Calvin, I guess by now, 2020, you know a lot more about Jacob. In the early days of his RU-vid videos he indeed did it all and with a single Shure SM58. Today I believe he has collaborators. An utterly amazing human being that has filled my life with wonderful music!
Collier is an average vocalist at best, he is 90% boy-band haircut and only 10% vocal ability. The tone that great singers have is just not there. He's flavor-of-the-month now but let's see if he is still singing in 5 years...
Are you crazy haha! Collier is a fantastic vocalist but scrap his raw talent he is the most ridiculously able minded and talented multi musician out there and so he will absolutely fly! Go and watch some of his theory videos or live performances I urge you. What an unbelievably talented musician, just incredible. He is so so so much more than just an 'average vocalist', rather a savant of all things music!
Andrew Tucker This is a comment I've often heard levied towards jazz in general. Though needlessly unpleasant & coarse, I find it stems less from a fault in the music itself, so much as it does a tendency for more casual, less immersed music listeners to conflate anything that evokes "Jazziness" with "Easy Listening." Which is a shame, because they're worlds apart.
My goodness! A voice so deep and rich that it gives Benedict Cumberbatch goosebumps, matched with an evergreen face reminiscent of the spawn of Keanu Reeves. And your musics pretty good too ;)
@@thehiddenyogi8557 This comment has haunted me. Because that's kind of when it "locks" for me as well. I think it's because the drums contextualise the rhythm. So, like, if you're unfamiliar with 11/8, you might not know where to place the accents, so the instrumental without the drums doesn't groove much. but when the kick and snare provide the accents, it all fits together a bit more nicely. Does that make sense?
This guy is seriously sick, to paraphrase Sivuca, a great Brazilian musician, speaking about Hermeto (a greater one): Music is a pathology he carries around. Really, 11 beats? Want me to make feel bad? You did it!!!
Is 11 really that crazy? 1-&-2-&-3-&-4-& +1-2-3 there you go. It's not that difficult. Depending on which beats have accents, and if that stays constant or if some are 4(8) + 3 and some are 3(6, 3+3, 2+2+2) + 5. The interesting thing here is that some instruments were in some meters and some were in others. They all added up to 11, but they did it in different way that produced what's called **cross rhythm** It seemed like the shaker was in 4/4 but over the same bar-length that other instruments played in 11, which produced **poly meter** (and not polyrhythm, I'm pretty sure... I get the two mixed up sometimes, but I think polyrhythm is when one instrument is in 4/4 and another in 3/4 and the downbeats coincide every 3 bars which puts the piece into an odd flavor of perpetual 12-beat hemiola-like state)
I thought I heard that too, but hear me out. This might be totally crazy, but it could have been intentional. There's an interview where he mentions that polyrhythms are more than simple math equations and that subtle nuances are important to musicality. I believe he intentionally drags so that when it shifts to being back on time it's that much heavier. Just a thought.
He is definately loosing it by intent some places, i do believe. After all, its all synced visually through pro tools. Thereof, if anything is "off time" its not the general pulse i believe, but variances within the beats. But then again, nothing can be off time. At least in our scientific worldview, time is all the time, every time. So, it seems like the only way for us to make us feel better is to say, "Well to me its off time. I prefer noise music"
In think he mastered the Art of feeling just every second beat very well. If we are trying to understand this 11 beats it might be easier to think/feel the way he does. It is a well know fact that if you are trying to count every beat in an odd meter you tend to rush. But if you just feel the "halves" then you have a better chance of being in the pocket. Point is: i think he is perfectly there, we just dont feel the groove right.
The stuff he's doing in this video is a concept that becomes what you hear at 2:30 in Woke Up Today, which he of course changed a round a bit. It's recognizable enough that you can pick it out on the track
Is 11 really that crazy? 1-&-2-&-3-&-4-& +1-2-3 there you go. It's not that difficult. Depending on which beats have accents, and if that stays constant or if some are 4(8) + 3 and some are 3(6, 3+3, 2+2+2) + 5. The interesting thing here is that some instruments were in some meters and some were in others. They all added up to 11, but they did it in different way that produced what's called **cross rhythm** It seemed like the shaker was in 4/4 but over the same bar-length that other instruments played in 11, which produced **poly meter** (and not polyrhythm, I'm pretty sure... I get the two mixed up sometimes, but I think polyrhythm is when one instrument is in 4/4 and another in 3/4 and the downbeats coincide every 3 bars which puts the piece into an odd flavor of perpetual 12-beat hemiola-like state)
it's just not fair!! he's seriously SO good at every instrument, sings like a pro, perfect rhythm, VERY musically intelligent, and all at such a young age... insanity, I wish I had half his talent!
there is also a certain degree of environmental luck involved i.e. his mother showered him with the drive to constantly create as a child not having such supportive/invested parents at such a young age will definitely leave you on the back foot in comparison to someone who did have such a push be good to your kids
Huge fun over here, but couldn't resist saying that he actually cheats on the first bar. he plays 10 beats instead of 11. The general beat consists of two parts, 13/8 and 9/8. (2,2,2,2,2,3 and 2,2,2,3) The first time though he only plays 11/8 (2,2,2,2,3, missing 2 8th notes) and 9/8. Check this out, it all comes to its place if you notice that.
I think the 45 who gave this video a thumbs down have a much, much better groove than Jacob C. I can't wait to hear their work! It must be way more awesome.
My favourite office fun; trying to count to this with my colleagues. Quite an icebreaker and a lot of fun. We still haven't made it all the way yet, but the entertainment value is great
i honestly don’t care whether this beat is actually ‘explained’ to the standards of some of the detractors here below or not: the whole thing comes together beautifully & powerfully, in rhythm, in harmony, and the voice modulation/transition he makes towards the end is remarkable in itself... i really enjoyed hearing this bit of music ‘melting pot’ for lack of other terms, its groove, the mind blowing skill applied to it... hope he some day makes a full album like this!
Could someone please lease explain. What does it’s mean by the whole song being in 11 beats? How can a song have different beats? I’m really interested in learning this.
Payt Laros maybe that was that person's way of coping with a lack of musical understanding....I think if you can't explain it you should learn how to....
I would suggest subdividing it into groups of 2 and 3, like this: 2, 2, 2, 2, 3 | 2, 2, 2, 3, 2 It's basically two bars of 5/8 with just one "longer" beat (3 16th notes) in each bar (so 5/8 with an added 16th note, or 5/4 with an added 8th depending on what note values you want to use). Of course what makes it more complicated are the cross-rhythms played by the percussion instruments, but this would be what I would be thinking if I played this rhythm. All grooves in "odd time signatures" start to make sense this way. All rhythms can be divided into groups of 2 and 3. So you don't want to count in 11 in this song. You want to learn the 2 + 2 + 2 + 2 + 3, etc. pattern so that it becomes automatic and you don't have to think about it any more. A good example of a similar thing would be "Vicinity of Obscenity" by SOAD. The "Banana terracotta pie" part uses some weird time signature that I don't remember off top of my head, but it's just groups of 2 and 3 played one after the other. If I remember the lyrics, I also remember the rhythm. Banana banana banana terracotta | banana terracotta terracotta pie - 3 + 3 + 3 + 2 + 2 | 3 + 2 + 2 + 2 + 2 + 2 + 2 - that's 13/16 + 15/16 (or one bar of 7/4). But that doesn't really matter because it doesn't tell anything about the rhythm and how you should count it - the groupings of the notes matter a lot more.
