Bright Size Life Question

[nonohmic]

So I finally got around to listening to Bright Size Life and I'll say that (to me) is Jaco at his finest. Just beautiful melodic playing and support of the soloist.

But my question for this forum is; how do you even start studying such a dynamic trio?
There is no piano outlining the chords. Presumably that's Jaco's job but he's still kinda all over the place.

Where do you start trying to understand and transcribe music like that?

 

[Jazz Ad]

I am especially at ease with this branch of jazz music because I listened to it all my life, long before playing an instrument. It is a big part of the soundtrack to my life.
Some called it new jazz, atmospheric, european, cold jazz, world jazz, I think the best and simplest way to describe it is ECM style because the label is at the very core of it.

It's a jazz that has roots deep into classical and folk music rather than blues, ragtime and dixieland. A lot more jewish and lutherian than voodoo and baptist.
Its emotion relies on melody, with a modal rather than harmonic approach.

To give the most possible freedom of expression to the melodist, it often stands on a simple, discret but very strong inner pulse rather than a rhythm pattern dictated by the drums.
Everybody is responsible for keeping the pulse and as long as you hold on to it, you can all play pretty much whatever you want. It's a direct heritage from Klezmer and Celtic folk.

Bright Size Life is just like that. The pulse has 2 triplets, second one with a ghost in the middle then 4 8th notes. Takida-tahumda-tadi-tadi and so on.
The song has many different rhythmic parts but this pulse remains.
If you can each catch the pulse and keep it inside as long as you play, the band will sound tight.

That's how I do it at least, it's a very practical approach.

 

[nonohmic]

I am especially at ease with this branch of jazz music because I listened to it all my life, long before playing an instrument. It is a big part of the soundtrack to my life.
Some called it new jazz, atmospheric, european, cold jazz, world jazz, I think the best and simplest way to describe it is ECM style because the label is at the very core of it.

It's a jazz that has roots deep into classical and folk music rather than blues, ragtime and dixieland. A lot more jewish and lutherian than voodoo and baptist.
Its emotion relies on melody, with a modal rather than harmonic approach.

To give the most possible freedom of expression to the melodist, it often stands on a simple, discret but very strong inner pulse rather than a rhythm pattern dictated by the drums.
Everybody is responsible for keeping the pulse and as long as you hold on to it, you can all play pretty much whatever you want. It's a direct heritage from Klezmer and Celtic folk.

Bright Size Life is just like that. The pulse has 2 triplets, second one with a ghost in the middle then 4 8th notes. Takida-tahumda-tadi-tadi and so on.
The song has many different rhythmic parts but this pulse remains.
If you can each catch the pulse and keep it inside as long as you play, the band will sound tight.

That's how I do it at least, it's a very practical approach.

Cool thanks for that waste of bandwidth.

 

[Jazz Ad]

You're welcome I guess.
May you tell us what kind of approach and help you're seeking, so we don't have to try and guess what clutch you miss?

 

[JKos]

Cool thanks for that waste of bandwidth

Gee, let's see if you get any help after such a rude response to someone trying to help you.

 

[Bob_Ross]

A lot more jewish and lutherian than voodoo and baptist.

^^^That is incredibly astute, a good observation expressed colorfully yet accurately.
(I also wouldn't be surprised if someone accused it of being thinly-disguised racism, but that has more to do with the times we live in imho.)

 

[nonohmic]

Gee, let's see if you get any help after such a rude response to someone trying to help you.

Well clearly I'm too early on in my musical education cause I'm incredibly confused how that was helpful.

 

[nonohmic]

You're welcome I guess.
May you tell us what kind of approach and help you're seeking, so we don't have to try and guess what clutch you miss?

Well, if I'm transcribing a solo over a well known jazz standard at least there is a song form to guide you. Even though there may be a lot of variation.

In something like the playing on this album, how can you even tell what the form is? Or how far they are straying from it?

Or is ii just a bunch of notes with no underlying harmony?

 

[WG Plum]

If you're that early in your musical education, maybe some humility would be helpful. You could, instead, have asked for clarification. There was good rhythmic information in the post.

 

[micguy]

Cool thanks for that waste of bandwidth.

He went out of his way to give you an insightful, detailed response from his point of view. If you don't understand what he said, ask a clarifying question or two. Being rude to someone trying to help you is the waste here.

 

[JazznFunk]

I've played that song for the better part of my 26 years as a bassist. Bright Size Life is a quintessential example of non-traditional harmony.... i.e., not based in 'functional' harmony like most 'Standards' are.... where the ii-V7-I progression and all of its permutations are the basis for the song's harmonic form. To that end - it may be most helpful for you to source the lead sheet for Bright Size Life, which is widely available in a variety of Real Book volumes, and in the Pat Metheny Real Book specifically. Without even thinking about picking up your bass yet, LISTEN to the song as it's playing and study the sheet, study the melody, study the chords. Listen to how Pat is outlining certain voicings, and leaving other parts to Jaco. Attempt to play along with the recording itself, while using the sheet as a guide. I know plenty of others will advocate for not using a lead sheet at all, but with a song like this, it's helpful to have some sort of road map to understand what's happening, especially as a very very raw beginner.

And - as others have said - show some humility when people offer you advice.... that'll get you much farther along in your musical career and development playing with others than pithy replies and snark will.

 

[Mark_70]

Start with the "Pat Metheny Songbook". Just checked my copy and most of the tunes are in there. At least that'll give you the guitar part and chord progression.. Should be a good start.

