Diki,
you raise a lot of good points.
yes, the arr.bass doesn;t know where to go, and it sounds
like it..but to whom? to very highly trained ears only. That leaves out 99% of the audience, who groove on the tune and the feel, and will never notice incorrect bass notes. So
I choose to groove on the groove as well, and ignore what
I hear re notes, because only the scariest bass players have the kind of time or groove that a good arranger kb does, and it doesn't rush, drag, or both--doesn't play too
many notes or too loud or too soft, doesn't use that (yech)
twangy nasal sound that's the rage in jazz recently.

that said, as a kbdist only past 6 yrs, I learned a lot from your suggestions re SMF's and especially the on-the-fly chord seq..of which i was not aware. A lot of sz guys love the g1000..maybe i need to find one and check it out..

although.. I'm trying to establish myself as a vocalist/kbdist, and don't wan't to play too much horn with that, because at this point everyone likes my vocal/kbd, but they LOVE my horn, and I don't want to be a full-time horn player any more..just want to have a bit of fun with it at jams and gigs. so playing a tune a set with a horn solo
in the middle of it, blowing over a single pedal chord, has
been passable..but i would like to blow over changes once
in a while..
Mo