When learning how to develop the walking bass lines over jazz standards or other music pieces that require this kind of sound there are two main approaches to doing it, although largely overlapping. One is concerned with the step-by-step method that starts at the bare basics of harmonic understanding and how to express it in music. The other uses the vocabulary acquisition method, i.e. selectin and teaching certain "cells" of bass lines which have been established over time as standard devices in the genre, used innumerous times by the professional players. If compared with methods of learning a foreign language, the first approach would be akin to teaching the student the grammar and other underlying principles of a given language, while the second might be seen as learning common phrases and expressions first, in order to start communicating as soon as possible. Ultimately, if the goal is a high level of functioning in the chosen language, the speaker will need the command of both aspects. Besides that, the first way may be more applicable to less experienced player, with second possibly leaning more towards those with some experience.
This time we are dealing with the latter approach. One of the excellent instructional tools that exemplifies the vocabulary method is a book written by Joe Hubbard, one of my favorite bass educators out there, who will be featured in some of the future reviews as well.
Although not a very large volume, this book manages to pack a lot of great information in a very effective and functional manner. (NOTE: on Hubbard's product page you will see a different cover, but when the order is delivered this is the one you will see). The author starts by identifying and explaining the components that make the ingredients of a good walking bass line, and emphasizes that "As well as the harmonic specificity, the rhythmic specificity must be adhered to in order to achieve an effective outcome with your bass lines".
He then proceeds to present and explain his selection of ten fundamental "phrases" that help to run a meaning full "conversation" within the context of jazz. Those include devices such as chord tones, passing and approach notes, scalar runs etc, along with harmonic adaptation and octave displacement principles that should enable you to make the lines smoother and fluid.
Hubbard explains the harmonic foundation of each of the ten cells and demonstrates how each is applied over a typical jazz blues chord progression. Finally, he puts together a matrix of those options for each of the chord types used, and writes out nine choruses of blues walking bass lines to show how they can be combined and matched in an actual playing situation.
Again, don't let the lean size of this manual trick you into thinking that it is not a big deal, because it does cover a lot of ground, and if you put in proper work it will give you a lot of mileage out of it. The best things that simultaneously you will get instant authentic sounding solution for all the common harmonic contexts, as well as the understanding that should enable you to adapt the lines to any other musical environment. As the matter of fact, once you understand what the ingredients are and how they are effectively combined, that knowledge ought to allow you to build good sounding lines in any situation, regardless of the style and genre.
While there is not really such thing as shortcut to jazz proficiency, this is as close as you can get to it - highly recommended!
