In your experience how would you describe how Ray Brown sits on the beat with a given drummer versus Paul Chambers? thank you, good video good discussion
I think that part of the issue is that many students of jazz are not only taught to have the metronome on 2 and 4, but are taught to tap on 2 and 4 as well--regardless if what instrument they play. If everything is 2 and 4, and you have no context for the DOWNBEAT--than NOTHING is 2 and 4. My old teacher had me get OUT of the habit of tapping on 2 and 4. Now I have one foot taping 1 and 3, and the other taping 4. The click can move around to work on different relationships with the meter and pulse, but you gotta know where that DOWNBEAT is at all times. I play guitar, by the way ;)
maybe you should have taken a seat and put that upright bass aside if you were not going to play it anyway. I was actually hoping to hear some examples.
The reason to play it the way Ray Brown did: there’s less hand fatigue, and less overall fatigue, if you mostly use the big muscles of your back, shoulder and arm to play. It leaves the fingers with energy when needed for the trickier/faster moments.
To me, being a bass player is all about mastering the pocket. You can tap, slap, do some mutated Davie504 style, but if you can't master the pocket, it's pointless. Technical practice is good, but mastering the pocket is the path to greatness.
Love it ! I might try to steal some of it ;) the flow in the middle part was really impressive! The sound of the G string really stood out though. Is it from a différent set?
Have you ever studied Mike Longo's material, the Polyrhythmic Nature of Jazz? He talks about all the different layers of triplets and tuplets that go beyond the typical eighth note triplet that is commonly taught in jazz pedagogy. CD Ladzekpo rooted everything within the West African conception of polyrhythm. The quarter note triplet, the offset quarter note triplet (starting on the "and" after the downbeat), and the slow three. Funny how I often hear these rhythmic concepts spoken about most by bassist and not drummers...definitely not jazz guitarists ;( We all gotta be responsible for that time, feel, and pulse!
Hey, Great Vid! I've come across a few examples of this in John Coltrane's playing, but what really brought the idea home to me was when I picked up a copy of "Stick Control" the "Drummers Bible". If you think of the RLRL etc. of a Drummer as a Two Note Melody, say 5 to 1, then the first page abounds in these Rhythmic Displacements. It's kind of like their own Circle of Fifths. I wonder if the guys that played with Melodic Drummers, Drummers who actually play the Melody and the Form, didn't pick this up from Them? I'm a Jazz Violinist, but I learned that Joe Morello was a Prodigy of sorts on violin, before he switched to drums, and he studied personally with the Author of Stick Control. Just picking up a pair of drumsticks and working on a plastic bucket through the first few pages, then taking those Rhythms as Two Note Melodies to my Violin and working on open strings, has me totally convinced that everyone could learn more than a few things from this book. Cheers, Jack
I find choppy video nauseating. When you set the shutter speed to be double the frame rate, you get natural-looking motion blur and no choppiness that comes from higher frame rates that people typically use to reduce exposure which is better done with the lens aperture or neutral-density filter. @@eckie4679
