I'm going with "po gear ho". It's not a race thing, definitely cultural influence. I believe if you put an equally talented caucasian in the same environments from birth, he'd play the same way.
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Black bassists and "their sound"
- Thread starter Kwesi
- Start date
I'm going with "po gear ho". It's not a race thing, definitely cultural influence. I believe if you put an equally talented caucasian in the same environments from birth, he'd play the same way.
I have always heard this kind of thing too. I mean, it seems that you are suggesting that there is some kind of genetical musical quality to some people. It has never made sense to me. Black people and their music are awesome, especially in the USA, but it is because of the culture that they brought from Africa and the culture that they got in touch with in America. It is a cultural and an enviromental thing, not a genetical one.
I would compare this to jazz.
I have read and heard that comparing Jazz in the US and Jazz in Europe as: Shakira vs Mr. Freeze.
While black bassist in the US had the groove and soul of playing jazz, their counterparts in Europe sure could play it too but there was not soul into it.
According to history this whole rhythm thing came from Africa and developed into blues and jazz by black people.
Dizzy Gillespie learned of rhythm by going to church and influences of music from Africa.
So black people learned to play with more soul. Then more people started to realize that it was better get hit in yo soul than playing like Mr. Freeze.
You dig?
I have read and heard that comparing Jazz in the US and Jazz in Europe as: Shakira vs Mr. Freeze.
While black bassist in the US had the groove and soul of playing jazz, their counterparts in Europe sure could play it too but there was not soul into it.
According to history this whole rhythm thing came from Africa and developed into blues and jazz by black people.
Dizzy Gillespie learned of rhythm by going to church and influences of music from Africa.
So black people learned to play with more soul. Then more people started to realize that it was better get hit in yo soul than playing like Mr. Freeze.
You dig?
Sometimes I think to disagree. Kind of like the clapping on 1 and 3 vs. 2 and 4 thing. I also think the African historical aspect has validity. In the history (and maybe still now) there wasnt any music really notated, it was just caught on to and passed down by experience. They would start the song and everyone would join in, thus gravitating more to grooving and locking in with the music. Even in slavery, they were forbidden to read, have books, or be educated, so alot was internally tied to music, whether it was congregational work songs, or songs to give hidden messages, etc. I think somewhere in there theres a possibility for genetic transfer. Of course as we continue to mix and branch off, it gets more "diluted" for lack of a diff term, but I think theres something to it.
Culturally constructed, genre specific... /end thread.
There is no Lamarckian transmission of rhythm.
This conversation is dumb.
There is no Lamarckian transmission of rhythm.
This conversation is dumb.
Are there any multimeters on the market with a soul measurement setting? That would rule.
I heard that soul thing from...
Arturo Sandoval, trumpet player, disciple of Dizzy Gillespie.
He tells me that when he started to tour Europe, that there were great bass players and they could perfectly play a song but with no soul.
He then joked, how to brainwash someone with no soul, teach team how to dance latin music.
Arturo Sandoval, trumpet player, disciple of Dizzy Gillespie.
He tells me that when he started to tour Europe, that there were great bass players and they could perfectly play a song but with no soul.
He then joked, how to brainwash someone with no soul, teach team how to dance latin music.
- Dec 21, 2007
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Black like this?
I gotta agree - it's a genre similarity (and M'shell proves it's not a gender similarity) and not a racial similarity.
I gotta agree - it's a genre similarity (and M'shell proves it's not a gender similarity) and not a racial similarity.
I love Bromberg's tone! I started to get his funk album, but put it down. I may have to look for it again.
"Get as sick as you want, just give me a ******* bass line!"
The very first thing that came to mind, from one of my favorite SP episodes.
I can kind of see what you mean, but I've heard white bassists who play the same style who sound like that as well - similar "digging in," similar rhythmic accents, note lengths (downbeat is strong/held for most of measure with other notes serving as fills.) Like Deluge Of Sound said, it's likely more of a genre thing. Heck, I could put videos of three white, old-school rock n roll bassists up and could easily say that it demonstrates "white sound." But throw Tony Levin in there and... well, it all goes to hell.
Edit: And you know why Victor Bailey doesn't sound like these guys? He doesn't play the same style of music.
Actual he does play like that... in addition to whatever else he does.
None of them play like the clips... all three were big influences on me since I was listening to all of them in their heydays.
Ok, here's what i noticed in all the clips posted here;
The OP's videos are of people SOLOING, whereas Pino and Brian vids are playing within a song context. I often see people on you tube jamming out a killer percussive like solo, but i dont hear that as much in a song context, doesnt matter if they where black,white or orange polka dots...
The OP's videos are of people SOLOING, whereas Pino and Brian vids are playing within a song context. I often see people on you tube jamming out a killer percussive like solo, but i dont hear that as much in a song context, doesnt matter if they where black,white or orange polka dots...
I know lots of people that some consider to kill at slapping but they're coming from another direction IMO. For example, I consider note choices and rhythmic variations far more appealing than sheer speed.
I agree, it's more about whether or not a genre appealed to you than anything. I'm fortunate enough to have listened to a ton of music in a ridiculous number of genres over the years. Highly recommended.
why is that? so much RnB played in flat keys. a lot of old blues in Eb. most hip hop songs in C or C#. i think the entire derülo record is around there. i tend to write a lot of hardcore covers and most of them are right at home in drop C#.
That scooped Modern tone (and M'shell is a bit of an exception) is real popular in the modern Urban Gospel scene where your much more likely to see an MTD, Roscoe, or Smith then a J bass. I personally prefer a bit more going on in the mids, but its almost whats expected in that genre. I imagine at the gospel studio dates they would frown at you if you walked in with a P or J. I was at the David Dyson, Damion Erskine thing at Namm. I must admit about a day at NAMM is all I can take before all the slap pyrotechnicians begin to sound a like.For the record that gave no hint as to Erskines ability, if you get a chance to check out his Standards CD do it.
A couple of things...
Walter's tone wasn't scooped either... anymore than the Eden rig was. And I doubt merely bringing a J to a studio would cause any reaction. Not being able to play the date would. J basses can work great in Gospel... just like they do everywhere else.
I dont know or care aout the topic, but in the second video that thing the drummer did at 1:04 what was it called? i love t
