Jaco often DID write out his solos - he told me that in person. And solo-ish tunes like Teen Town were written out completely before they started playing them.
That’s super interesting to know that. I think it goes to show that greatness can be quite deliberate and planned out, or if merely stumbled upon, you might have difficulty recreating it.
Jazz Do Re Free - One thing for sure is that the soloist must be comfortable with the style and all that implies in terms of harmonies, rhythm, and phrasing. Comfortable means you’ve played tunes like this thousands of times and it’s like riding a bicycle now. When you ride a bike you don’t get out your compass to calculate the gradient with the gravitational constant and factor in tire pressure and wind drag. You just go and you figure out what to do at each juncture when you get to it. There are times when a player will have difficulty coming up with something good and would have benefitted greatly by preparing some phrases in advance. Case in point: Giant Steps by John Coltrane - a somewhat unconventional harmonic structure with rapidly changing key centers and taken at a very brisk tempo proved to be a bridge too far for the pianist (Errol Garner, I think?) when it came to his taking a solo. Under the circumstances (seeing the chart for the first time right then and there), he did a pretty good job, but ultimately his solo sounds hesitant and choppy. Whereas John Coltrane, who wrote the song and spent months playing around with it, he soloed like a boss. Then you have the “Kind of Blue” recording sessions where the individual songs were only vaguely conceived and there were no particular challenges to the chord changes and tempo. Miles liked to do a wrap on the first take believing it to be ideally fresh. So, what you hear on that album is these players coming up with their solos on the spot. The caveat being that these are experienced professionals who have a deep well of melodic ideas to draw from, and they were quite comfortable with the type of sound Miles was looking for. What you point out is basically correct. They’ve all played through chord changes and structures like these many, many times. They know what notes work well with these particular harmonies and chord types, and it’s these notes that are the essential elements of their solos.
Music is a language. Most of us mostly use well-worn paths of phonemes, words, phrases and even entire sentences that we and others have uttered many times before, in different and similar contexts. Musical improvisation is really no different.
@@jazzdorefree194 Big flaw in Zappa's approach. " i'm always playing something new. those other guys, they are playing something they've played before" (verbatim quote) Well, yeah, Frank, if you haven't played it before , it's going to be A) sloppy B) probably incoherent C) boring noodle y explorations in public D) a bit of all of the above, which describes Zappas solos. That, and too long, and virtually bereft of be bop language, which is why 99% of his noodling is so uninteresting to me and Pat Metheny.
Jazz Do Re Free - Ah, yes. Tommy Flanagan. Some days you feel like a nut.... For me, Giant Steps is to the Jazz canon like the element Iron is to the periodic table. It’s the powerful synthesis of jazz and European modernist ideas that John Coltrane uniquely forged at a peak moment in his artistic endeavor. Trends will come and go, but I’ll never let up on the artistry of that solo, and the other parts as well. It has depth that only a human can encompass. Why we didn’t hear more exploration of those major third shifting tonal centers? He might have said all he needed to in that one composition. It might have even scared him a little. I too am impressed by the level of culture that was practiced by European nobility. A performance of a work was a special occasion that people were eager to experience. It’’s kind of ironic that in our own time the bourgeoisie are much more jaded than the European aristocracy ever were. Perhaps, like you point out, the ubiquity of recorded music - so much music! Alexa, please play the Barney theme song, followed by ‘Push, Push, In The Bush’. But to sum up our conversation, Johnny Mathis said something to the effect that the appeal of musical style and texture is somewhat like an individual’s predilection for food and sex. You like what you like. Some guys like junk food and strippers. That’s not for me. But if a person has an idea of taking up the art of music, he must adjust himself to drink deeply from that well, or just not drink at all. Of all the arts, music is the expression of the unseen spirit that gives meaning to these human/animal bodies we run around in.
Christian is one of the coolest cat’s I’ve ever seen! He’s such an inspiration to me, I couldn’t explain it. I hope I get to see him play live one day.
When he said Fred Wesley I was honestly caught off guard. Nobody really seems to bring up the trombone much, it's all trumpet and saxophone these days.
