Playing Fast With Christian McBride
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- เผยแพร่เมื่อ 30 ก.ย. 2024
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Christian McBride and Carl Allen go through the keys to dominating the quicker, fast pace of jazz playing on the Bass and Drums.
“Naw, I’m not gonna play that hard intro”
*plays it during the repeat outro and nails it*
Haha
I like how that bow just kinda popped in his hand all a sudden
He got the GTA tool option in real life
That's what she said
Christian McBride is a national treasure.
International my friend
They drop like 15 bpm from the beggining to end of the head, but then they keep until the end..
Mcbride's playing is so inspiring. Melodic, technically challenging and most of all swinging. Wow
tu é que és
Play fast, think slow.. Bob DeBoo did a couple of lessons on macro time here on Open Studio. Macro time is the why of playing fast. Play fast, think slow--COUNT SLOW and feel the bigger subdivisions of time. 2 bar phrases, 4 bar phrases, 8. If you learn to feel the big beat, you feel more relaxed when the tempo gets faster AND you play more musically. Hopefully Bob will get the other members of the Open Studio family to wise up to teaching us amateur folk about MACRO TIME. Drummers, I'm lookin at you's :)
And keep breathing. 😃
Yeah I’m a drummer I think of it like a rock beat almost like 1and 2and 3 and 4 and then just not me counting two bars is four
I noticed just that when I saw Stan getz counting in a faster tune... he was calm as hell
That bassline isn't walking it's running
I love this. Fast but relaxed. You want to hear uptempo, listen to Tony Williams on the Miles Album--live--"Four and More." That's FAST.
Bebop keeps your chops up. Those old tunes and phrases are still some of the best of the best.
Christian can play fast no doubt. Check out Warren Wolf's "One For Lenny" at 400 BPM. But maaaan, they dropped so much tempo right out of the gate on the count off. I wanted him to stop and count it again.
Bruuuhhh, I had to rewind and make sure I heard it too.
Yea! why the hell did that happen?? After that preamble.
theyre high as shit
Just listen to One For Lenny. Goddamnit.
Your comment made me check that out. The first thing that came to mind when I heard it was Barbara Dennerlein's bass line played with her left foot.
Man I remember transcribing Charlie Parker's Koko, and slowing it down to 40% He's still swingin those 8ths it's ridiculous
Chris: “To play fast you need to lighten up your touch,” (proceeds to play hard as f*ck).
Wow this is weird seeing someone with the same exact name 😂
Great video, good for other instruments too! I've not seen Christian McBride in person but the drummer looked familiar. Down the comments I found out it was Carl Allen! I'm from Toledo Ohio and Carl was a friend of bassist Clifford Murphy and pianist Claude Black. He came to town and played at Clifford's club, Murphy's Place here and there! I am a local school music teacher and taught the jazz program. I'd come down to Murphy's Place at least twice a week for years and remember meeting Carl and having a wonderful conversation with him. Bravo!
McBride is a genius musician. Always an inspiration
Is it just me or did they slow down after the count in? I feel McBride intended a faster tempo than they ended up playing. Was great playing nonetheless
Hm yes you right. They start 160 half note and ended up 140
@@dasding002 so 320bpm and then drop to 280bpm? Lol how can you hear that
@@nezkeys79 he probably used a metronome clicker app or something
@@noahbloom3122 what speed do you think emet cohen and Patrick Bartley "after youve gone" is?
@@nezkeys79 its around 250bpm
Carl Allen and Christian McBride together! I could have listened to an hour of this.
ain't really that fast to be honest
Amazing! McBride makes everything look easy, especially that bebop bowing! Seriously impressive and truly inspiring. 🤩👌
Carl's breathing doesn't change, only his hands and feet--"Carl embodies the personal characteristics of a true leader and visionary. The testament to this is manifest in his every performance as a world class musician..."
- Pat Metheny
Playing fast in the 50’s involved shooting heron so everything sounds slow. Better these days, the trick of playing common time but thinking in half time. Beats 2+4 become upbeats in half time. Makes things feel relaxed and tippin’ also accent the + of beat 4 keeps it tippin’ uptempo.
