I appreciate what you say about when people say "we aren't tryna recreate the record".. I feel it's usually a deflection. We know we aren't gonna play it exactly exactly like that - don't worry - we aren't them, its gonna sound different. But I think theres a lot of value in knowing that, and then going ahead and trying to learn and replicate the feel, and learn the vocabulary and the dialect, our of respect for the tradition. True for whatever style of music, era, genre, sub-genre, player etc. I think the reason someone would say "we aren't tryna recreate the record" is they are intimidated by the hard work of listening and attention to detail required to recreate the feel and the *quality* of the old records. When people say that, the subtext/translation is: "its hard work and I dont want to do it". Get everything you can from the record, and then with all of that in your head, in your ear and in your fingers, play like you. Good news, you'll never sound *just* like the record, but you should *want* to work hard to sound good, to swing and have good feel, like the people on the records do. It's what motivates me to keep getting better, I know i have so far to go but I'm not gonna stop or take shortcuts because its hard.
Glad you brought up the dancers. The best thing I ever did for my swing rhythm was learning to Lindy Hop. The swing dance culture was also a total blast: positive energy like nothing else.
I'm always a little perplexed, how some people still vibe with the Wynton school of "modern day jazz purism" - as in just basically playing tribute straight ahead jazz, where you're not evolving jazz further in terms of sound choice, form or concept - which is what Miles started to do already over 50 years ago. Like go see Herbie live today, and hear what he's doing in terms of jazz. Like I get it that 50's bebop and 60's hard bop is cool n' all, but sheesh... You can do so much far out thangs in the the framework of black american music (=jazz). We don't need another Cannonball Adderley or Sonny Rollins tribute outing, cos' lord knows how many there are and have been already, With all love of course!😎 Peace my youngins
@@TitoSilversax Both of you miss the point. Classical music has not crystalized. Jazz music has not "gone the ways of Wynton" - people just LIKE THE CLASSICS! There is a reason they are legendary, and it's not because of critics. Beethoven, Bach, Mozart, Chopin, as well as Bird, Duke, Miles, Trane all survive because people love them. They are timeless. It's not about copying people to please Wynton, it's about falling in love with something and wanting to express your love for it.
There's only so much post-modernism you can engage with before you realize that everything that will be the future will become the past. So we need to stop stressing over being pure or being innovative and just be OURSELVES. Play what you like, and play it well. That's it!
@@PatrickBartleyMusic Absolutely, fully agree with "play what you like", in the end it boils down to this of course. It's just that I think this notion of jazz being "crystallized" into it's truest form at some point of it's evolution (say 50's and 60's), to be silly and hampering in the long term. Jazz was originally dance music - people actually went to ballrooms and _danced_ to it in the swing era, imagine that! It was frivolous party music. Now you go to a "jazz" concert, and it's upper class kids with pensive looks to their faces and old people sitting still and looking poised and serious. This is not what "jazz" is, or what it should be. There is no such thing as what "jazz should be" and it's precisely this notion that is postmodern, when you really start and think about it. I disagree strongly with Wynton, and guys like Stanley Crouch. In other words; the institutionalization of jazz. Quite a far cry from what art should be and stand for, if you ask me. And mind you, this doesn't mean that I think jazz doesn't have it's commonly recognized and understood building blocks and distinct features that define it as an art form. But to think, that jazz in it's "true form" is suited up guys at the band stand, trading solos and heads and then bowing to the audience, is completely silly. And as a reminder; Herbie understands this. Wayne Shorter understood this. Chick Corea understood this. Eric Dolphy understood this. Joe Zawinul understood this. Stevie Wonder undertands this. Pharaoh Sanders understood this. Sun Ra understood this. George Duke understood this. Quincy Jones understood this. The list goes on... Happy playing and listening! Don't be too serious, have fun my guys! Peace ; )
I bought a kit after jazz school years ago and used to do exactly that. Just play time, nothing fancy for hours and hours. Completely changed my guitar playing, feel etc.
