I agree with you but lately I've not gotten much good out of the J. However, for recording, you're right, it may good to have around. That was my earlier point. It's just going to be fundamentally different in a way and that unique timbre may be important to use.wints wrote:Any bassist who really has a broad ear, and, more importantly, an open mind, should have at least a J or P in their collection. Personally, I think you need both. They both retain a certain fundamental that is a cornerstone of many a classic recording, and are an integral part of the low end sound. The Ric has it's own place, but it's never going to sound like a maple neck P bass, especially with certain styles of playing.
The key, as with Ric basses, is simply to find a good one. They vary greatly, and good ones are hard to find these days. My 64 Jazz is simply a joy to play, as is my 64 RM1999. They are different, no question, like apples and oranges, but both do the job intended. My pre EB Stingray Fretless is simply a tone monster, and again, is totally different from my 73 FL. Both are gr8 basses, but the Stingray spectrum of sound, with it's ebony board, is magnificent.
I also agree about how hard it is to find a good one. Especially Fenders these days. I spent part of today checking out newer Fenders and could find none that was as even half as good as my 2003 Jazzer. Kind of depressing. I did play a Geddy Lee that I liked but all the others--I played 6-7 Jazz Basses and 4-5 P Basses in all--were flawed in a number of ways. Irritating. The P Basses were especially awful except for one that was almost really good but had a really poor-sounding E.
I guess since I don't have to sell it, I won't. I've flip-flopped a lot on this but you have kind've validated what I was thinking earlier, that the Jazz is essentially different from either of my Rics and that alone makes it valuable.