Absolute master of this instrument ❤
Great points. I tell my students, the biggest, beardiest, most neck-tattooed metal head shredders, are also some of the lightest players on earth. Learning to let the strings do the work is key in the ongoing struggle for more speed.
Easy to play that light when you're hiding behind a load of distortion, not to be an ass, but I think comparing metal to this type of jazz is a bit...
@@beckerzineo I play both styles, and more, make my living doing so, and letting the strings do the talking is universal to finding speed on any stringed instrument. Upright bass is the hardest instrument of them all, but the concepts of efficiency are universal. Physics doesn’t turn its nose up at one style over the other.
The drummer is far too busy and often gets in the way, spoiling the flow.
Slow is SMOOTH....Smooth is FAST. You start slow and perfect Technique. Once you Perfect technique, then you pick up the pace. You don't learn paradiddles at 300 BPM....you start at 60 BPM and actually say it outloud....Right Left Right Right....Left Right Left Left. Once you have that down cold, you pick up the pace. "Amateurs practice to get it right....Pros practice till they can't get it wrong" (quoted by Harold Craxton, one-time professor at the Royal Academy of Music).
Not too many people are playing at 400bpm today. Rarely at 360. This tempo is comfortable. Around 260 bpm. Def not to 300. I feel better.
I got a new inspiration as a looking these guys, I want deddicate my life teaching people to found the ways, cause it was really hard for me all the time but I never give up. But it feel nice when you could help someone whit your experience, even if you don't know what are you doing. These is the best teacher ever. Experience sometimes you could have 7 years of experience would be nice to just try whit love. Jajajaa
Great video! Love hearing you guys talk about the relationship between the bass and the drums!
So nice to see a video on "playing fast w/ C. Mc Bride" and all that happens is that after very few bars he definitely slows down the metronome 😀
"So What" and Joshua" from Four and More--THEY are FAST. I love you guys, and I'm a huge fan of Christian from seeing him live and from Sirius, but this isn't fast. I know you can do it...
When you were young?.. It might have swung. ..
But, when you get older? It gives 'cramps' to the gramps.
Didn't end up all that fast lol. They slowed down quite a bit after the count in, which wasn't crazy fast to begin with. Those sixteenths sure were tho lol.
Mcbride counted faster actually but the drummer slowed it down I think. You want to hear McBride swinging fast af? There is a version of the jazz standard JINGLES with Russell Malone Benny Green and McBride. Man, that’s fast
@@miguelees nice, now that sounds like an awesome trio. Thanks for the recommendation
Neumann u47 Fet can catch your fast note on double bass! ❤️
Sounds so good. Right in there.
But how do you practice playing fast? Do you feel it can be practiced or is the best practice from experience?
Crazy to think that OP played this in 45! What a beast!
He said he wasn’t gonna play it 😤🤣
졸라 좋아요 ^^
McBride definitely had the WRONG Drummer!!! That guy's time was all over the place, especially his half time approach! Very ANNOYING!!!
Sounds around the tempo of Emet Cohen and Patrick Bartley on after you've gone? I downloaded a pdf of the piano intro learned it then every single time I play along it's far faster than what I perceived it to be when practicing it
paul chambers there at 3:45
Nothing better than having fun! Thanks and Blessings Gents!
what bass is christian using here?
I wanna know too. its gorge.
Bassist to bassist Excellent lesson..
Slow is SMOOTH....Smooth is FAST. You start slow and perfect Technique. Once you Perfect technique, then you pick up the pace. You don't learn paradiddles at 300 BPM....you start at 60 BPM and actually say it outloud....Right Left Right Right....Left Right Left Left. Once you have that down cold, you pick up the pace.
Camera swtiches back to McBride after drum solo. Now playing bass with toes and juggling chihuahuas in tutus.
Absolutely, Positively, Fantastic! Phenomenal Musicians! Bravo! Please check out Theodore Esaw, Jr. (What A Friend We Have In Jesus.) Thanks
Is it just me, or doce the drums sound aweful? Like they are wonderfully played but the recording or mixing seams so off I get a headache, kinda
Christian McBride would make Slam Stewart proud.