I remember the first time I got thrown behind drums add our local jazz jam. We only had two jazz drummers local, one of them was out, and the other had to go to the bathroom and for some reason just assumed I could play drums. I had an absolute blast and it really did teach me a ton about feel and dynamics especially
you play lines that imply the changes, so you have to know the changes. but your lines also imply the time, so you HAVE to know the time. you cant imply something that you dont have.
My introduction to jazz was when I got my first bass in highschool, that’s all I played in a jazz band until the end of my undergrad when I finally started playing trumpet. It helped my rhythm so much
Preach brother! I can hear when people are playing "visually" and it sounds exactly like you demonstrated here. Some people get annoyed when I tell them to learn by ear not from a sheet but like you I always think "When did learning by ear become controverial?". It's very much a cart-before-the-horse situation.
Brilliant presentation and insight. Get the beat in your body - and .... you ain't feeling it if your trapped in thinking about it. Thank you ! Also, great tip on practicing a beat for fifteen minutes a day.
great video! i feel that the same can be said for piano to learn changes more thoroughly. not only is it good ear training to become familiar with the chords, voicings, and comping styles, but it forces you to think about the music from someone elses perspective instead of being caught up in your own. i'm a drummer myself and i work on bass lines from time to time because i know my role as a drummer isn't just to play rhythms/time
People gotta understand that they have the own sound already. Like, I know a drummer who has been playing all his life and he is just now picking up the sax and I can literally hear him, his unique self in his playing already.
The music fraternity is missing out on this, I wish you had a must have class from you. Be it a novice to pros, your lessons are value to those who have ears. Please keep up the great contribution... Thank you a million.
Great video Patrick! I've ALWAYS been an advocate for playing like the recording. I grew up playing in a swing/dance big band in Toronto during my high school and early college years where the artistic director wanted us to sound EXACTLY like the recordings, and play the exact solos as well. At the time, I scoffed at the idea (because youth) but bought in because I wanted to be a professional and deliver the product I was hired to deliver. Now, I'm SO thankful for all those experiences as it taught me the valuable lessons of being able to play different styles and really ACTIVELY listen to whats happening in the music. IMO, a lot of this music is NOT about being "original" or "innovative". It's about learning the history, listening to it, learning from it, and hopefully adding to it when your time comes. Thanks for sharing man.
I love transcribing by ear the old records as closely as possible, i learn so much by doing it, will have to focus on rhythm practice sessions to get the feel right. Thanks for the video from Australia! 🎉
One VERY important thing of this is the constant head nod too. It comes natural and it literally keeps u in the natural swing of things when you’re dancin wit it.
11:41 This is exactly what I keep telling my students. You can't learn how to SPEAK a language if you're only reading it. You have to hear people speaking it. The reading helps of course, but you have to know how words and sentences sound first.
Swing is a feel, and it you approach it from an academic place it is lost. Swing is best in the street, where feel is king. Academia is cerebral, a place where administrators profit as dream merchants, selling out the music and the children for a steady paycheck and health insurance. You can play behind the beat as a natural feel born of deep passion and expression; or because some school person tells you that's the way They both may produce a similar sound, but the content is starkly different, real vs impostor. Jazz at it's peak was a street music. The few that could had the natural talent and didn't need school administrators and student debt to get there. All they needed was inspiration, albums, a place to shed, opportunities to play with talented mucisians. Teachers organically came into their path without the cost and constriction of school administrators.
I love this video and your stories, thank you so much for this huge knowledge you are giving us and this nice records . what you're saying is valid for traditional music also.. about dance and dancers.
Its why Chick Corea is so DOPE...he's a dope drummer as well Same goes for Sammy Davis Jr., Michael Jackson, Prince, Maurice White, Stevie, THEY ALL have some kind of experience playing drums. HECK even Sput started on and still plays drums and is a killer keyboardist in his own right.
Thanks Pat for some great insight into learning how to swing (especially if you are from a classical background) and the impact of listening - @13:21 sounds exactly like my classical piano teacher mum thinking about what's written in the page (sorry Mum). I can now also justify the desire to get a drum kit 😉
Digging this video, and I agree about the triple for swing, not being what it is. I personally do believe that the triplet feel is more particular for blues. Whenever I hear Albert King play a good slow blues, It feels like a waltz.
