart from e.g. drummer’s arm or conductor’s hands.

Samantha — George Millard, alto sax

(Featuring George on his main instrument.) Eyeshadow is even more fitting on this tune for some reason.

BBC Grandstand — arr. jj williamson

An arrangement I did a while ago to test out Sibelius 7 Sounds, finally finding use as a way to provide nostalgia for British ex-pats.

Under the sea — arr. jj williamson

I arranged this as a special request for a sea themed ball we did. Jamie Lambert’s vocals manage to be completely authentic without being racist at all.

Almost like being in love

Arrangement as done by Natalie Cole, and one of my favourite songs ever. Vocals from Loucin Moskofian.

At last

Power ballad time. Corine Sheratte singing, George Millard on sax again.

Cheese and carrots

Brilliant band chart. George Millard on alto again (my dad seems to prefer videoing tunes with him soloing), and Ciaran Diston on trumpet. Hugely appropriate tritone substitution at the end, well done me. Also featuring my dad and little sister arguing about who has the dubious privilege of holding the iPad.

Videos of my PhD, with OVITO

Philosophy…

Writing computer code for physics research is quite different to a lot of commercial software development (in a number of ways, which I might at some point write about in detail here).

For example, graphical output. In most consumer software, it’s usually pretty important to at least have a nice-looking graphical interface for the user. In special cases, e.g. games, the graphical (and aural) feedback is pretty much the whole point of the software, so it’s obviously important to get it right.

In scientific simulation, graphical feedback often doesn’t have quite the same status because it’s not normally the main output of the software. Instead, the main purpose of the code might be to produce huge data files which can then be analysed to measure various properties of the simulation’s ‘trajectory’, (e.g. temperature, pressure, structure) producing results broadly analogous to those taken in a real-life experiment. Whether or not the program looks good while it produces this trajectory is less important, and because speed and efficiency is usually such a key consideration in simulations, anything that might introduce an unnecessary overhead (e.g. graphics) is usually turned off.

However, in another way, graphics play an even more important role in scientific simulation — bug checking. In contrast to consumer software, where a bug might not matter as long as it has no observable effect or doesn’t crash the program, the value of scientific simulation code is completely tied up in knowing exactly what the code is doing. It’s no good thinking that a bug doesn’t matter as long as the results come out as expected, because the whole point is that you don’t know in advance what the results will be, and you’re interested in how they might differ from expectations. An interesting simulation result is no use at all if you’re not sure that the code, in microscopically fine detail, is doing what you say it is — the point of the simulation is to find out how large-scale effects emerge from known small-scale dynamics and if those small-scale dynamics are subject to errors and bugs, you probably won’t discover anything useful.

So, by visualising your simulation, you can check for bugs which might not be obvious during analysis. You can check that the individual particles or molecules or whatever are acting believably, as you programmed them to, and then be a lot more confident in any large-scale, emergent effects that you discover.

Also, more importantly, it looks cool.

OVITO

For a while I’ve been looking for an easy to use and powerful visualiser for atomistic simulations. I’ve used some not particularly fancy home-made code for this but wanted something more versatile that was still able to handle tens of thousands of particles.

So, OVITO which uses OpenGL rendering and is completely free and cross-platform, is perfect. I wrote some code that quickly converts my simulation’s data files (‘trajectories’) into a format readable by OVITO, loaded them in, and now I can spend all day making videos instead of doing real work. This program also easily allows special effects like color-coding particle properties, structure analysis, rotation/slicing of the simulation box etc., so it’ll be handy for preliminary analysis as well as making illustrative videos for seminars and so on.

An example

I recently posted about gas-liquid phase separation, specifically ‘spinodal decomposition’ in which the phase separation happens quickly throughout the whole system, rather than by nucleating at a specific site. A while ago I tried running something similar but in the presence of a template for crystal growth (i.e. a regular lattice at one end of the simulation box). This templated growth is another main focus of the project so we thought it might be interesting to combine the two ideas.

A video, produced with OVITO:

What seems to be happening for the parameters I’ve used is that the template causes a crystal to grow but, as was discussed in this paper, the crystal can’t locally coexist with the liquid, even though the liquid has a roughly similar density to the crystal. Instead, the crystal needs to coexist with the very-low-density gas phase, so it coats itself with a thick layer of gas which ‘shields’ the crystal from the liquid as it grows. It’s a ‘split interface’ (Crystal-Gas-Liquid) similar to those discussed here and may substantially slow down the growth of the crystal. Experimentally, this means that little crystallites form which effervesce, or bubble, as the gas bubble they keep trying to form around themselves floats away. It’s an inherently nonequilibrium effect because, at equilibrium, the gas-liquid separation disappears and you’re left with just two phases: a crystal and a very tenuous vapour. The effect of ‘metastable’ (nonequilibrium) phase transitions like the gas-liquid separation is a key focus of my work.