Not feeling it. Maybe it's the stiff drumming that's killing it for me.
So I guess no, not Black like that.
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Black bassists and "their sound"
- Thread starter Kwesi
- Start date
Not feeling it. Maybe it's the stiff drumming that's killing it for me.
So I guess no, not Black like that.
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.
Actually thats from true. My roots are in gospel and jazz basses are welcome. If you go to learngospelmusic.com and go to the bass forum and ask them what basses they like the most you are gonna hear alot of guys say smiths, mtd's, callowhill's some of their basses are actually jazz basses, and actual jazz basses and jazz copies. What you won't hear many people say is p-bass. P-basses and gospel don't mix very well. The high isn't aggresive enough imho.
Sharay Reed is a premier gospel bassist. five string fender J
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.
Yeah damien erskine is a beast. He actually is on the gospelchops bass sessionz dvd.
Check these out
I think a smiliar argument could be put towards Metalheads like myself who love the agressive mid growling tone who love to keep up with a guitar player with a similar but higher pitch growl. Just something about it that makes me tingle. But like you, I love all types of music, just that Metal is my biggest style. Even when playing [or trying to play] stuff like Jazz, I love my growl.
Horns are easier to play in flat keys, that's why they are so common in RnB. No metaphysical reasons
JAUQO III-X
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Horns are easier to play in flat keys, that's why they are so common in RnB. No metaphysical reasons
So that's why a soulless sax player sounds just like a sax player with soul?
Fear of judgement, desire for peer acceptance into a larger social structure all work against non-minority players when it comes to "playing with soul".
I think a minority is more likely to not feel the need to be accepted into a social structure, having felt the sting of ostracism throughout his or her life: this is often reflected in the music that they make.
In my opinion.
Rickett Customs
Commercial User
Truthfully, I see 3 different clips with 3 different people, digging in 3 different ways as well, so I'd say each one is coming from a different place, even if it is close in genres.
It's part nature and part nurture. I grew up in an intergrated neighborhood in Philly and there was a black church on the corner. We would sometimes listen when the windows were open. The singing was totally different from the Catholic church I went to. No-one could explain the differences.
Later in life I learned about the 2 & 4 beats. That was it! I danced better (relatively speaking ;-) ), I understood the blues, I started to "get" jazz. And I stopped clapping on the one.
One thing I think is genetic - our voices. White people mostly have single coil voices, black peope have humbucking voices.
Edt
Later in life I learned about the 2 & 4 beats. That was it! I danced better (relatively speaking ;-) ), I understood the blues, I started to "get" jazz. And I stopped clapping on the one.
One thing I think is genetic - our voices. White people mostly have single coil voices, black peope have humbucking voices.
Edt
JAUQO III-X
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You would be surprised how many black musicians who are scared to play with others because they fear that they don't have soul or the right level of soul.
Agreed. And sadly I see some guys with great feel who don't have music store chops and they're hesitant to play too.
JAUQO III-X
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Right.
But I think that just validates my observation somewhat: that now you have a minority group that has become "known" for "having soul".
So the pressure from within that group now takes over, pushing players to "have soul".
As compared to whitebread dudes like me, who grew up listening to Iron Maiden, Rush, John Paul Jones - straight up white music with no African influence. So the pressure in my peer group back then was to play with speed and conviction, like Steve Harris or Geddy Lee.
And it's all peer pressure and the need to be accepted into some kind of group.
That's sad.
I've always liked to think that the best music comes from the heart, and that the player shouldn't be worried about what people think, or being accepted in any way.
Marketing...
None of my friends, local clubs etc have funky groove stuff going on. My neighborhood can not get the low watt local station that plays contemporary R&B etc.
I have to proactively go out and ask for recommendations. Much of this is the product of what you're listening to etc.
None of my friends, local clubs etc have funky groove stuff going on. My neighborhood can not get the low watt local station that plays contemporary R&B etc.
I have to proactively go out and ask for recommendations. Much of this is the product of what you're listening to etc.
JAUQO III-X
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