Glad that you're doing more videos on rhythm! I think the crux of your video needs to be amplified a bit. That is, "the problem of jazz education is our reliance on manuscript paper. So much of playing jazz, so much of music can't be written down or explained in words. We gotta listen to the records." That said, I still think we need a more radical shift jazz education, and a paradigm shift in the pedagogy of music as a whole. Either rhythm and time need to be elevated to the same status as harmony and melody OR rhythm has to take priority over the other two elements. Otherwise, the chord theory and paragraphs about music instead of PLAYING music will remain as music education grows stagnant (the irony of me writing this comment is not lost on me). Playing drums and dancing is a must. But why can we write books about harmony and scales, but only write footnotes about rhythm and time? Why must we leave the deep studies of rhythm and time to drummers? Why can we write pages and pages about gear and then argue against those that want to discuss rhythm with the same enthusiasm...? Rhythm is so deep. Time is so deep. I wish we said that "you just gotta feel harmony and scales" as we studied tomes of rhythm. I wish that we made drums a requirement in jazz performance programs at college--along side the piano requirement. I wish that more people listened to jazz with the same excitement as R&B and hip hop (like you). I wish we all took rhythm and time seriously in ALL the music we played--in every genre of music. Maybe I'm just naive.
@10:30 sounds like a person dancing with a stick up there *** @10:44 Patrick had me twerking ngl!😂😂😂 Patrick you are the best for this video THANK YOU and AMEN 🙏 💃 🪩 🕺
Spittin FACTS! People want to shoehorn everything to fit into the Western way of thinking where everything is quantifiable and there must be a recipe to follow. It ain't like that - the truth is in the music! People lose their damn minds when they don't have some exact recipe and actually have to INTUIT the sh!t. Thanks Patrick for always telling the much needed truth!
Yea, early jazz rhythm feel is different from contemporary. Jonathan Stout talked about in his interviews how some players come to swing dance gig and comletely lack the autenthic feel, and most don't even take that perioud of jazz seriously.
hey Patrick, love your videos, keep up the amazing work. I have a question for you(i am adrummer btw), at what point should someone stop practicing the swing with a metronome, and also for someone that was not raised in that music (i am from greece and i did not meet jazz until recently) how should i approach my practice in order not get a good swing feel (and not necessarily triplet feel).
I think you should NEVER practice swing with a metronome! I practice swing with the records, on the bandstand, and to my own pulse! If it doesn't feel good, I'll know because it doesn't feel like my favorite records. So I'll do that order: Records > Self > Live Rinse and repeat. If you don't sound good live, go back to the records, then test it by yourself, and this cycle will help itself. Swing is never quantized. I don't believe in using metronomes for acoustic dance music.
thanks a lot for your response, appreciate it. What you just said makes perfect sense to me, so i think that i should consider changing some things regarding my practice
@@johnminkishere I've never heard anyone, not a single person, in my life, say to "lose it" when you get it. Ever. I've heard PROFESSIONALS in PROFESSIONAL situations say this - in rehearsals I'M IN. I'm so serious. People really do believe this triplet nonsense. They do. It's not just a beginner thing. I wish it was. I really wish you were correct and teachers say, "hey, lose it when you get it"...
@ triplet feel simply does nor work in most improv. It was so annoying when rappers were doing it consistently a few years ago. Glad that trend ended. Sprinkled in? Maybe. Dumping the whole bottle in? Terrible.
That’s what Mike said. Mike and Dizzy were against the idea in fashion. Of playing with metronome to help your groove. No no no. They were dead against this I must say some fine players have taken up the idea Vic Wooten. Richard Tee come To mind Nevertheless I will stay with Dizzys wisdom. The beat comes From you ( heart beat ) not a machine
i alr knew youd say drums when i saw the sticks! ngl my timing got better after switching to kit in the pandemic also man i miss seeing your tweets so much .. i hope you are doing better these days 🙏🏾
Bro, every musician has his OWN sense of time, rhythm, and swing. It's DNA, just like every one's unique finger prints. Either you like their time and rhythm, or you don't. This is why musicians gravitate toward certain musicians who have similar time as themselves. And It's ok.