I think it's because of the simplicity of pistons and keys, although trombone is an insane instrument. There's so many glissando, vibrato, and microtonal possibilities with the instrument that haven't been explored yet. I would love to see someone master it in such a way.
I myself am a Trombonist and don't consider the instrument at all inferior to sax or trumpet. Top players like Bill Watrous, Marshall Gilkes, Mark Nightingale . have proven it an extremely capable instrument for years. I feel like it's more of an acquired taste in terms of people coming to like the instrument since it is never really heard outside of jazz and classical aside from a joke like "sad trombone noises."
I really appreciate a Journalist that asks tough questions abut music and the process of learning and internalizing music. I also appreciate a musician that opens up and admits they are following an instinctive process that isn't necessarily condoned by the people around them. Until I watched this video I felt like there was something wrong with me: ending a solo on the 9th! I was pretty much kicked out of a band for doing that! Christian has validated a lot of difficult experiences I've suffered over the years. Monk as well, but Monk is so much more of a Stoic, and not really forthcoming to the Journalists who asked such non-relevant questions. Great Interview!
That was very cool. You think of a guy like Christian McBride coming out fully formed--it's encouraging to hear about his own progress and doubts. And choosing the Fred Wesley solo from JBs Doin it to Death is just great--that's such a spankin' sassy solo.
Christian has not only incredible chops and musicality, he's also got arguably the fastest, most even and clearest right hand technique in the upright bass Jazz department. PS: I just realized he kinda sounds like Seth Rogen. Or more aptly, Seth Rogen kinda sounds like him.
"Naivete." Rules hinder more artists work than do their artistic limitations, imo. I really appreciate what he said about Jaco. I am a rock musician and play bass guitar solos, but every solo I've ever played was written. I'll improvise in the bassline but my solos are always composed and always practiced, for the purpose of clarity. I also like how he touched on a bass player's hierarchy of duties. You can get noodily as long as you're doing your primary job, just not at the expense of your primary job. I used to play with the drummer who could do the most amazing fills but he struggled coming back in on time. To make up for it, he would try to do super duper extra fancy fills. It doesn't work on a point system that way. if you can't come back in from a fill on time, don't do the fill.
I like the sound of those busy arpeggios on the lower register, reminds me a lot of Junius Paul (who you should check out if you enjoy a raw, groove heavy sound)
Such great advice for bass players to learn solos by melodic players like trumpet and sax players. It would be great to hear greater explanation of the right hand which is largely responsible for articulation. For example, why was every note in the G minor arpeggio not plucked and why the use of each finger?
“Just go for it.” I hear ya on that. Once you have the basics mastered you can afford to start messing around a little. Maybe none of it sticks at first. So what? Many great composers wrote reams of music that would never leave their desk drawer because it fell short and they knew they could do it better.
From Ron Carter to Christian. Wonderful to be born in the West or in a almost "Free" Country with players such as these. And to see them on video as I want. precious 21st Century! Let's not EF it up so we can continue enjoying these people. Imagine being born in (as dear Frank Z. would say) into a place or culture where music was illegal, and one could be executed for apostasy. We are SO fortunate. Let these people be our representatives and diplomats. We must cherish them and support them and their like.
Mr McBride is saying everything I need to hear. Get the fundamentals down first (eg constructing bass or rhythm lines). Learn by ear. Work on articulation and clarity and precision. Practice playing what you like to hear. Play like a drummer with solid rhythmic definition and "assuredness." Just go for it and don't be afraid to get it wrong, keep working at it. Also, gratifying to hear some intonation inconsistencies in a player of his caliber. And him not caring. He's not perfect and he's awesome.
I was wondering if he had really low action in order to articulate some of those speedy lines. But it sounds like from some of these comments He’s gets a big sound and you can’t get that with low action.
@@bluzette5829 The Fishman was one of the first upright bass pickups and was used ad nauseum in the 70's. It had a brittle and nasal-y sound and lost a lot of the warmer low frequencies and natural wood-y tone from the upright. Even the absolute greats fell victim to its grasp.
