Nick Mason: The Special Relationship Between Bass Player and Drummer | Scott K Fish
I guess drummers can really help you in the more technical side of your playing. But a bassist can help with that really difficult 'creativity' part of. Pink Floyd drummer considers band's legacy By John Carucci/The Associated Press POSTED: 11/14/ PM EST NEW YORK. If drummers are going to talk to the bass players, don't just say 'Follow my bass drum. looking for is that common denominator of the spiritual relationship.
In fact, most countries outside of the United States utilize percussion as a very integral part of their music. Most serious percussion players spend countless hours practicing their craft and often times countless hours of studying and trying to learn all they can about different cultures, instruments, music genres, and performance techniques.
Now I can be rational about this- I know why it happens a lot of the times. Many times in music, especially in the pop world of American music, percussion is most certainly an afterthought.
So sometimes to the uninformed individual this all looks pretty simple. This is rule number one. The first mistake of most percussionists is overplaying. Believe it or not a verse, chorus or maybe a whole tune might still sound OK without your presence. This is a hard lesson for all of us to learn, myself included. Be the unsung hero. If your goal is to be in the spotlight then get those vocal chords in shape, get a microphone and head to the front of the stage.
Of course there are obvious ways to get noticed as a percussionist, if you feel that need. Many of the instruments that we play are very visual. For me — I just say be a really good player and those that need to notice will. Learn when enough is enough and realize that your goal is to enhance the music, not overpower it. Rule number two, for me, goes to both the drummer and percussionist. Learn to play on both sides of the coin. On the other side, drummers should expand their horizons and learn to play percussion.
Knowledge is power — the more you broaden your musical scope the better you will become. The next point I have to make I touched on very briefly earlier.The Role of a Bass Player ft. Jason Foster - Worship Band Workshop
Make the music effortless — make it seem easy. To play simple and to put the right stuff underneath a player or singer takes talent! Shelly used to tune his drums in the studio just so beautiful! People say that drums are not musical instruments. Drums are musical instruments! You can play songs on the drums.
Not just to his bass drum. I listen to everything! Technically speaking, I never really thought much about the drummer. I created my parts by feeling. Listen, when the singer is singing, how the bass player may follow with a little lick as an answer, or the drummer may do the same thing.
Or they might do it together! Well, just leave the bass player alone! The drums are a musical instrument. Keeping a happy attitude in the band is very important, and the drummer, being a gregarious kind of guy, can do that. Fine drummers usually have really great ears. They play notes on the drums, too. That role should be shared between the bass player and the drummer.
Does he listen to what everybody else is playing? Colors and shades, different volume levels, I guess those are the two main things. Mainly that they play too loud.
He can force himself to be the leader, just by the nature of the instrument.
Bassists on Drummers - Modern Drummer Magazine
He can play the loudest, he can cover everybody up and he can make everybody the music go. The beginning of every band is the linkage between the bass player and the drummer. 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.
Bassists on Drummers
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 Relationship of the Drummer and Percussionist
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.