This is what everyone says to me and I'm tired of it. This is why I never talk in public at rehearsals anymore. No one wants to be open to new perspectives from other musicians that did the exact same homework, if not MORE, that they did. It's a cop out. It's absolutely NOT "DNA". That's ridiculous to me. It's not my DNA that I'm able to swing like 50 different musicians if I listen to them all and study them all. That's because I put in my homework and don't slack on the details. I refuse to accept someone having a "natural time feel" as an excuse for their inability to hear and execute details. Someone once told me, "if you don't like my time feel, don't call me", and that's exactly what I do. If I'm looking for original music, I can call anyone and just accept what they're doing; if I'm calling an ACTOR for a role in a PLAY, are we going to simply accept a good actor that just "has their own accent/DNA", or are we going to call someone who can match the required accent and feel of the role? I'm picking the latter. Playing music from 80 years ago is an acting job. Period. If you aren't trying to play like 80 years ago, then just say it. If you watch the video, you'll see the part where I say "I just want people to be honest, and say 'this is my version of the song'."
You aren't "born" with a time feel, that's ridiculous. That's absolutely asinine and I'll never accept that. You're not born with an accent, you're not born with a language. It's all learned. And, just like language, some people can speak more than one. That's all I'm going to say anymore.
Humans love patterns and formulas but unfortunately a lot of skills just require feel and experience. We gotta stop with the galaxy brain shortcuts..... it's not easy, but it's not complicated either.
Ok everybody. A highly experienced musician here To plug two major figures in jazz groove Trust me no one Surpasses these two th-cam.com/video/IUH16d8oEwE/w-d-xo.htmlsi=4ZflnRcLE9eYFCAW And the other is the incomparable Barry Harris Don’t settle for any videos that are not of Barry Himself Barry And Mike A word to the wise
I bought a kit after jazz school years ago and used to do exactly that. Just play time, nothing fancy for hours and hours. Completely changed my guitar playing, feel etc.
@10:30 sounds like a person dancing with a stick up there *** @10:44 Patrick had me twerking ngl!😂😂😂 Patrick you are the best for this video THANK YOU and AMEN 🙏 💃 🪩 🕺
I appreciate what you say about when people say "we aren't tryna recreate the record".. I feel it's usually a deflection. We know we aren't gonna play it exactly exactly like that - don't worry - we aren't them, its gonna sound different. But I think theres a lot of value in knowing that, and then going ahead and trying to learn and replicate the feel, and learn the vocabulary and the dialect, our of respect for the tradition. True for whatever style of music, era, genre, sub-genre, player etc. I think the reason someone would say "we aren't tryna recreate the record" is they are intimidated by the hard work of listening and attention to detail required to recreate the feel and the *quality* of the old records. When people say that, the subtext/translation is: "its hard work and I dont want to do it". Get everything you can from the record, and then with all of that in your head, in your ear and in your fingers, play like you. Good news, you'll never sound *just* like the record, but you should *want* to work hard to sound good, to swing and have good feel, like the people on the records do. It's what motivates me to keep getting better, I know i have so far to go but I'm not gonna stop or take shortcuts because its hard.
@@eligoldman1222 👏🏾👏🏾👏🏾
"It's not DagadagadagaDagadaga, it's a buDig-a-gonk-a-gonk-EH-shampo-dugudubi-ududi-shigadobu-tsugga-unka-unka-unka-untsikuga, eh, a-tsuga, dunka-dunka-gangga-gangga-gang, tsangga-gang, ga-gang, ga-dunka-gang, thats different."
Getting the right swing feel really does depend on getting the right articulation for it, more than focusing on the rhythm "definition" of swing.
Quote of the year😂 but so true
th-cam.com/video/CZ0f9y_8H3E/w-d-xo.htmlsi=d2goIrTExHVZJDJ9
Glad you brought up the dancers. The best thing I ever did for my swing rhythm was learning to Lindy Hop. The swing dance culture was also a total blast: positive energy like nothing else.
Yeah! Hello fellow swing dancer! I’m learning piano, and having learned lindy hop first has been great for my rhythm on the piano!
This is the truth! 👌🏼
BRO TELL THE TRUTH!!!!!! Sheeesh.
