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Double Bass Drew Gress ...again

#2
The thing that is very timely for me is something he touches on in this preview and that is "clarity" as he calls it. I've been spending quite of bit of my practice time over the past several years on learning make simple yet strong statements. Drew's idea of clarity fit exactly with that. For me I achieve clarity at this point in my musical development by trying to distill my ideas down. To take the finger wiggling out of the equation and really try to get to the crux of the tasty nooks and crannies.

So the question. How do you other people go about working on this?
 
#3
I transcribed the line in this video, I thought it was a great example of playing through changes and hitting the landmarks and still making a nice line. Unrelated to Drew but I heard John Hebert on the new Mary Halvorson disc and talk about clarity! He nails all of the compositions, great solos and and great comping. Huge sound and so much strength and, yep, clarity. Worth checking out.

As far how to work on it: I am a pretty raw noob to jazz but I have been working on transcribing, Ed's exercises, playing tunes slowly and just playing what I can hear. I am interested to hear other peoples responses too.
 
#4
One concept that Drew talks about that we all have dealt with but I like his term is something he calls 'directional momentum'. Sometimes, in an effort to be hip, we deny the fact that the line wants to go somewhere. He talks about it in terms of inevitability. We've used the term 'flow' around here but I think it is the same concept. I know, at least for myself, that a big part of it is getting so wrapped up in the question that the answer is obscured. Two hips make an a$$. Now of course those terms are subjective but the idea is that if we are presented with a puzzle, an improvisational dance, be it aural or a set of changes that we are seeing for the first time then we need to look for our path in that. Flow like water or whatever. This is based on everyone's own subjective experience too. Basically the idea that if there was only one right answer we wouldn't have had such a rich tradition.

Just musing here. Coffee.
 
#5
IMO, Drew's great musical gift is an almost ungodly intuitive understanding of the big picture tension and release aspect of the music that's happening at any given moment. He seems to know exactly what to play (or not play) to help the overall music be what it wants to be, and how to "float" harmonically and then release back into the defined harmony at exactly the right time. Combine this with great tone, great time, and great chops, and the result is an absolute mother****** of a player.
 
#8
No offense taken. I'm used to it, even if it's not sent right my way. Mr. Gress and I do hang out on those rare occasions when he's around, which is educational in itself, not to mention his playing....
 
#9
Nice. Looks like you are right in the middle of the Brooklyn hang. So many great players on that scene. I listened to some of your trio record samples and I really dig it. Nice stuff. You sound great and Michael Sarin is a killin' drummer. Kudos.

I've had a chance to spend some time with a few of the players that I really admire and just hanging out and talking with them is food for thought.
 
#10
Why, thank you. Sarin is a bitch, ain't he? And criminally under-rated, in my opinion.

And yeah, sometimes just being around the musicians you dig can be as much of an inspiration as anything else.

Sometimes not, but I see that much less these days.

Thanks again for the kind words, and I'll stop derailing this thread.
 
#13
OK. I'll do it.

That bass.
Part of it looks French...(the carving up under the FB). English? (Looks big, at least the rib depth, Dunno how big a guy Drew is so it's hard to tell). The machines look Englishy. I-talian? ;)
Is that the same one in the Gage video? If it is, it's looks smaller in that one.
As usual I want, need, lust, drool and drip for that bass.
Tell me soon.........I checked his site. Nothing about that bass.

I'll be in the bathroom. :atoz:
 
#14
Paul Warburton said:
OK. I'll do it.
That bass?
Part of it looks French...(the carving up under the FB). English? (Looks big, at least the rib depth, Dunno how big a guy Drew is so it's hard to tell). The machines look Englishy. I-talian? ;)
Is that the same one in the Gage video? If it is, it's looks smaller in that one.
As usual I lust, drool and drip for that bass.
Tell me soon.........I checked his site. Nothing about the bass.

I'll be in the bathroom. :atoz:
Click to expand...

Though the video makes the grain look a little different, I'm pretty sure that's his Hawkes. It sounds gorgeous in person... Was going to tell you in the bathroom but things came up.
 
#16
This one here don't got no carving thingy.


http://www.contrabass.co.uk/2299.htm

Sorry for the derail. I know the English Hawkes ain't got no carving. What the hell is wrong here?
Anybody got Drew's phone #?
Please help me now.

EDIT: I know, Kev, you studied with him. Call him. Tell him I need this information now.
Remember that bet we made? You can collect it soon. I promise. I'll do anything. :help: (even that).
 
#18
Well, duh. Thanks John...there it is.
Also on that one you can see the holes where the full plates were (like Drew's) removed to put those newer French style ones on.
Now I can sleep, and I don't have to perform that awful act on Kev's person.
 

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