Mick Karn

[Bern]

Mick's recent passing and his financial struggle over the last few years led me to wonder why he didn't do more session work and somehow to me contemplating the sleeve notes of the much lauded Adele's 21 and discovering the bass player was Pino Pallidino, this is relevant as in the early 80's the only other fretless bass player in Mick's league was Mr Pallidino (in fact he took Mick's place on Gary Numan's I Assassin).
He has worked with Paul Simon,Eric Clapton and was the bassist in the Who for a period along with numerous session spots and tours,so the work was obviously out their.
I wonder whether Mick's unique style held him back in session work as I recall the Joan Armatrading session that was televised where she critised his playing,
Producer to Joan: (while Mick's playing in front of them)
"Well that sounds better"
Joan to Producer:
"It sounds better but the playing is awful"
Mick (visibly irrated)
"maybe I shouldn't bend it so much"(the note not Joan Armatrading's neck)

[baht habit]

Mick's recent passing and his financial struggle over the last few years led me to wonder why he didn't do more session work and somehow to me contemplating the sleeve notes of the much lauded Adele's 21 and discovering the bass player was Pino Pallidino, this is relevant as in the early 80's the only other fretless bass player in Mick's league was Mr Pallidino (in fact he took Mick's place on Gary Numan's I Assassin).

Pino Palladino is surely fantastic but come now...the 'only other fretless bass player in Mick's league'??? Off the top of my head, I can think of stellar players such as Mark Egan (Pat Metheny Group, Elements...and Arcadia, for you new Romantic types), Patrick O'Hearn (Group 87, Missing Persons), Percy Jones and of course, the innovator of all innovators Mr Jaco Pastorius, who was quite alive and still challenging the traditions of jazz during the early 80s. In addition to the Stick, the amazing Tony Levin also played fretless from time to time when the session called for one.

[swordofdestiny]

I found it sad that Mick did contribute to Kate Bush's "Ariel", but she left him out the final mix. I wonder which tracks he played on? Anybody got a clue? And I think Joan was kidding about the lousy playing.

[Stoobie]

Micks bass playing style was unique and wonderful, it would be interesting to know why he didnt get into another band similar to what Rich did with PT!

Stoobie

[inkinthewell]

it would be interesting to know why he didnt get into another band similar to what Rich did with PT!

He was in The D.e.p. with Masahide Sakuma, Gota Yashiki, Masami Tsuchiya and Vivian Hsu. It was only for one album, i know, but still...

[Bern]

i am not sure Baht got my point which was do you think Mick's unique style as Stoobie says held him back when it came to session work or did Mick not want to become just a "session" musician

[baht habit]

i am not sure Baht got my point which was do you think Mick's unique style as Stoobie says held him back when it came to session work or did Mick not want to become just a "session" musician

I got the overall gist of what you were expressing. I simply felt compelled to take exception to a seemingly firm statement that Pino Palladino was the "only" player at that time in the same league with Mick Karn. So I interjected with some specific examples of just a few high caliber players who were also working as session players, while consequently assisting in the evolution of the bass rather than just supplying the typical role of basic root notes.
Actually, I don't suppose that any 'unique style' would hold any particular person back from being a session player. From being one myself, I would reckon that one aspect that surely might preclude the opportunity from studio work would be the inability to read music. Being able to sight read, or at least being capable of competently getting through charts, is a huge plus in the studio, as it saves plenty of valuable time and more often than not guarantees higher levels of accuracy.

[billster]

I think his personality inhibited him in these situations. i think he lacked a true confidence. He was also, I got the feeling, was kind of aloof - IE i couldn't have imagined him playing with Arcadia for example, if they'd asked. I dunno, that's just my take when you consider who he played with and on reading his book. It's odd when you consider the range of people he did play with. I remember he was unhappy at playign with yell. I wonder who he did turn down in his time?

[1.Outside]

I got the overall gist of what you were expressing. I simply felt compelled to take exception to a seemingly firm statement that Pino Palladino was the "only" player at that time in the same league with Mick Karn. So I interjected with some specific examples of just a few high caliber players who were also working as session players, while consequently assisting in the evolution of the bass rather than just supplying the typical role of basic root notes.
Actually, I don't suppose that any 'unique style' would hold any particular person back from being a session player. From being one myself, I would reckon that one aspect that surely might preclude the opportunity from studio work would be the inability to read music. Being able to sight read, or at least being capable of competently getting through charts, is a huge plus in the studio, as it saves plenty of valuable time and more often than not guarantees higher levels of accuracy.

You've read too many David Sylvian interviews.

[baht habit]

You've read too many David Sylvian interviews.

?
How does anything that Sylvian has said in any interview happen to bear any relevance to my pointing out certain bassists and then sharing an observation that learning to read music and navigate one's way through written charts are helpful assets if a musician sets his or her sights on seeking out studio work?

[kitaj]

don't pick on Baht. he's probably the most generous poster around here, both in quantity and in quality.
the language he uses is precise, not precious. one can revel in it, rather than vilify him for it.

[opiate]

Nobody is picking on him.

Bahts posts often make me wonder though if Oscar Wilde ever died.

[baht habit]

Is that what Outside's remark was focused on? Vocabulary?
I thought it was about a particular point I was attempting to express. Oh well, sometimes I'm naive and I suppose I should have known better.

And thanks for those kind words, kitaj.

[Bern]

Baht, being likened to Oscar Wilde you should be thanking Opiate as well

[baht habit]

Baht, being likened to Oscar Wilde you should be thanking Opiate as well

I found it to be a fine compliment as well and probably should have done so. Yet I hesitated, unfortunately knowing how negatively Opiate perceives me --- to the degree that I am to be viewed as some sort of antagonistic troll. So you can never quite be sure what exactly is a compliment and what is a sarcastic dig when it comes to some remarks anymore, can you?
Was Outside's remark negative or positive? I don't know that either. Perhaps I should be thanking him or her as well.
I've noticed more and more that there seems to be heavy undercurrent of reverse elitism around here. I'm always surprised when someone charges another which being 'pretentious', especially when they don't personally know or are in close contact with the person they are accusing. It also seems a bit illogical to me when someone is derided because of their casual vocabulary.
Yet surprisingly, time and time again we have read how even David Sylvian - the main subject of this discussion forum - is to be considered some sort of fraud simply for his choice of words and the manner in which he prefers to express himself in interviews. I would like to believe that it wasn't a similar mindset taken up by Outside while making the remark towards me.