I'm always a little perplexed, how some people still vibe with the Wynton school of "modern day jazz purism" - as in just basically playing tribute straight ahead jazz, where you're not evolving jazz further in terms of sound choice, form or concept - which is what Miles started to do already over 50 years ago.
Like go see Herbie live today, and hear what he's doing in terms of jazz. Like I get it that 50's bebop and 60's hard bop is cool n' all, but sheesh... You can do so much far out thangs in the the framework of black american music (=jazz). We don't need another Cannonball Adderley or Sonny Rollins tribute outing, cos' lord knows how many there are and have been already, With all love of course!😎
Peace my youngins
@@jazzupthattriad1257 solid statement. there should be a solid effort by jazz musicians to keep jazz from crystalizing like classical music has.
@@TitoSilversax Both of you miss the point. Classical music has not crystalized. Jazz music has not "gone the ways of Wynton" - people just LIKE THE CLASSICS! There is a reason they are legendary, and it's not because of critics. Beethoven, Bach, Mozart, Chopin, as well as Bird, Duke, Miles, Trane all survive because people love them. They are timeless. It's not about copying people to please Wynton, it's about falling in love with something and wanting to express your love for it.
There's only so much post-modernism you can engage with before you realize that everything that will be the future will become the past. So we need to stop stressing over being pure or being innovative and just be OURSELVES. Play what you like, and play it well. That's it!
@@PatrickBartleyMusic Absolutely, fully agree with "play what you like", in the end it boils down to this of course.
It's just that I think this notion of jazz being "crystallized" into it's truest form at some point of it's evolution (say 50's and 60's), to be silly and hampering in the long term. Jazz was originally dance music - people actually went to ballrooms and _danced_ to it in the swing era, imagine that! It was frivolous party music. Now you go to a "jazz" concert, and it's upper class kids with pensive looks to their faces and old people sitting still and looking poised and serious.
This is not what "jazz" is, or what it should be. There is no such thing as what "jazz should be" and it's precisely this notion that is postmodern, when you really start and think about it. I disagree strongly with Wynton, and guys like Stanley Crouch. In other words; the institutionalization of jazz. Quite a far cry from what art should be and stand for, if you ask me.
And mind you, this doesn't mean that I think jazz doesn't have it's commonly recognized and understood building blocks and distinct features that define it as an art form. But to think, that jazz in it's "true form" is suited up guys at the band stand, trading solos and heads and then bowing to the audience, is completely silly.
And as a reminder; Herbie understands this. Wayne Shorter understood this. Chick Corea understood this. Eric Dolphy understood this. Joe Zawinul understood this. Stevie Wonder undertands this. Pharaoh Sanders understood this. Sun Ra understood this. George Duke understood this. Quincy Jones understood this. The list goes on...
Happy playing and listening! Don't be too serious, have fun my guys! Peace ; )
The way Patrick is so gentle with that little umbreon on the piano when playing just made my day :D
@16:00 amen brotha! Listen, the records are taking, but are we listening? The style and language is all there. I’m gonna play like the record.
I bought a kit after jazz school years ago and used to do exactly that. Just play time, nothing fancy for hours and hours. Completely changed my guitar playing, feel etc.
Could also mention Dexter Gordon. Triplet feel? Nah. Swinging? Hell yes.
@17:00 he is 💯 percent correct about dancers. My relative is a dancer and they tell me all the time about this.
I remember the first time I got thrown behind drums add our local jazz jam. We only had two jazz drummers local, one of them was out, and the other had to go to the bathroom and for some reason just assumed I could play drums. I had an absolute blast and it really did teach me a ton about feel and dynamics especially
@1:30 he’s right. Look at Dizzy Gillespie. He was clapping and doing rhythms all the time. 💯
the way I genuinely started geeking out when you brought out the sticks. A very potent masterclass 🎶🎵
you play lines that imply the changes, so you have to know the changes. but your lines also imply the time, so you HAVE to know the time. you cant imply something that you dont have.
I just told my boy the other day every musician should learn drums. You are correct.
You sharp on that piano too. Word.
