I have always had a theory about drumming... If you learn play jazz and funk at least moderately well, you will be a better rock drummer. I actually started listening to what I now call "jizz" (that stufff that Nelson Rangell or Kenny G would play), then I moved into real fusion like Weather Report or Michael Brecker or Corea or Clarke, then I went right into post-bop after I heard Musings for Miles by Joe Henderson which to this day blows me away. So I first went back in time to catch up on the founding stuff from Kenton, Davis, Monk and others before jazz really began to take off again in the late 90's with guys like Joshua Redman, Cyrus Chestnut, etc. That's when I listened to drummers like Erskind, Blades and Nash'ty with a fresh appreciation. So when I came back to rock around 2000 via indie/alternative music coming out of Scotland and the UK at the time that I really started to develop my own approach to drumming - well that and my experience in a gospel choir which really taught me how to sit in the pocket.
I think other musicians have learned the same stuff from cats like Vic Wootton, John McLaughlin, Marcus Miller, Allan Holdsworth, etc. If you can use some of that technique in what you do in rock I think it just makes everything tighter and smoother even as you maintain that rock edge to what you do.
I think that's why I like bands like Helmet, Meshuggah, Strapping Young Lad, Opeth, and earlier Mudvayne. It's all kind of on the edge of what might be more mainstream in heavier music - almost alt-metal to a degree.
Hawk wrote:Yeah yeah, I know , it's "Rock"page.
Anything Jazz Thread.
Just curious how many Rockpagers are into Jazz ? Any kind of Jazz.
I just love open minded people ! Whether it's music or anything else, their ideas are always evolving !
Well written post of your musical adventure. I agree that opening yourself up to jazz can expand your rock outlook. Thanks.
Excellent points about jazz influencing rock playing! The thing that I really take from jazz as far as my own style of playing is the odd time signatures that came along in latter jazz, especially Dave Brubeck. I think that Time Out is one of the most rythmnically interesting albums ever recorded (and I'm a big Tool fan). It should be required listening for bass players and drummers, regardless of whatever musical style is their forte. I also really ejoy a lot of the harmonic content of jazz. It's easier to study jazz harmony than rock harmony, IMO, because jazz harmony is much more diatonic and tertian. It's easier to see how a song can start around the key center and then end up with chords that aren't really diatonically relevant to the original starting point.
dtatusko wrote:
I think that's why I like bands like Helmet, Meshuggah, Strapping Young Lad, Opeth, and earlier Mudvayne. It's all kind of on the edge of what might be more mainstream in heavier music - almost alt-metal to a degree.
Page Hamilton from Helmet holds a degree in jazz. It still blows my mind when I listen to that Dizzy Gillespie number off of Betty. It's the same guy who played Pure and Unsung. From what I understand, all of those dissonant chords he uses are very well thought out. Also, Ryan Martini from Mudvayne played jazz before joining up with the band.
"He's the electric horseman, you better back off!" - old sKool making a reference to the culturally relevant 1979 film.
Page Hamilton is a great musician. While he is schooled in jazz he plays more hardcore type of guitars. I really like some of the softer tracks on betty as well, Paul. Really good stuff. In the Meantime will always be my fav. I bought it when it first came out. They are really underrated as a band. Page has a signature guitar from ESP. He's played them for years and finally got one with his name on it. But lately it seems alot of people do, some more deserving than others. I don't really know all that much about the old Jazz greats. I haven't been around it all that much. From what I did hear I can attest that they are great musicians. My brain got warped by Sabbath and Judas Priest and Maiden as a child so I apologize for my ignorance of this subject. Or do I?
(Kidding!)
I enjoyed the Billy Test Trio when they performed at the Blair County Arts Festival a few weeks ago. I would describe what they were doing as improvisational smooth jazz, and all three of these guys could play!
I plan to catch more local jazz in the coming months, with the Blair County Arts Foundation's Summer Sounds of Jazz Concert Series (starting this Friday night with Blue Number Nine), and I plan to take in an edition of Andrew Jackson's weekly Jazz Showcase at Bar Bleu in State College one of these upcoming Saturday nights.
Jim Price wrote:I enjoyed the Billy Test Trio when they performed at the Blair County Arts Festival a few weeks ago. I would describe what they were doing as improvisational smooth jazz, and all three of these guys could play!
I plan to catch more local jazz in the coming months, with the Blair County Arts Foundation's Summer Sounds of Jazz Concert Series (starting this Friday night with Blue Number Nine), and I plan to take in an edition of Andrew Jackson's weekly Jazz Showcase at Bar Bleu in State College one of these upcoming Saturday nights.
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I'm fortunate enough to know Billy Test and his family since Billy was about 8 years old. EXTREMELY talented kid now in his senior year of high school. I feel lucky to have see him grow up, both musically and into a nice person. Very humble. Currently a student of Dave Vallani.
He's got a full college scholarship and this kid is going to be a big time jazz star. He may go into teaching, but the whole world is in front of him.
If anyone gets a chance to see Bill Test perform, don't miss it ! You will be thankful you did.
I was first exposed to Billy Test by going to open mic nights at the CAST in Clearfield. He would often get up and play Billy Joel numbers but could still play classical works as if he wrote them. I started gigging, so I really didn't have much interest in CAST anymore; I didn't see Billy play for a couple of years. Last summer, I decided to take a music class to fulfill my arts gen. ed. requirement at college. On the last day of class, my professor had Billy and a tenor player come in and give a performance. I was blown away! I don't use the term "genius" very often to describe a musician, but Billy is a genius. The tenor player was equally as talented.
"He's the electric horseman, you better back off!" - old sKool making a reference to the culturally relevant 1979 film.
Jason and myself actually took our first 2 yrs of guitar lessons off of a jazzman, John "Johnny" Adams.
That guy smoked (cigarettes) too much, was a lil old for guys our age to relate to, but man did he smoke on a fretboard. I think its one of the fundamental reasons why my rhythm playing is so "tight" I really looked up to him as a young kid.
Maybe he didnt tailor me into the "metal" guitarist I aspired to be, but this guy laid all the right tools at my feet.
God bless this guy. Horns high for a jazz guy!
Everyone wants to go to heaven but noone wants to die
My favorite right now is Stanton Moore, Check him out good stuff he mixes Jazz and Funk with New Orleans Second Line. Drummers will like this stuff especially. http://www.stantonmoore.com/
I didn't do it! It was the other guy! I Swear to God!!