@@boobsax You know you really don't need high action to get a big sound. Yes if the action is so low that the strings are touching the fingerboard you're going to get no sound. But if there's a nice comfy distance between the fingerboard and strings, enough that your fingers can wrap into the string, then a big sound is more than possible. The higher the action goes with steel strings, the more you actually choke the bass and you won't get a big sound. McBride once mentioned in an interview that when he first moved to NYC, he was trying to play with high action and no amp and hated every moment of it. Then when he went to see Ray Brown play, he noticed that his action wasn't high, was using an amp, and was having a ball playing. After that no high action for him. Larry Grenadier mentioned a similar thing in learning that he could still get a big sound without having to jack the strings high off the fingerboard.
Christian you dropped the ball...how in the world you mention Ron Carter in the opening befuddles me...Ron's the greatest living upright-ist...no competition!
Carlton hope you are having a great day. No doubt Ron is one of the greatest bassist of all time. One of the my heroes. I think Ron would admit he was rarely hired to take a solo. As far as note choice and pulse he is unparalleled. In my opinion, with all due respect, there are many other bass players I would rather hear take a solo. Listen to Paul Chambers, Peter Washington, Rufus Reid and Ray Drummond for starters.
@@fredstroud8479 wanted to get back to you... I'm an old jazz head...Picked up McBride when he was being anointed by Miles.The bassists you named are and were all masters.... Carter was just my fav, like some prefer Stanely over Jaco...In fact, I've been on Paul Chamber's catalogue since your comment... It is us that keeps American Classical Music alive
Why he's not just another jazz university competent bassist. ???? First drawn to and compelled to learn funky bluesy solos from JB's trombone. Lesson drawn . If it aint got that swing and that blue funky sting it don't men sh___==t and only the abstract up in the head crowd will like it. the intellectual fringe.
This is a hard working, great musician who has paid his dues.
He's so modest man, seems like such a genuine dude
Jaco often DID write out his solos - he told me that in person. And solo-ish tunes like Teen Town were written out completely before they started playing them.
That’s super interesting to know that. I think it goes to show that greatness can be quite deliberate and planned out, or if merely stumbled upon, you might have difficulty recreating it.
Jazz Do Re Free - One thing for sure is that the soloist must be comfortable with the style and all that implies in terms of harmonies, rhythm, and phrasing. Comfortable means you’ve played tunes like this thousands of times and it’s like riding a bicycle now. When you ride a bike you don’t get out your compass to calculate the gradient with the gravitational constant and factor in tire pressure and wind drag. You just go and you figure out what to do at each juncture when you get to it. There are times when a player will have difficulty coming up with something good and would have benefitted greatly by preparing some phrases in advance. Case in point: Giant Steps by John Coltrane - a somewhat unconventional harmonic structure with rapidly changing key centers and taken at a very brisk tempo proved to be a bridge too far for the pianist (Errol Garner, I think?) when it came to his taking a solo. Under the circumstances (seeing the chart for the first time right then and there), he did a pretty good job, but ultimately his solo sounds hesitant and choppy. Whereas John Coltrane, who wrote the song and spent months playing around with it, he soloed like a boss. Then you have the “Kind of Blue” recording sessions where the individual songs were only vaguely conceived and there were no particular challenges to the chord changes and tempo. Miles liked to do a wrap on the first take believing it to be ideally fresh. So, what you hear on that album is these players coming up with their solos on the spot. The caveat being that these are experienced professionals who have a deep well of melodic ideas to draw from, and they were quite comfortable with the type of sound Miles was looking for. What you point out is basically correct. They’ve all played through chord changes and structures like these many, many times. They know what notes work well with these particular harmonies and chord types, and it’s these notes that are the essential elements of their solos.
Music is a language. Most of us mostly use well-worn paths of phonemes, words, phrases and even entire sentences that we and others have uttered many times before, in different and similar contexts. Musical improvisation is really no different.
@@jazzdorefree194 Big flaw in Zappa's approach. " i'm always playing something new.
those other guys, they are playing something they've played before" (verbatim quote)
Well, yeah, Frank, if you haven't played it before , it's going to be A) sloppy B) probably incoherent C) boring noodle y explorations in public D) a bit of all of the above, which describes Zappas solos. That, and too long, and virtually bereft of be bop language, which is why 99% of his noodling is so uninteresting to me and Pat Metheny.