My introduction to jazz was when I got my first bass in highschool, that’s all I played in a jazz band until the end of my undergrad when I finally started playing trumpet. It helped my rhythm so much
Preach brother! I can hear when people are playing "visually" and it sounds exactly like you demonstrated here. Some people get annoyed when I tell them to learn by ear not from a sheet but like you I always think "When did learning by ear become controverial?". It's very much a cart-before-the-horse situation.
Brilliant presentation and insight. Get the beat in your body - and .... you ain't feeling it if your trapped in thinking about it. Thank you ! Also, great tip on practicing a beat for fifteen minutes a day.
seriously good video.Thanks!
great video! i feel that the same can be said for piano to learn changes more thoroughly. not only is it good ear training to become familiar with the chords, voicings, and comping styles, but it forces you to think about the music from someone elses perspective instead of being caught up in your own. i'm a drummer myself and i work on bass lines from time to time because i know my role as a drummer isn't just to play rhythms/time
People gotta understand that they have the own sound already. Like, I know a drummer who has been playing all his life and he is just now picking up the sax and I can literally hear him, his unique self in his playing already.
The music fraternity is missing out on this, I wish you had a must have class from you. Be it a novice to pros, your lessons are value to those who have ears. Please keep up the great contribution... Thank you a million.
Great video Patrick! I've ALWAYS been an advocate for playing like the recording. I grew up playing in a swing/dance big band in Toronto during my high school and early college years where the artistic director wanted us to sound EXACTLY like the recordings, and play the exact solos as well. At the time, I scoffed at the idea (because youth) but bought in because I wanted to be a professional and deliver the product I was hired to deliver. Now, I'm SO thankful for all those experiences as it taught me the valuable lessons of being able to play different styles and really ACTIVELY listen to whats happening in the music. IMO, a lot of this music is NOT about being "original" or "innovative". It's about learning the history, listening to it, learning from it, and hopefully adding to it when your time comes. Thanks for sharing man.
its all about it becoming so automatic and steady you forget its even there
I love transcribing by ear the old records as closely as possible, i learn so much by doing it, will have to focus on rhythm practice sessions to get the feel right. Thanks for the video from Australia! 🎉
Patrick speaking the truth! 🙌 P.S. thanks for mentioning guitarists as part of the rhythm section 🙏
One VERY important thing of this is the constant head nod too. It comes natural and it literally keeps u in the natural swing of things when you’re dancin wit it.
"Ummm, I know you aint talkin to me!" -Sushi Swing Lamp
Great! See you soon in Chengdu! Looking forward to seeing you guys playing.
11:41 This is exactly what I keep telling my students. You can't learn how to SPEAK a language if you're only reading it. You have to hear people speaking it. The reading helps of course, but you have to know how words and sentences sound first.
Dude, that Antonio Hart cd is my childhood. I looooved that CD in highschool. As an alto player it was him and kenny garrett.
Real stuff here man
Learning swing dance helped me with this as a guitarist. First thing they teach you is how to pulse.
@13:20 sounds like somebody had the best dinner of there life😂😂😂
Fuck yes Patrick.
Swing is a feel, and it you approach it from an academic place it is lost. Swing is best in the street, where feel is king. Academia is cerebral, a place where administrators profit as dream merchants, selling out the music and the children for a steady paycheck and health insurance.
You can play behind the beat as a natural feel born of deep passion and expression; or because some school person tells you that's the way They both may produce a similar sound, but the content is starkly different, real vs impostor.
Jazz at it's peak was a street music. The few that could had the natural talent and didn't need school administrators and student debt to get there. All they needed was inspiration, albums, a place to shed, opportunities to play with talented mucisians. Teachers organically came into their path without the cost and constriction of school administrators.
Bro you talkin too much.
I love this video and your stories, thank you so much for this huge knowledge you are giving us and this nice records . what you're saying is valid for traditional music also.. about dance and dancers.
Its why Chick Corea is so DOPE...he's a dope drummer as well
Same goes for Sammy Davis Jr., Michael Jackson, Prince, Maurice White, Stevie, THEY ALL have some kind of experience playing drums.
HECK even Sput started on and still plays drums and is a killer keyboardist in his own right.
