The Drummer-Bassist Relation - DRUMMERWORLD OFFICIAL DISCUSSION FORUM
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. Our last gig had the bass player on the drummer's left. (snare/hi hat side). We have 3 people (vox and guitars) in the front row and drums and. With the exception of an occasional guitar solo, bass and drums are the Metallica had a great Bassist-Drummer relationship.. and probably.
Listen to the masters for how they approach this subtle yet powerful ingredient. Again, the composition will usually dictate what is needed and where to place those strategic notes and accents.
The bass and drums should aspire and utilize dynamics as a rhythm section, thus propelling and lifting the musical ensemble to higher levels of tension and release. When there are moments of opportunities to rise and fall with the music, define these sections and work them out dynamically. Oftentimes, this will expose how well you and the drummer are locking in and how much you are really listening to each other.
This seems like a given, yet dynamics are often overlooked by many performers. Find the moments in the song that you can add dynamics. Playing with great musicians, or musicians better than yourself, will often propel you to greater heights. However, there is one important, often-overlooked word: When you find a unique camaraderie and chemistry with other musicians, you should cherish and treasure this secret ingredient.
There are hundreds, if not thousands, of great bass and drum teams that you should check out. Listen to the way they work together, off of each other and how they communicate as a rhythm section, as well as how they communicate with the rest of the ensemble.
Below I have included a printable PDF of my own personal favorites. 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.Playing With A Bass Player - Drum Lesson (DRUMEO)
Founding member of Weather Report. Listen to everybody in the group and be musical about it.
Where does your bass player stand in relation to the drummer? | The Gear Page
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. 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.
- The Chemistry Between the Bassist and the Drummer
- Where does your bass player stand in relation to the drummer?
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. The drums can be very exciting.
Bassists on Drummers
Moreso, usually, than a bass player. It is the bass player and the drummer that help create that feeling, so I enjoy a nice tasty drummer. He kept the time. He marked the place. McCoy was the timekeeper.