Jazz Do Re Free - Ah, yes. Tommy Flanagan. Some days you feel like a nut.... For me, Giant Steps is to the Jazz canon like the element Iron is to the periodic table. It’s the powerful synthesis of jazz and European modernist ideas that John Coltrane uniquely forged at a peak moment in his artistic endeavor. Trends will come and go, but I’ll never let up on the artistry of that solo, and the other parts as well. It has depth that only a human can encompass. Why we didn’t hear more exploration of those major third shifting tonal centers? He might have said all he needed to in that one composition. It might have even scared him a little.
I too am impressed by the level of culture that was practiced by European nobility. A performance of a work was a special occasion that people were eager to experience. It’’s kind of ironic that in our own time the bourgeoisie are much more jaded than the European aristocracy ever were. Perhaps, like you point out, the ubiquity of recorded music - so much music! Alexa, please play the Barney theme song, followed by ‘Push, Push, In The Bush’.
But to sum up our conversation, Johnny Mathis said something to the effect that the appeal of musical style and texture is somewhat like an individual’s predilection for food and sex. You like what you like. Some guys like junk food and strippers. That’s not for me. But if a person has an idea of taking up the art of music, he must adjust himself to drink deeply from that well, or just not drink at all. Of all the arts, music is the expression of the unseen spirit that gives meaning to these human/animal bodies we run around in.
McBride is one of the greats in any genre and on any instrument. He also seems like a legit great dude. 👍🏼
@@yishihara55527 He could absolutely play classical music (if he wanted), better than 90% of classical bassists. 🤷♂
@@yishihara55527 “Source = Trust me bro!” 🤣🤣. Whatever you say kid…
@@yishihara55527Who is this??
@@AndrewJanusson fairly sure he did for a while and that's why he's so apt with the bow
Christian Mcbride just explained to me why I love Christian Macbride so damn much
Christian is one of the coolest cat’s I’ve ever seen! He’s such an inspiration to me, I couldn’t explain it. I hope I get to see him play live one day.
When he said Fred Wesley I was honestly caught off guard. Nobody really seems to bring up the trombone much, it's all trumpet and saxophone these days.
I think it's because of the simplicity of pistons and keys, although trombone is an insane instrument.
There's so many glissando, vibrato, and microtonal possibilities with the instrument that haven't been explored yet.
I would love to see someone master it in such a way.
Bone is very bass-like as is any slide instrument.
To this day I put Curtis Fuller in my top five horn players. Bone players have to make up for the inherent lack of speed by being super melodic.
I myself am a Trombonist and don't consider the instrument at all inferior to sax or trumpet. Top players like Bill Watrous, Marshall Gilkes, Mark Nightingale . have proven it an extremely capable instrument for years. I feel like it's more of an acquired taste in terms of people coming to like the instrument since it is never really heard outside of jazz and classical aside from a joke like "sad trombone noises."
@@nickrozzell2841 Ray Anderson Ray Anderson
Few bassists have such a clear sound and are so much in tune like Mr mcbride.
That guy's got great hands.. Good interview with an awesome player.
McBride's "Gettin To It" record knocked me the fuck right out. It is still one of my fave records to play along to.
This makes sense as to why McBrides voice on bass is so lyrical!
Oh, yeah, and then he transcribed the Freddy Hubbard and other horn solos . Worked hard on his ear. Developed his own sound.
He’s a pure bad ass with an enormous pocket
Love he’s playing❤️
"If I don't think about it, I'll be able to do it." Right on.
Wow just wow...
Christian McBride is a great musician I have ever seen.
Glad he mentioned Dave Holland as great bass soloist, as is Christian McBride himself of course.
Now I wonder though what he thinks bout Eddie Gomez, Stanley Clark, marc johnson... It was a bald statement that’s for sure.
Not to mention the great NHOP!
A real standup Master Musician! I enjoy EVERYTHING from Mr McBride.
I really appreciate a Journalist that asks tough questions abut music and the process of learning and internalizing music. I also appreciate a musician that opens up and admits they are following an instinctive process that isn't necessarily condoned by the people around them. Until I watched this video I felt like there was something wrong with me: ending a solo on the 9th! I was pretty much kicked out of a band for doing that! Christian has validated a lot of difficult experiences I've suffered over the years. Monk as well, but Monk is so much more of a Stoic, and not really forthcoming to the Journalists who asked such non-relevant questions. Great Interview!
