On Soloing: Think Pocket, Melody, Theme, Interplay and Form

Q: During a recent performance with my band, I was given a spot to solo in a fast, up-tempo (120 bpm) funk tune. I basically have as much time as I need to “do my thing” with only the drummer accompanying me. My question: during my solo spot, should I stay in the pocket (the song’s in E) and just keep a grooving pocket solo, or should I play with a moving progression? Which way would have the most impact? The song’s fast tempo keeps me from playing a 16th-note groove (which is what the band and I want), so I play a slap/funk-type solo because I can keep up with the tempo that way. Any thoughts or suggestions?

A: There are a hundred ways you could go, and I would encourage you to play to your strengths in every way possible.

The answer is simple: if you’re going for what would be most effective, the answer to that is almost exclusively that a fat groove will always go over better with the crowd than an upper register noodle-fest.

There’s no reason why you can’t straddle the line a bit, though. I would keep two things in mind:

When grooving, groove hard and keep that pocket locked up!

When playing up high, keep it melodic and have a conversation with yourself (and the drummer). Don’t just give up every lick you know. Really try to play as if you were a vocalist or horn player (a little reverb or an effect of some kind can go a long way here, too).

Try and think of the overall arc of the solo spotlight. Start off grooving, build, and lead up into some melodic content with a few impressive fills tossed in (or not).

If the tempo is too fast and you don’t think you can pull off certain things, there’s no harm in playing it safe and ending with a crescendo.

There’s also nothing wrong with outlining some ideas for yourself beforehand. Many great soloists (Jaco included) had a predetermined orchestration in mind for solo spotlights they knew were coming. Don’t overthink it or try to come up with an exact solo. A framework for the solo spot will serve you better. Leave some of it for “the moment” and continue to be spontaneous, but pre-considering what groove you might start out with, or how you will end the solo, for example, can really help tie it all together for yourself when you’re in the moment.

Generally said, if you’re going for effective and general crowd reaction (not just musician reactions), then think pocket, melody, theme, interplay and form.

Have a question for Damian Erskine? Send it to [email protected]. Check out Damian’s instructional books, Right Hand Drive and The Improviser’s Path.

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  1. I agree with Damian but I would also add – don’t fear silence. A little well timed nothing in a bass solo can go a long way.

    • A bass is not a lead instrument. I am happy to do nothing during my solo. I do find that the audience look a bit bewildered though….

    • Terry Cubberley haha, I wasn’t exactly suggesting complete silence, though that would be interesting and a little avant garde. I was mainly thinking that often when given a solo the temptation is to be flashy and add as many notes as possible – sometimes less is more and leaving a gap on an unexpected beat can be bass gold.

    • Nice observation! Take funk, for example….the thing I love about funk is that the groove is largely IMPLIED, and not played explicitly.

  2. I’ll paraphrase Victor Wooten, don’t lose the groove and watch the dance floor empty… don’t let a bad note effect the groove.

  3. Too much “flash” WILL empty the dance floor, but like Damian said…..do NOT lose the groove, no matter what direction you take. Nothing worse than hearing a soloist (bassist or otherwise) get so wrapped up in their “showoff licks” that they don’t stay with the drummer. Keep the pocket intact!

  4. Agree with you all…it’s not about how much is “said” by the bassists as much as “what” is said musically!

  5. The Groove is your friend.

  6. always ‘honor the groove’….when playing ensemble, I always keep in mind that I need to play the song, not necessarily my instrument. I take that approach when soloing over a song…..it keeps me focused on the tune…….(I play my instrument when practicing or sitting in a music store!)

  7. Not that there’s spmething wrong with going for a crowd reaction, but for me that’s putting the music in 2nd place. There’s plenty of tricks that’ll make a crowd go wild, but do that three nights in a row and if you play because you love music you’ll get bored with yourself. If you want to be famous you’ll keep on doing it.

  8. bassists don’t get laid because they can play fast.but they might get laid because bassists are cool dudes who hold it all down, along with the drummer’s right foot. bass is not a solo instrument.

    • Michael Manring thinks differently, and I’m pretty sure he’s making a wery good living at being a musician. Oh, and the guy who writes this column, Mr. Erskine is a pretty good soloist (understatement)…listen to some of his stuff. And that Jaco guy…well you get the idea. All those guys can hold it down AND solo. Music is what you make it (which I hope is not just about getting laid :| ). There is a place and time for everything, including the bass as a solo instrument and as an integral part of the band. To say the bassist shouldn’t hold down the groove and be an important part of the rhythm section is NOT what people are referring to when they ask about soloing. Bassists solo all the time, particularly in certain musical styles (i.e. Jazz). Let go of the one dimensional thinking, or at the very least, don’t assume the rest of the world wants to subscribe to the “one way” point of view.

    • doesn’t mean he’s right, or that there is , in any artistic or creative pursuit, a single correct opinion. i’ve been a bass player for 42 years.i play guitar as well, so i play more than some guys ,string bends . i like tasty fills and melodic transitions and key changes. McCartney, John Paul Jones, John Entwistle,Sting, Stanley Clarke,Will Lee,Chuck Rainey, and of course James Jamerson. And many more. Cheers.

    • PS Don’t contact me again. Your message was not respectful.And I couldn’t give a darn about your opinion. I’ve never heard of any of you.

    • “bass is not a solo instrument.”- John Stout Cunningham

      You just unequivocally said that the bass is NOT something. That’s an absolutist statement. Now you’re saying there’s no one correct opinion, yet your very first post is presented as precisely THE way to think about bass?
      I don’t get it, man. If someone playing the bass in a solo role is not something you like, well that’s cool. That’s just your preference, and I’d understand. But you didn’t present that as an opinion, you stated it as fact. Jamerson, Clarke, Rainey, Sting…all those guys play/played solos. Your comments are contradictory, and not making much sense to me.

    • I TOLD YOU TO NOT CONTACT ME AGAIN. I DON’T HAVE TIME FOR YOU AND YOU ARE NOT A FRIEND.

    • Woah, cool down. Sorry if you took offense, but I think you’re confused. I didn’t contact you. This is a PUBLIC discussion forum, and I’m discussing your views here…not on your page or sending you any messages. I’m not attacking you personally. Just trying to clarify and understand what your view is. You can’t get on a discussion forum and post such strongly worded opinions, and not expect others to discuss them with you! If you don’t want this out there, simply delete your original message. (move your cursor over the top right corner of your message and click the little “x” that appears).

    • Michael Young DONT TELL ME WHAT TO DO .I HAVE BEEN MORE THAN POLITE. GO PRACTICE YOUR BASS.

    • Sorry to have tried to engage you in conversation. If you’ve been polite, I fail to see where. Peace.