I've heard that Jones gave up playing bass when Bonham died. I myself have had this relationship with 2 drummers in my entire life (30 years. If drummers are going to talk to the bass players, don't just say 'Follow my bass drum. looking for is that common denominator of the spiritual relationship. The relationship between bass and drums is a special and unique one. While a typical rhythm section would consist of bass, drums, guitar.
It is important to listen to the music and let the music dictate what approach you and your drummer should take. Never be afraid to try ideas or take chances, but always be honest with the music and learn to compromise with each other.
Just understand and be aware that the subtle difference of where you place your note makes the truly great rhythm section players stand apart from the rest. As a guideline, I tend to play straight-ahead jazz slightly ahead of the beat. With rock and country music, I tend to play right in the middle of the beat. With funk, blues, hip-hop and gospel, I will play slightly behind the beat. Ultimately, you and your drummer need to understand this concept and openly communicate about this.
Try experimenting with these three different beat placements to see how it affects the groove of your music. However, there are two schools of approaches that bassists and drummers subscribe to: Listen to the masters for how they approach this subtle yet powerful ingredient.
Again, the composition will usually dictate what is needed and where to place those strategic notes and accents. The bass and drums should aspire and utilize dynamics as a rhythm section, thus propelling and lifting the musical ensemble to higher levels of tension and release. When there are moments of opportunities to rise and fall with the music, define these sections and work them out dynamically. Acoustic and Electric Bass, studio and live performer.
Founding member of Weather Report.
Listen to everybody in the group and be musical about it. Do not overpower the rest of the group. Dynamics has a lot to do with it.
- The Chemistry Between the Bassist and the Drummer
Number two, just as important, a drummer must have great time. Overpowering volume is another common fault. I would say Jack DeJohnette is a good example of that. Also, a drummer can be very, very loud and that can be just totally meaningless. Sometimes it can be very, very loud and it can be extremely exciting. Acoustic Bass, studio and live performer with his own quartet. Has performed with most of the great jazz drummers. Those who do would be the persons I would prefer to make music with.
It takes a lot of ingenuity from the rhythm section to keep the groove from dying. The way that he played behind John Coltrane was quite different from the way that he played behind Cannonball, and different again from the way that he played behind Miles Davis.
You have to have enough in your conceptual reservoir to change according to who steps up to the podium, so that you can converse with him adequately and be a complement as well as a give and take. Too many drummers are concentrating on playing the beat instead of realizing that every person on that stand has a different concept as to where the beat is.
There are so many ways of dealing with that groove. Think of Elvin Jones and the wide, broad way that he approaches the beat.
Like a Watusi dancer. And then you think of somebody like Jimmy Cobb or Tony Williams who approach the beat very definite, or very closed. Some drummers think that this is traditionally a responsibility, and therefore never grow out of it.
The harmonious situation on the bandstand is such that the drummer, the saxophonist, the pianist—everyone must understand that time is dispensable. It may come from any one of those places. You never really lose the groove. Acoustic Bass, studio and live. One of the premier bassists in jazz history. Their foot might be too play with you and some of them play at you. Electric Bass, studio and live performer, primarily with Stuff. Shading is a very heavy thing with me.
Some drummers only know full speed ahead. They can play the greatest things fast, but if you ask them to play something at a very slow, pulsating rhythm they tend not to be able to keep time. Sometimes when I work with drummers, if you play something fast, they get it as fast as they can play, and they push themselves.
“Locking in” with the drummer | Worship Guitar Guy
As they get tired they start slowing down and down and down. Electric Bass, studio and live with Brecker Brothers and others. I just listen to his right foot, usually. Electric and Acoustic Bass, studio and live.
One of the first proponents of electric bass. Played with many jazz greats. What his time feeling is, what kind of facility, what kind of chops, and I try to get to know the drummer himself. I think we play a lot like we are.
So, I try to find the way to be around the person for awhile. So, I have to be open. I have to be receptive to the vibes. I have to be open to listening. So, I kind of enjoy a drummer who sometimes does other things.
The way I play is a certain kind of style and feeling, and I think that a different style sometimes goes very well with my playing. It keeps my thing from being monotonous. I enjoy playing time. I enjoy accompanying different people. So, the drummer is very important because we help make whatever is interesting, interesting. We have to boost it. The drums can be very exciting. Moreso, usually, than a bass player. It is the bass player and the drummer that help create that feeling, so I enjoy a nice tasty drummer.
He kept the time. He marked the place.
The Chemistry Between the Bassist and the Drummer | [DFO] Drum Forum
McCoy was the timekeeper. Every group has to have that from somebody in the group. Most of the guys that I end up working with, their time is very good. One of the things I really like is kind of a spontaneity or an unpredictable quality. Making you think and work a little extra hard in an effortless kind of inner relationship. I like guys that are radical! I can no longer open up and be creative. I have to be worried about keeping time.
Electric Bass, studio and also with Tom Scott and L.
Bassists on Drummers
Not only even time but a good feeling. I think the bassist is sensitive to the way drums are tuned also. It depends on age. I think all drummers, when they first get a lot of facility and not that much experience, have a tendency to overplay. They start leaving out unnecessary things and catch the things that are necessary.