Regards
Mark

 

[BobDeRosa]

Cool thanks for that waste of bandwidth.

That was really uncalled for. A guy tries to help and you slap him down? The appropriate response would have been "Thank you."

 

[soulstew]

Cool thanks for that waste of bandwidth.

 

[nonohmic]

I am especially at ease with this branch of jazz music because I listened to it all my life, long before playing an instrument. It is a big part of the soundtrack to my life.
Some called it new jazz, atmospheric, european, cold jazz, world jazz, I think the best and simplest way to describe it is ECM style because the label is at the very core of it.

It's a jazz that has roots deep into classical and folk music rather than blues, ragtime and dixieland. A lot more jewish and lutherian than voodoo and baptist.
Its emotion relies on melody, with a modal rather than harmonic approach.

To give the most possible freedom of expression to the melodist, it often stands on a simple, discret but very strong inner pulse rather than a rhythm pattern dictated by the drums.
Everybody is responsible for keeping the pulse and as long as you hold on to it, you can all play pretty much whatever you want. It's a direct heritage from Klezmer and Celtic folk.

Bright Size Life is just like that. The pulse has 2 triplets, second one with a ghost in the middle then 4 8th notes. Takida-tahumda-tadi-tadi and so on.
The song has many different rhythmic parts but this pulse remains.
If you can each catch the pulse and keep it inside as long as you play, the band will sound tight.

That's how I do it at least, it's a very practical approach.

You're welcome I guess.
May you tell us what kind of approach and help you're seeking, so we don't have to try and guess what clutch you miss?

Gee, let's see if you get any help after such a rude response to someone trying to help you.

^^^That is incredibly astute, a good observation expressed colorfully yet accurately.
(I also wouldn't be surprised if someone accused it of being thinly-disguised racism, but that has more to do with the times we live in imho.)

If you're that early in your musical education, maybe some humility would be helpful. You could, instead, have asked for clarification. There was good rhythmic information in the post.

He went out of his way to give you an insightful, detailed response from his point of view. If you don't understand what he said, ask a clarifying question or two. Being rude to someone trying to help you is the waste here.

That was really uncalled for. A guy tries to help and you slap him down? The appropriate response would have been "Thank you."

I would like to offer an apology to @Jazz Ad. My initial response is that you were taking the piss out of me, so it was a knee jerk reaction. Upon reflection there is info in there that I couldn't see. Apologies.

 

[BassBrass]

I am especially at ease with this branch of jazz music because I listened to it all my life, long before playing an instrument. It is a big part of the soundtrack to my life.
Some called it new jazz, atmospheric, european, cold jazz, world jazz, I think the best and simplest way to describe it is ECM style because the label is at the very core of it.

It's a jazz that has roots deep into classical and folk music rather than blues, ragtime and dixieland. A lot more jewish and lutherian than voodoo and baptist.
Its emotion relies on melody, with a modal rather than harmonic approach.

To give the most possible freedom of expression to the melodist, it often stands on a simple, discret but very strong inner pulse rather than a rhythm pattern dictated by the drums.
Everybody is responsible for keeping the pulse and as long as you hold on to it, you can all play pretty much whatever you want. It's a direct heritage from Klezmer and Celtic folk.

Bright Size Life is just like that. The pulse has 2 triplets, second one with a ghost in the middle then 4 8th notes. Takida-tahumda-tadi-tadi and so on.
The song has many different rhythmic parts but this pulse remains.
If you can each catch the pulse and keep it inside as long as you play, the band will sound tight.

That's how I do it at least, it's a very practical approach.

The only cold ECM artist was Jan Gabarek, but what a sound...anyway I think I got Bright Size Life in Kenmore Square a week after it was released, back when there was a temporary record store in Kenmore Squ, the other side from where The Rat was... and it has a Fla sound from Jacko, with whatever Midwestern sky Metheny brings. Pat M had just emerged from Gary Burton's band where he surprised a lot of people, the new uberkint and this was his debut, who knew the bass playing would more than double the value. oh I just got reminded the drummer was Bob Moses. He was a local drum Shaman, a genius. so that's a ridiculously good band. I believe you could have seen them jamming at Wallys down the street from Symphony Hall. recorded 12/75

The Bandwidth Kid op is probably at a mechanistic level of theory study so what's going on in BSL is a mystery. It has to do with knowing the form inside and out, and Winging it, aka making music. Everyone is responsible for their part, form and tempo while responding to the 2 others.

 

[lucas303]

I would like to offer an apology to @Jazz Ad. My initial response is that you were taking the piss out of me, so it was a knee jerk reaction. Upon reflection there is info in there that I couldn't see. Apologies.

Good on you for owning up to your mistake. There's a lesson to be learned here.

 

[micguy]

I would like to offer an apology to @Jazz Ad. My initial response is that you were taking the piss out of me, so it was a knee jerk reaction. Upon reflection there is info in there that I couldn't see. Apologies.

Nicely done - it's tough sometimes to back out of a pending argument, but well worth it.

 

[nnnnnn]

I would like to offer an apology to @Jazz Ad. My initial response is that you were taking the piss out of me, so it was a knee jerk reaction. Upon reflection there is info in there that I couldn't see. Apologies.

Nice to see someone online apologising and leaving their original post up so we can see what happened rather than trying to deny everything or argue about it. (Maybe reflect a little sooner next time, Jazz Ad's response seemed serious and thoughtful to me, but, again, (sincerely) nice work posting an apology.)

 

[Jazz Ad]

Thanks for the apology. I'll survive, been through the trenches of forum wars many times.