Maybe he is referring to the different classifications/periods of jazz? Out of curiosity, were these albums considered post bop jazz?
Thanks for the info YouIs...
Not just to mindlessly quote everything Ive read and everyones comments, but from my listening experience, it seems Tony did in fact come in and flip the script as you say. To me this is only possible on a truly meaningful level if youve spent the time learning, perhaps verbatim, what the guys before you have done. Once that is fully understood and digested, then from that you can build....and build Tony did!! Its lame of me to say, but it makes listening to other guys a lil boring at times. Tony has done for me with jazz what Vinnie did to me with rock/jazz/whatever. But I find the other guys can be amazing in other ways that Ill mature to enjoy more. Like with my early rock thing I needed fireworks then learned to love the beauty in a Jim Gordon track. Now Im digging the freakishness of Tony, but I can already see how Ill get into the groove of Art, and the layered deep playing, with to me one of the prettiest rides Elvin, etc. At 44 I feel Ive only scratched the surface with this stuff and its so exhilarating...and turns me a huge dork. It all started when I was a very young child being taken to see The Pink Panther and that music got in my soul. Love this stuff....sorry for the rant
what part of what they played wasn't jazz?
I'm curious
Seven Steps, ESP, Miles Smiles, Sorcerer, Nefertiti, Miles In The Sky, Filles de Kilimanjaro ?.... which one ...
every one of those is 100% a jazz record
I was being facetious.
I was responding to the earlier assertion that what was played in the high school jazz band could not possibly be jazz because it was straight and not swung. Of course, the Second Great Quartet played many songs that were straight and not swung. Therefore, going by the original posters previous assertion, it was not jazz. Which, obviously, is simply not true.
I liked how Elvin Jones would propel the swing feel with an emphasis on the "a"' of 2&4.
Jeff Hamilton's approach here is really nice... https://www.youtube.com/watch?v=5hxCJ5O_tdo
Here you go Larry a cautionary tale with Moanin'. This is a great exercise-thanks Who'sTony. This was one at the beginning so it looks easy at first and I'm "Ok", but keeping that steady spangalang is hard-you see I get off quite bit and get lost in less than two minutes, then my time waivers in this too. It's deceptively difficult at first-I probably still suck at it. I've adding hi hats to it already (that helps with time), and trying the little kick (which is really difficult for me), but the snare part will take me a bit-hell a long time. I think I've picked this to death myself but if you notice anything else to help I'd appreciate it. Besides it's painful-moaning. Yeah I know my grip need a lot of work and actively seeking to fix that. https://www.youtube.com/watch?v=-4tXiZbmHH8&feature=youtu.be
On a personal note. Gosh I've a gut now-that lack of exercise the last few months shows.
There is more than one way to play the ride. Static spang-a-lang isn't really one of them. Hasn't been for a long while and emphasis should be on driving quarter notes.
The need for extreme independence is also not really that important. Unisons with the ride and being comfortable with all the three other voices, snare, bass and hats is the deal. Listen to songs, play musically and apart from the fact that jazz is improvisational in nature, the fundamental stuff and good feel is the main thing.
Hey Guys,
Lots of great stuff on here already. Todd's article is unsurprisingly clear, thoughtful and useful, and Anthony's commentary and suggestions are also super helpful. Several years ago I made a kind of awful video discussing my approach to learning the ride cymbal beat:
https://www.youtube.com/watch?v=syAVfXzGfLc
There is way too much of me talking in this video, so let me boil down my suggestions:
1. Take your ride cymbal away from the set to help you focus.
2. Find a piece of music with really strong ride cymbal playing. My suggestion was "Remember" from the Hank Mobley album "Soul Station" featuring Art Blakey's drumming.
3. Play along with the song several times per session, focusing on trying emulate Blakey's beat as well as locking up with Paul Chamber's bass lines.
4. Respond to the music appropriately by marking the form and playing with dynamics, while also trying to internalize some of the vocabulary from the great soloists on the tune.
Great discussion, I hope this is useful.