Post by Admin on Jan 22, 2013 16:29:42 GMT -5
We tend to talk about the band leader or vocalist when discussing great jazz groups. But, how about the Rhythm Section? I personally live for the background rhythms even though the lead vocals and improvs are wonderful and not to be discounted. I was doing some simple research on the subject over the past weekend and came across this site.
www.jazz.com/dozens/the-dozens-historic-rhythm-sections
Not that I agree with the list, but it does raise some thought provoking issues. Louis Armstrong's "A MONDAY DATE' with Louis Armstrong (trumpet, vocals), Earl Hines (piano), Zutty Singleton (drums), Fred Robinson (trombone), Jimmy Strong (tenor sax, clarinet), Mancy Carr (banjo). Composed by Earl Hines & Sydney Robin and recorded in Chicago, IL, July 27, 1928.
...The music commences with a surprisingly odd 5-measure cymbal/woodblock break from Zutty Singleton (a 4-measure break and one measure of half-notes to bring in the band). Zutty reappears during Armstrong's solo, and then for a concluding 4-measure break that relates to but not does not duplicate his introductory statement. Zutty's presentation of these essential, minimal rhythms can be heard in the vocabulary of every subsequent jazz drummer, from Jo Jones to Roy Haynes to Tain Watts.
While it's always easy to glance over the banjoist, Mancy Carr's playing is a bit more nuanced than one may think on first listen. He carefully chooses accents that fit between Hines's comping to add an essential driving force to the track.
The rhythm section highlight here, to no one's surprise, is Hines himself, whose pre-dialogue introduction, pre-verse piano break, post-Armstrong-solo break, and stride comping under trombone, clarinet and trumpet solos are models for all future pianists. Note how Hines's style greatly varies when he's executing a solo break as opposed to his insightful playing behind a vocalist or instrumentalist. Early jazz interaction at its finest.
Reviewer: Eric Novod
www.jazz.com/dozens/the-dozens-historic-rhythm-sections
Not that I agree with the list, but it does raise some thought provoking issues. Louis Armstrong's "A MONDAY DATE' with Louis Armstrong (trumpet, vocals), Earl Hines (piano), Zutty Singleton (drums), Fred Robinson (trombone), Jimmy Strong (tenor sax, clarinet), Mancy Carr (banjo). Composed by Earl Hines & Sydney Robin and recorded in Chicago, IL, July 27, 1928.
...The music commences with a surprisingly odd 5-measure cymbal/woodblock break from Zutty Singleton (a 4-measure break and one measure of half-notes to bring in the band). Zutty reappears during Armstrong's solo, and then for a concluding 4-measure break that relates to but not does not duplicate his introductory statement. Zutty's presentation of these essential, minimal rhythms can be heard in the vocabulary of every subsequent jazz drummer, from Jo Jones to Roy Haynes to Tain Watts.
While it's always easy to glance over the banjoist, Mancy Carr's playing is a bit more nuanced than one may think on first listen. He carefully chooses accents that fit between Hines's comping to add an essential driving force to the track.
The rhythm section highlight here, to no one's surprise, is Hines himself, whose pre-dialogue introduction, pre-verse piano break, post-Armstrong-solo break, and stride comping under trombone, clarinet and trumpet solos are models for all future pianists. Note how Hines's style greatly varies when he's executing a solo break as opposed to his insightful playing behind a vocalist or instrumentalist. Early jazz interaction at its finest.
Reviewer: Eric Novod