Thanks Pat for some great insight into learning how to swing (especially if you are from a classical background) and the impact of listening - @13:21 sounds exactly like my classical piano teacher mum thinking about what's written in the page (sorry Mum). I can now also justify the desire to get a drum kit 😉
Digging this video, and I agree about the triple for swing, not being what it is. I personally do believe that the triplet feel is more particular for blues. Whenever I hear Albert King play a good slow blues, It feels like a waltz.
Awesome video
Glad that you're doing more videos on rhythm! I think the crux of your video needs to be amplified a bit. That is, "the problem of jazz education is our reliance on manuscript paper. So much of playing jazz, so much of music can't be written down or explained in words. We gotta listen to the records."
That said, I still think we need a more radical shift jazz education, and a paradigm shift in the pedagogy of music as a whole. Either rhythm and time need to be elevated to the same status as harmony and melody OR rhythm has to take priority over the other two elements. Otherwise, the chord theory and paragraphs about music instead of PLAYING music will remain as music education grows stagnant (the irony of me writing this comment is not lost on me).
Playing drums and dancing is a must. But why can we write books about harmony and scales, but only write footnotes about rhythm and time? Why must we leave the deep studies of rhythm and time to drummers? Why can we write pages and pages about gear and then argue against those that want to discuss rhythm with the same enthusiasm...?
Rhythm is so deep. Time is so deep. I wish we said that "you just gotta feel harmony and scales" as we studied tomes of rhythm. I wish that we made drums a requirement in jazz performance programs at college--along side the piano requirement. I wish that more people listened to jazz with the same excitement as R&B and hip hop (like you). I wish we all took rhythm and time seriously in ALL the music we played--in every genre of music.
Maybe I'm just naive.
That stream was 🔥pat is always preachin
Yes.
@10:30 sounds like a person dancing with a stick up there *** @10:44 Patrick had me twerking ngl!😂😂😂 Patrick you are the best for this video THANK YOU and AMEN 🙏 💃 🪩 🕺
My professors called this Humpty Dumpty Syndrome
wow he's playing keys too 😮
Yes
When he hops on the piano too i’m like DAMN save some funk for the rest of us
I was a drummer for 8 years before taking trumpet and it made everything easier
Spittin FACTS!
People want to shoehorn everything to fit into the Western way of thinking where everything is quantifiable and there must be a recipe to follow. It ain't like that - the truth is in the music!
People lose their damn minds when they don't have some exact recipe and actually have to INTUIT the sh!t.
Thanks Patrick for always telling the much needed truth!
Yea, early jazz rhythm feel is different from contemporary. Jonathan Stout talked about in his interviews how some players come to swing dance gig and comletely lack the autenthic feel, and most don't even take that perioud of jazz seriously.
A PERSONAL ATTACK???
Preach / teach & reach 😀🎺🎹🎶🎸🥁🎷👂🕰️
Preaching the truth!
Imagine saying “walk the dog” when you’re doing the swing pattern
Walk the dog, walk the dog, walk the dog, walk the dog, ect.
hey Patrick, love your videos, keep up the amazing work. I have a question for you(i am adrummer btw), at what point should someone stop practicing the swing with a metronome, and also for someone that was not raised in that music (i am from greece and i did not meet jazz until recently) how should i approach my practice in order not get a good swing feel (and not necessarily triplet feel).
I think you should NEVER practice swing with a metronome! I practice swing with the records, on the bandstand, and to my own pulse! If it doesn't feel good, I'll know because it doesn't feel like my favorite records. So I'll do that order:
Records > Self > Live
Rinse and repeat. If you don't sound good live, go back to the records, then test it by yourself, and this cycle will help itself. Swing is never quantized. I don't believe in using metronomes for acoustic dance music.
thanks a lot for your response, appreciate it. What you just said makes perfect sense to me, so i think that i should consider changing some things regarding my practice
If you’re a guitar player play along to james brown. Thatll cure everything
5:24 Just as the video was about to finish lmaooo
umbreon plushie ♡
Triplet is a way for beginners to START to feel swing at slower speeds, that’s it. Lose it when you get it.
