#1 I can walk good bass lines, but soloing is so different!

Let’s sidestep for a moment. I want you to imagine a really amazing bass line. What does it contain?

There are clear note choices, a rich and full sound, an infectious rhythm, and a sense of relatedness to the rest of the group, right?

Now, Imagine a great solo. 

What’s the difference between a great bass line and a solo?

Very little!

#2 I’ve memorized all the theory, but it’s so difficult to use!

I get it — believe me! There’s so much to know about chords, scales, extensions, substitutions ...

And we all know what happens when you ask a musician for theory advice — you get hit with a firehose of information. 

I’ve been on the theory path … and using it as a vehicle for soloing is like taking the express lane to frustration!

Think about learning to solo like learning a new language.

Primarily relying on theory to learn soloing is like only using a dictionary to learn a language.

A dictionary tells you “what” can be said, but it doesn’t tell you when to say it, why it sounds good, or the above all … the best context in which to use it. 

Even worse, it makes us turn off our ears to the conversation right in front of us.

I mean, really — how enjoyable are conversations where no one is listening?

What’s the best way to learn a language? By listening (a LOT!), imitating, and being around people who speak the way you want to speak.

Theory, like a dictionary, is a tool to help fill in the gaps of what you can already hear.

#3 I don’t have enough technique to play great solos.

I have two words: Technique Envy.

This means that we become dazzled by other instruments who have seemingly more technical possibilities …

And convinced that we need to do that in order to create great solos.

But how much technique do we really need?

Just enough to convey our ideas.

For every rapid-fire technique-wizz, there’s a Chet Baker … a Stan Getz … a Count Basie … who were masters of melodic playing within their zone of comfort.

Now, let me be very clear — if you have aspirations to play solos with a high level of technique, I fully support you. Go for it!

And if you don’t hear ideas that way, then there are ways to play that serve the ideas you hear.

#4 I transcribe all the time, but now what? The work doesn’t show up in my playing. 

You’ve spent 90 hours working on a killer Scott Lafaro solo ... only to come away thinking “OK, what do I do next? How do I absorb this?”

Well, how did you transcribe it? Note by note, measure by measure?

Let’s compare it to language again.

When we hear someone speak, we don’t focus on what they say letter by letter … or even word-by-word … 

we hear the entire sentence at once!

[See a pattern? The problem is, you’re not engaging with the music like a language!]

#5 I don’t need to solo, I play the bass!

Why do bassists need to solo?

After all, you didn’t learn the bass to sound like a guitarist, right?

Think of it this way.

A bassist who avoids soloing is like a baker who refuses to frost their cakes. 

Sure, frosting is decoration, and too much is dangerous! But your bass playing is meant to be more than just a dry foundation.

If you’re expecting yourself to be a great accompanist, but you push against learning to solo … 

how will you truly understand what your peers are playing? 

Being a soloist is not just about putting yourself in the spotlight — it’s about having the skills to elevate the musicians around you.

And most importantly, learning to solo does NOT come at the expense of being a great accompanist.