I bought this double bass from Paul himself, though it wasn’t new when it came to me. It had been purchased originally by a busy London freelance player, someone I knew well who had really played it in. He in turn ended up selling it to a jazz and show bassist, who again gigged it pretty hard. That player traded it in to Paul for one of his smaller models. By the time the bass made it into my hands it was about ten years old and sounded great. All the hard work of breaking a new instrument had been done for me, and I could just enjoy it. I bought this after I sold my little German bass with the newly made front. The difference in size between my main orchestral bass and the small German instrument meant I was constantly having to adjust. I needed another big English orchestral bass, but couldn’t afford another Lott. I had been up to Paul’s a few times with younger colleagues who were looking for instruments, and so knew what his basses were like. In my mind they represented incredible value for money. I had this bass about seven years in the end, and it was for me that perfect second bass that London freelancers find so essential. I played it for important sessions, concerts and tours, and it never let me down. It was bombproof. When I had the opportunity to buy the George Craske instrument I knew I had to part with this one, but I found an new owner for it not too far away in Birmingham. A young player who needed a great bass without the complications or expense of something old and full of issues. I know it will serve him well.