That was very cool. You think of a guy like Christian McBride coming out fully formed--it's encouraging to hear about his own progress and doubts. And choosing the Fred Wesley solo from JBs Doin it to Death is just great--that's such a spankin' sassy solo.
Great interview! Thanks to both of you😎
Don't understand why there are 8 people that doesn't like this... obviously they are not Jazz Lovers, thanks for doing this interview they are great!
Freddie...amazing mix of technique and taste.....he was amazing
Very inspiring how to create melodic bass solos w clarity and precision.
Christian's articulation is insane. Such a great player
First time I heard him just a few feet away just practicing, I was stunned. Have only heard a few musicians in my life like that.
What a remarkable, lovely, talented man. Take note, humanity, this is a model worth emulating.
Love this guy
"Courage". Thank you so much CM 👊🏿♥️
When I was in my high school band the bass was always in the back keeping pace and holding , more in support of everything.
What an interesting interview, thanks for the upload
I have seen many years ago mcbride with MC coy tyner and Christian Scott... Great great bassist...
I'm getting so much value from this interview. Thank you!
Yes...one of my all time favorite musicians.
Nice, very Nice👍thanks for sharing...
Gotta say, the sound is so much better when he’s using the Nadine mic than when he’s using the piezo.
Christian has not only incredible chops and musicality, he's also got arguably the fastest, most even and clearest right hand technique in the upright bass Jazz department. PS: I just realized he kinda sounds like Seth Rogen. Or more aptly, Seth Rogen kinda sounds like him.
Since NHOP died. Ofrcourse Christian McBride is amazing.
I didn't even know Seth Rogen played the bass!
I think maybe Ray Brown is his mentor.This man is a drummers’ bass player.
Good job, Kevin.
I think he's the best bass player today, or at least top 3
👏🏻👏🏻👏🏻
awesome interview
"Naivete." Rules hinder more artists work than do their artistic limitations, imo.
I really appreciate what he said about Jaco. I am a rock musician and play bass guitar solos, but every solo I've ever played was written. I'll improvise in the bassline but my solos are always composed and always practiced, for the purpose of clarity.
I also like how he touched on a bass player's hierarchy of duties. You can get noodily as long as you're doing your primary job, just not at the expense of your primary job. I used to play with the drummer who could do the most amazing fills but he struggled coming back in on time. To make up for it, he would try to do super duper extra fancy fills. It doesn't work on a point system that way. if you can't come back in from a fill on time, don't do the fill.
Great show. Thank you!
I like the sound of those busy arpeggios on the lower register, reminds me a lot of Junius Paul (who you should check out if you enjoy a raw, groove heavy sound)
Such great advice for bass players to learn solos by melodic players like trumpet and sax players. It would be great to hear greater explanation of the right hand which is largely responsible for articulation. For example, why was every note in the G minor arpeggio not plucked and why the use of each finger?
“Just go for it.” I hear ya on that. Once you have the basics mastered you can afford to start messing around a little. Maybe none of it sticks at first. So what? Many great composers wrote reams of music that would never leave their desk drawer because it fell short and they knew they could do it better.
From Ron Carter to Christian. Wonderful to be born in the West or in a almost "Free" Country with players such as these. And to see them on video as I want. precious 21st Century! Let's not EF it up so we can continue enjoying these people. Imagine being born in (as dear Frank Z. would say) into a place or culture where music was illegal, and one could be executed for apostasy. We are SO fortunate. Let these people be our representatives and diplomats. We must cherish them and support them and their like.
Mr McBride is saying everything I need to hear. Get the fundamentals down first (eg constructing bass or rhythm lines). Learn by ear. Work on articulation and clarity and precision. Practice playing what you like to hear. Play like a drummer with solid rhythmic definition and "assuredness." Just go for it and don't be afraid to get it wrong, keep working at it.
Also, gratifying to hear some intonation inconsistencies in a player of his caliber. And him not caring. He's not perfect and he's awesome.
