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Buckin Fastard

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Hey, dude it ain't for erbody. Gadd is boring and hasn't done anything I would consider moving or innovative since 50 Ways To Leave Your Lover. You're missin the pocket Dennis and Tetsuo lay down with flourishes thrown in because it aint your bag. Goes to the whole "music is subjective" thing. It's like when you post people or performances that you like. I've found all of them to be downright zzzzz. But then, that stuff ain't what I prefer anyway.

 

In the words of George Clinton: "To each his reach and if I don't cop it ain't mine to claim."

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Just listened again. That bridge ( for lack of the correct jazzology) before it opens up seems to sit a little better if you base the time on the drum beat. But now it's just repetitious. And over banged. Weckl, Rosenblatt; the schooled guys ie., do a lot better when it gets complex. Dennis needs some Tony to take it to the level it should be.

 

Oh and the intro is just comical.

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And your point, which is on repeat, is that this isn't your preference. We get it. Post somethig you do like. Would like to see what you mean demonstrated.

 

Rosenblatt...good but, meh. Weckl is sooooo predictable despite his technical prowess. Dennis isnt a jazz drummer, FYI. I think he does pretty good for a primarily funk/pocket guy with no formal schooling who wants to tackle any and all musical challenges in ho's purview.

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Yeah I know. but the genre is fusion. not bad but not enough.

 

While were on Japanese cats - incidently no complaints about Howe or Sakurai or the tune itself - I looked up a band I saw on Tv centuries ago and lo and behold they've got a couple pages worth on Youtube. (DW ya there?)

 

Anyway, this is old discoish Ritenour funky Asian commercial fusion with the kick assest drummer I had ever heard at the time.

 

Naniwa Express.

 

DLMr2zS_ems

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BET used to have a network called BET On Jazz. At one point they did a segment on jazz in Japan with a focus on Naniwa Express and Hiroshima. I really couldn't get into them because while they are musically sound they were/are always predictable in their progressions. The opposite of what that Gentle Hearts collectiv was doing. That's just me though. Surprise me. Which is one aspect of ability that always overlooked.

 

It's the main reason I will never hold Buddy Rich to the level of Gene Krupa, Larry Belson, Billy Cobham, Joe Morello, Tony Williams, or Lenny white. Cuz while he was a technical genius and a consummant showman he was predictable.

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I gotta ask Hu TF is Larry Bellson? lol And then I gotta say Buddy Rich and weed taught me about jazz syncopation and the ins and outs of fills and kicks. I was just groping at it but I did get started on the whole deal of drumming, as music.The Big Band stuff used to just kill me. Still does, once in a blue moon at a time.

 

The rest were inspirations as well. I never got around to comparing their relevance. Interesting thing about Return to Forever. They was supposedly the baddest stuff ever back then and it never did anything for me. I prefer the slicker piano work that Chick Corea has done since then ... As far as spontaneity, my take on jazz improv is it's more often than not guys who don't know much music, can barely play the axe; trying to be instant Beethoven. I'd rather a player be predictable and well prepared than Hendrix on a stick.

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Ha! Louie Bellson. My bad. You are all the way off in your assessment of people only playing that way because they don't have training. By your rationale in respects to improv we should discount the likes of Minneman, Donati, and Bozzio. Loves technical ability but I won't buy a ticket to see a plain ol' technician.

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