The tempo they played was not that fast. Listen to the song Lover Come Back To Me from the John Coltrane record Black Pearls. When I was asked by Rahsaan Roland Kirk to sit in we played Smoke Gets In Your Eyes even faster than Lover Come Back to Me. I sensed he was trying to break me so I tried to play it even FASTER!!! The solo he took was just so amazing I wish it was recorded!!! What a night that was at the Village Vanguard 1972!!!
i don't think so mr mcbride...although the fact you called dizzy's bebop gave you a few good points..the rest was slop tryin to act like it was what you wanted to demonstrate
check me out to hear some quickness on the upright th-cam.com/video/lPk1ca3MXRM/w-d-xo.html
that is UP Tempo ? Not what i know..They are playing a little UP...But not burning at all
Speed is all about not being in pain. If it hurts youre doing it wrong. Im talkin like playing yngwie malmsteen lead runs. When you get going fast as you possibly can you have to keep your muscles relaxed to maintain. Theres a way to sound frantic with out your body actually making frantic muscle movements. Just comes with practice.
Brilliant 🎉
It's not the quantity of notes you play; it's the quality of notes you play.
Great video!
Sounds great guys. Bravo!
Excellent, They are fantastic!! As a bassist myself I learned something
👍🏾👍🏾
Sheesh they ended up playing almost half as slow as the count off.
as fast as your ego will let you
ego trip that non musical shit !
I don't agree. Learning to play slow doesn't let you play fast, not at all, it DOES inform you on what you should aim to play at fast tempos in terms of musical content and taste, but it doesn't help your body understand how to do it. I've heard this sort of thing a lot and it's a common parroted term "play with a metronome slow, work your way up gradually", as a teacher I just fundamentally don't agree with it on principle. Different activation of musculature is involved in playing fast and your body has no idea how to maintain relaxation and eliminate tension required at a high tempo without actually practicing things at high tempos, because it's not at all the same mechanically as when we're moving slow. Do runners learn to sprint by practicing their walking? No, they start from a fundamental level with bursts of that speed, they don't start slow, they start with SHORTER EXPOSURE times and their ability to sustain and add longevity to those bursts increases with practice. Musicians are behind on this stuff, when you're talking about tasteful playing and not just mindlessly running scales at 300bpm, sure, absolutely you need to play slow for that, your mind needs time to grasp it, but you're kidding yourself if you think you're gonna cut fast tempos without diving into it and getting your body acclimated to that environment with short exposure that get's longer and longer.
So for musicians looking for an actual answer, how to physically play things faster (again taste/content within that speed is a separate discussion):
Step 1 Throw the idea of gradation away, it's useless, you'll be shedding forever and never cross the threshold.
Step 2 Learn the line, the melody, whatever you're aiming for confidently and embed it within your muscle memory, it's essential that you know the line inside and out.
Step 3 DO NOT "work your way up" with a metronome, you need bursts of exposure, play the line at 80, 100, wherever is comfortably and confidently achievable for your current standard, tension free, relaxed.
Step 4 Immediately throw yourself right into 200, or 3 depending on your baseline. If you can't handle it, cut the line in half, or play only a measure of it for example, assuming it lasts 4, you get the gist. Again, back to 100, wherever comfort and confidence is for you, play the now reduced line, and back again to the higher target tempo immediately, your goal being to eliminate tension and pay attention to your body. If you still can't pull it out, continue reducing the line, you might only be down to 3-4 notes, that's perfectly fine. Only when it's tangibly impossible should you consider lowering your target tempo. If it's sloppy don't sweat it, it'll clean itself up as your body acclimates, cutting the tempo in half isn't going to get you any less sloppy at 300 because 150 is NOT the same as 300 as far as your muscles and tendons are concerned.
I hear you... But there's more to what MAX ROACH said than the words at face value. What you wrote is implied in what he said. And clearly, Max knows how to play at a fast tempo lol. He didn't say work your way up. But if you really know how to play slow, then you know how to play fast (playing slow meaning playing with intention, cleanliness, relaxation, no tension, etc. Then it's just a matter of applying those exact same concepts to any other tempo.)