Christian McBride mentioning thrash metal .. I dig :D Check out Artillery's - By Inheritance (Bay Area thrash)
interviewer looks like a middle aged scene kid
😂
Yeah, but that's what he wants to do and he does a good job with the interview. Live and let live.
@@bernoulli884 cant agree more! He just needs some snake bites
Maybe, but he also knows how to ask the right questions and leave the right space for his guest.
More Like Joey Ramone
Love the knowledge
Oscar Pettiford and Ray Brown. Nufffff said.
Only thing.... this tone is straight up not great. Christian sounds amazing. Put a mic on him and not that direct sound.
I thought the exact same thing. this is that 70's fishman sound - which he never has!
nicktardifbass7 Fishman?
I was wondering if he had really low action in order to articulate some of those speedy lines. But it sounds like from some of these comments He’s gets a big sound and you can’t get that with low action.
@@bluzette5829 The Fishman was one of the first upright bass pickups and was used ad nauseum in the 70's. It had a brittle and nasal-y sound and lost a lot of the warmer low frequencies and natural wood-y tone from the upright. Even the absolute greats fell victim to its grasp.
@@boobsax You know you really don't need high action to get a big sound. Yes if the action is so low that the strings are touching the fingerboard you're going to get no sound. But if there's a nice comfy distance between the fingerboard and strings, enough that your fingers can wrap into the string, then a big sound is more than possible. The higher the action goes with steel strings, the more you actually choke the bass and you won't get a big sound. McBride once mentioned in an interview that when he first moved to NYC, he was trying to play with high action and no amp and hated every moment of it. Then when he went to see Ray Brown play, he noticed that his action wasn't high, was using an amp, and was having a ball playing. After that no high action for him. Larry Grenadier mentioned a similar thing in learning that he could still get a big sound without having to jack the strings high off the fingerboard.
That sound!
9:25 RIP Christian McBride
Hopefully he won’t catch the hair style as well.
listen to Red Kelly play sometime, like "Random Riff" from Stan Kenton Orchestra
this isFred Welsey, the guy from whom Christian first transcribed solos
or it's "what's missing in your playing".................huh
gold
He did not mention Scott LaFaro? I am surprised...
Joey, Dee Dee, Johnny, Tommy, you want to play punk fine. But me, I'm going to interview jazz players! See ya, brothers!
Does he normally use La Bella strings?
Dinner with McCoy Tyner... :)
7:13 what's song it is?
For a moment I thought it was Davie504 in the thumbnail
Didn’t know the the dude from the ramones was a jazz cat...
Christian you dropped the ball...how in the world you mention Ron Carter in the opening befuddles me...Ron's the greatest living upright-ist...no competition!
Carlton hope you are having a great day. No doubt Ron is one of the greatest bassist of all time. One of the my heroes. I think Ron would admit he was rarely hired to take a solo. As far as note choice and pulse he is unparalleled. In my opinion, with all due respect, there are many other bass players I would rather hear take a solo. Listen to Paul Chambers, Peter Washington, Rufus Reid and Ray Drummond for starters.
@@fredstroud8479 wanted to get back to you... I'm an old jazz head...Picked up McBride when he was being anointed by Miles.The bassists you named are and were all masters.... Carter was just my fav, like some prefer Stanely over Jaco...In fact, I've been on Paul Chamber's catalogue since your comment... It is us that keeps American Classical Music alive
solo like a horn player is exactly correct. John Patitucci is another great tub soloist. Learn the heads to standards.
Please pay this interviewer dude a hairdresser appointment
KIds, take note, this is what a real MUSICIAN sounds like.
Pardon my ignorance, but who is this KJ guy? Couldn't find much info on him.
Why he's not just another jazz university competent bassist. ???? First drawn to and compelled to learn funky bluesy solos from JB's trombone. Lesson drawn . If it aint got that swing and that blue funky sting it don't men sh___==t and only the abstract up in the head crowd will like it. the intellectual fringe.
Funny that you forget NHØP.
He was good.
who is this bone man
Junk music
Junk comment
@@devindevine6887 Babylon 5
Show us how it's done, then.
@@ShiningTrapezoid iga biga bonga bing
@@johndino536 it's always the people whom you've never heard of and never will, who complain the most.