@@johnminkishere I've never heard anyone, not a single person, in my life, say to "lose it" when you get it. Ever. I've heard PROFESSIONALS in PROFESSIONAL situations say this - in rehearsals I'M IN. I'm so serious. People really do believe this triplet nonsense. They do. It's not just a beginner thing. I wish it was. I really wish you were correct and teachers say, "hey, lose it when you get it"...
@ triplet feel simply does nor work in most improv. It was so annoying when rappers were doing it consistently a few years ago. Glad that trend ended. Sprinkled in? Maybe. Dumping the whole bottle in? Terrible.
That’s what Mike said. Mike and Dizzy were against the idea in fashion. Of playing with metronome to help your groove. No no no. They were dead against this
I must say some fine players have taken up the idea
Vic Wooten. Richard Tee come
To mind
Nevertheless I will stay with Dizzys wisdom.
The beat comes
From you ( heart beat ) not a machine
playing piano tho that video and hell you got a lot of swing, when youre with a drummer swinging that hard its impossible to not swing with them haha
モス
i alr knew youd say drums when i saw the sticks! ngl my timing got better after switching to kit in the pandemic
also man i miss seeing your tweets so much .. i hope you are doing better these days 🙏🏾
If we aint real, who will
Another thing is to put the accent on the and of 2 and 4.
The Real Whiplash. You're welcome
Bro, every musician has his OWN sense of time, rhythm, and swing. It's DNA, just like every one's unique finger prints. Either you like their time and rhythm, or you don't.
This is why musicians gravitate toward certain musicians who have similar time as themselves.
And It's ok.
This is what everyone says to me and I'm tired of it. This is why I never talk in public at rehearsals anymore. No one wants to be open to new perspectives from other musicians that did the exact same homework, if not MORE, that they did.
It's a cop out. It's absolutely NOT "DNA". That's ridiculous to me. It's not my DNA that I'm able to swing like 50 different musicians if I listen to them all and study them all. That's because I put in my homework and don't slack on the details. I refuse to accept someone having a "natural time feel" as an excuse for their inability to hear and execute details.
Someone once told me, "if you don't like my time feel, don't call me", and that's exactly what I do. If I'm looking for original music, I can call anyone and just accept what they're doing; if I'm calling an ACTOR for a role in a PLAY, are we going to simply accept a good actor that just "has their own accent/DNA", or are we going to call someone who can match the required accent and feel of the role? I'm picking the latter.
Playing music from 80 years ago is an acting job. Period. If you aren't trying to play like 80 years ago, then just say it. If you watch the video, you'll see the part where I say "I just want people to be honest, and say 'this is my version of the song'."
You aren't "born" with a time feel, that's ridiculous. That's absolutely asinine and I'll never accept that. You're not born with an accent, you're not born with a language. It's all learned. And, just like language, some people can speak more than one. That's all I'm going to say anymore.
You can notate feel, but it would just be information overload to the musician.
Yo you teach private lessons?
Preach!!!!
I was here. Also I had a jazz tour today with my school band and 1st tenor did a Ikema781 lick
Damn this is such a crucial point damn you're givin out everything
Humans love patterns and formulas but unfortunately a lot of skills just require feel and experience. We gotta stop with the galaxy brain shortcuts..... it's not easy, but it's not complicated either.
Ok everybody. A highly experienced musician here
To plug two major figures in jazz groove
Trust me no one
Surpasses these two
th-cam.com/video/IUH16d8oEwE/w-d-xo.htmlsi=4ZflnRcLE9eYFCAW
And the other is the incomparable Barry Harris
Don’t settle for any videos that are not of Barry Himself
Barry
And Mike
A word to the wise
The hard truth about jazz is that YOU WILL QUIT 😂
😂😂 so true
I bought a kit after jazz school years ago and used to do exactly that. Just play time, nothing fancy for hours and hours. Completely changed my guitar playing, feel etc.
YT duplicated your comment lol
@10:30 sounds like a person dancing with a stick up there *** @10:44 Patrick had me twerking ngl!😂😂😂 Patrick you are the best for this video THANK YOU and AMEN 🙏 💃 🪩 🕺