I have to disagree, as musicians we are not sprinters we need to build resistance, its better to practice something at 140 for 2 hours than spend 20 mins practice something at 200 bps, speed comes with time
@@raulcaldeira8071 I tried to explain in as clear a language as possible yet it seems you've missed the point. With no ego involved, I'm a masters degree holding musician, I take 40 students a week and have for years, I sincerely know what I'm talking about- This stuff has been means tested, from my own experience on people of all ages throughout my journey as an educator.
The idea is bursts between rest periods, if you can't sustain 4 measures of 8ths at 200 then you cut the measures down until you find the point where you can, even down to 2-3 notes, you do not cut the peak tempo unless it's absolutely necessary, but you DO go back and forth from comfortable and slow to bursts of the target tempo- Limited exposure to higher tempos and then rest periods in between, it's not about 20 mins of 200 or 140 for 2hrs, that's not what I'm positing. Let's take a weight lifters example- Past a certain point in strength, lifting tiny weights all day, for 12 hours will end up with you gaining FAR LESS than 15 minutes of rigorous lifting at your maximum tolerable level with pauses in between. It's simply how the body works.
The mechanics of playing at 2-300, regarding our physical adaption, is fundamentally different than at 100. Speed does not come with "time" in years, that is old hat thinking and is conflated with tasteful playing. What takes years is being able to improvise comfortably and with taste and finesse at high tempos, not the element of speed itself, that's a misnomer, it's something you should only tell kids who are impatient and won't learn the line slowly and properly and embed it before they try and play it at blazing speed.
@@FlaxeMusic No one advocates doing the musical equivalent of "lifting tiny weights all day." In fact, "lifting at your maximum tolerable level" is the equivalent of playing slowly, because playing fast (faster than you've done before) is the equivalent of trying to lift more than you're physically capable of doing at that moment. Also, the "play slowly to play fast" idea has more to do with learning music than pure mechanical technique. For technique, however, you have to have the foundation of good technique at a slower tempo already, and not push yourself too far. Otherwise, you wind up playing fast but sloppily.
As for "the mechanics of playing at 2-300...is fundamentally different than at 100" goes, what instrument(s) are you talking about? And can you provide a specific example? Because for drummers, aside from changing from wrist/arm to finger technique (something not every drummer uses), they are fundamentally the same. The difference is, because you have less time to achieve the same thing, you learn to economize your movements. (Admittedly, foot technique can change drastically at different tempos, but it can also stay mostly the same - it just depends on whether you play heel up or heel down.) I don't find it to be all that different on piano. You're not going to play blazing fast scales cleanly if you haven't worked on your fingers enough at a slower tempo.
🧐
See? It's easy!!! ;)
Rythemicaly Challenging and adventurous, thanks for sharing
Damn! Chris has always been a mean bassist too!!
Hmmm…not quire the tempo you showed with your hand.
So... like he said... learn to play it slow and you can learn it faster. How does that not make sense? Hahaha.
This is like jazz shout music hahaha
I've watched these two about 5 times now and it only gets better each time.
Woo! That bebop feeling is gold!
This is amazing
That‘s called fast?! 😂
Do you guys have anything for vocalistss
this is fast? I don't think so.
wow, Bebop (theme) on double bass, impressive
This is definitely medium up...
but it wasn't that fast...?
I love fast bebop jazz
Haha slowed down tho
Get out the brushes on that kit, and that would be ecstasy.
That was tight, I loved the bass solo.
Open studio is the best!
great lesson
Paaaaaaaaaaaaa ñery 🤯
Movie Clip
Even Mcbride has a baritone voice
1:47 be - bop
Just quite my tempo
sick as fuck
Damn, what a cat
So good and fun!
M
wooooooooooo maaaan !
❤️🥁🎸
Carl is dope!!!
Beautiful!
1:47
Niiiiiiice!!!!!!!
If you can play it slowly, you can play it quickly.
No, and being able to pull something off at 260 doesn't mean you can pull it off at 150. Best to practice you exorcises at all bpm's to build memory and keep skill up. Without this the studio will be a reality check.
@@wowjunkie73 Sorry, it was an out of place reference to an inside joke from a channel called TwoSetViolin.
So great!
They groovin'!
Amazing 👏