The Drummer-Bassist Relation - DRUMMERWORLD OFFICIAL DISCUSSION FORUM
when i picked up the promovare-site.infog drums helped me out alot! to me, if the bassist and drummer in a band are good, and the others are. The bass drum is very important to groove with, but not necessarily by playing the same Keeping a happy attitude in the band is very important, and the drummer, being a looking for is that common denominator of the spiritual relationship. "Hey you sould always follow the bass drum". I play mostly in a Funk-Fusion band, and my role as bassist (as you all know) is to be very.
The Amen break is generally acknowledged to have been the most-used and often considered the most powerful break in drum and bass. Examples of this can be heard on mids releases such as J Majik 's "Your Sound".
A more recent commonly used break is the Tramen, which combines the Amen breaka James Brown funk breakbeat " Tighten Up " or "Samurai" break and an Alex Reece drum and bass breakbeat. A general upward trend in tempo has been observed during the evolution of drum and bass.
Since arounddrum and bass tempos have predominantly stayed in the — range. Recently some producers have started to once again produce tracks with slower tempos that is, in the s and sbut the mid tempo is still the hallmark of the drum and bass sound. As befits its name, the bass element of the music is particularly pronounced, with the comparatively sparse arrangements of drum and bass tracks allowing room for basslines that are deeper than most other forms of dance music.
Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems. There are however many albums specifically designed for personal listening.
Additionally, there are many albums containing unmixed tracks, suited for home or car listening. The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognisable build section and " breakdown ". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise.
Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance. Many musicians have adapted drum and bass to live performances, which feature instruments such as drums acoustic or electronicsamplerssynthesizersturntablesbass either upright or electric and guitars acoustic or electric.
Samplers have also been used live by assigning samples to a specific drum pad or key on drum pads or synthesizers. The beginning of every band is the linkage between the bass player and the drummer.
Drum and bass - Wikipedia
I remember listening to Elvin Jones with John Coltrane! Like I said, the beginning of a band is the linkage between the bass player and the drummer. Acoustic Bass, live and studio. Ridley also teaches at Rutgers University. It goes back into that spiritual aesthetic thing that I was talking about. I compare it to athletics. There is no set pattern or formula for that.
You have to know how to make certain kinds of adjustments. As an individual, Max has a unique approach to how he phrases, how he breathes and the intuitive rhythm he feels.
I have to make those kind of adjustments. They think of a sound and they just start beating. And there are a variety of ways you can achieve that. The way you tune your drums, the way you strike it, what part of the drumhead you hit, for instance.
Just like all this stuff with electronic drums. You know, them flams might be shams! The wrench is just a means to an end. I practiced 8 hours and got all my rudiments down. Electric and Acoustic Bass, studio and live performer with most of the jazz greats, as well as his own group The Ron Carter Quartet. Acoustic and Electric Bass, studio and live performer. Founding member of Weather Report. Listen to everybody in the group and be musical about it.
Do not overpower the rest of the group. Dynamics has a lot to do with it. Number two, just as important, a drummer must have great time. Overpowering volume is another common fault. I would say Jack DeJohnette is a good example of that. Also, a drummer can be very, very loud and that can be just totally meaningless.
Sometimes it can be very, very loud and it can be extremely exciting. Acoustic Bass, studio and live performer with his own quartet. Has performed with most of the great jazz drummers. Those who do would be the persons I would prefer to make music with. It takes a lot of ingenuity from the rhythm section to keep the groove from dying. The way that he played behind John Coltrane was quite different from the way that he played behind Cannonball, and different again from the way that he played behind Miles Davis.
You have to have enough in your conceptual reservoir to change according to who steps up to the podium, so that you can converse with him adequately and be a complement as well as a give and take. Too many drummers are concentrating on playing the beat instead of realizing that every person on that stand has a different concept as to where the beat is.
There are so many ways of dealing with that groove. Think of Elvin Jones and the wide, broad way that he approaches the beat. Like a Watusi dancer. And then you think of somebody like Jimmy Cobb or Tony Williams who approach the beat very definite, or very closed. Some drummers think that this is traditionally a responsibility, and therefore never grow out of it.
The harmonious situation on the bandstand is such that the drummer, the saxophonist, the pianist—everyone must understand that time is dispensable. It may come from any one of those places. You never really lose the groove. Acoustic Bass, studio and live. One of the premier bassists in jazz history. Their foot might be too play with you and some of them play at you.
Electric Bass, studio and live performer, primarily with Stuff. Shading is a very heavy thing with me. Some drummers only know full speed ahead. They can play the greatest things fast, but if you ask them to play something at a very slow, pulsating rhythm they tend not to be able to keep time. Sometimes when I work with drummers, if you play something fast, they get it as fast as they can play, and they push themselves.
As they get tired they start slowing down and down and down. Electric Bass, studio and live with Brecker Brothers and others. I just listen to his right foot, usually. Electric and Acoustic Bass, studio and live.
Bassists on Drummers
One of the first proponents of electric bass. Played with many jazz greats. What his time feeling is, what kind of facility, what kind of chops, and I try to get to know the drummer himself. I think we play a lot like we are."Locking in" as the Rhythm Section - Bass and Drums Workshop
So, I try to find the way to be around the person for awhile. So, I have to be open. I have to be receptive to the vibes. I have to be open to listening.
So, I kind of enjoy a drummer who sometimes does other things. The way I play is a certain kind of style and feeling, and I think that a different style sometimes goes very well with my playing.
It keeps my thing from being monotonous. I enjoy playing time. I enjoy accompanying different people. So, the drummer is very important because we help make whatever is interesting, interesting. We have to boost it.