Original subtitles

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The name is Classes.

The rhythmic nature of Geass is pretty much based on dis elis concept of

music and rythm and or for those of you, it may not be familiar with my

background. I was a disease pianista musical director for Nine Years

Straight and then another about seventeen years after that on a part time

basis, and we had a very close relationship both musically and personally

and many of the concepts that he exposed are not common knowledge.

Are not necessarily houghton jazz department and so so more less try to

share some of that stuff with you

what we got on the board here? Oh, I should also mention ed I was a private

student of Oscar peterson back in the sixties for about six months I was his

student and a lot of the stuff is partially.

Oscar and partially is mostly is what we got up.

Here is a two years years of study thats involved in the development of a

jas artist, how to play and what to play artebasiunder? How to play touch

time tone technique tasa these are exclusive to Jas planet meant.

You can play jazz with any kind of touch which is a mistake a lot of people.

You can⁇t really play jazz with the same touch you play mozart the time

conception entirely different in Jas.

The tone conception is produced from a different source in Jesse, and it

would be say in classical music technique is a lot of that.

There is actually Jes technique were gonna talk about today Tasa involves

what I do with my students usually, we analize recordings however Tasa

pretty much involved with choices for example.

If there is five ways, you can go on a toon with the harmony and a certain

spot nyoronyone you cant develop gastes like that need know all five throw

three of m away and keep the gema son how what the play over? Here is

milodyharmony rithemcountpoint formal.

There a specific behavior in especially in Disease concept that is quite a

bit different in other kinds of music.

Even quite a bit differences in Ges concepts for example melody behaves an

entirely different way in Disease music lets say in the concept account base

played with

I remember one time I was writing from me to for lavar Distan.

He used to always get lost, and he told me to take a turn.

We run a wrong road in bumper to bumper traffic.

So

we talved alli way back to for a lot of dale about Charlie Parker, dizzy

said a very profound thing he said is quite as it.

Kept Charlie Parker contribution was melody and Dizzy was all into the rythm

and the counter point int Charlie Parker, dizzy said as soon we all heard

that we knew we had to go go that way what he was indica ting was that

Charlie Parker came up with a new behavior of melody.

A word behavior is extremely important because which were going to learn

later when we talk about these two things ontology and por trinity anybody

know what the word ontology means anybody ever heard that word if you look

it up in a dictionary, its a metaphysical term that is pretty much related

to I guess gould say the science of existence it is routed in the idea of

all of me mans cognitive ability comes from the same source no a religious

sense that would be god in a musical sense.

First person I heard views that term was stravinsky he to always speak of

ontological music what he meant was he was tapping into something out there

that is used to say to San thing he would say and his music is out here.

Wait for somebody to come get it if urones group he would tell you the

music? Tell you to come you go where the music tello? Now the geeks had a

late to lattan terms music Majors and music my north music majoris was music

that obaid natural law music of the speers.

They used to call it music mynor was simply music of man ego or imagination.

And the stuff were get ready to talk about with disea definitely opens up

music majors and a player

Pauly Matricity were going to talk about a little later, but a good friend

of mine and colleagues hall helport i guess most of you know him pianist he

was mainly known for being with Carnavales, a great pianist and a great

educator.

He made a Youtube masterclass where he mention ed a book by me, but he was

bringing up the fact that the biggest problem in jazz Education is dealing

with syncopation studs are not aware how to deal with sincopation.

We⁇re gonna talk about later about what actually produces the sincopation in

gesso back to the thislessmelody harmony pretty much the behavior the same

as in classical music in the sense that in a cycle of this, the seventh

resolver down to the third.

However in jeter is a definirte coloring that comes from the blues that

affects harmonic choices which will speak about a little later.

Real am is entirely different which you going to find out about today

counter Point got to do

the way a group interacts with each other the way a dumandreax with the

soloist it could be the way a pianos lefthand intra

all the stuff excuse me be going on between the two hands what you might

say. Je a counter point is also routed in Rit Hmi

would highly recommend that all Js musicians study classical counter Point

at some point extensively because we can definitely affect the way you play

jas not going to be the same Rit Hmi bases, but it its definitely beneficia

form up here doesnt mean, we⁇re not talking about aba form or sentarme

anything that we⁇re talking about the way organic ally fragment develops

into a motive into a frase.

The way it with effect that jazz player has almost everything do with how

you start a sola, you guys want to put in your head indeli bly.

You must begin a sola with a positive opening statement, this should be

followed by a corroboracion of that statement from that point on this

antologica thing takes over and the sola will more less tell what to play

often times young players make the mistake of their solosalir.

Noodling

cs me play in a club if you don⁇t get that solo off on the right foot it

will form that invariable people will start talking because the solo is not

holding their attention because the logic is missing so in the sense of form

here how it relates to a jazz player got everything to do how you start a

solo opening statement? Corrobora tiva I se van demis

se. I started at solo with an opening statement followed with a crimen.

The solo told me what to play brings me a point where it becomes very

important how a musicians understands a musical concept for example somebody

can have an understanding of some aspect of music that will pass a course a

julliard, but may not be the way you need to know it to play.

And its extremely important how one perceive a musical concept in that sense

i usually ask people to define with nassim looking for a musical definition.

Not a social definition so rather than ask people that just give you what

disease definition was he said that jazz is the marriage between african

rythm and european harmony.

And so you could say african rithée culture married to european harmony

culture. Now, this said a note here touch time that all comes from african

aspect of jazz.

This is pretty much.

Being left out of the present studies in jazz education for the most part,

Im aware of any way we have some excellent jazz educators and jazz

department around the country.

But with how alber was printing out the problem with syncopation pretty much

is due to the lack of understanding about the african aspect of jazz.

In that sense of the way you perceive a musical concept, we need to talk

about what meter is so somebody want to give me a definition of meter.

Say like somebody explained four, four meter.

How would you explain it anybody don⁇t all jump up at 11.

I could hear it for foroestoy that is julliard stuff that will pass the

course. Juli in class music you here.

Sometimes describes a strong beton on one a wales strong bed on to a weekend

for if you listen to what that sounds like it sounds like digg what Im

saying? I is a repetitivos rythm so basically me theres an under lining

structural rythm you hear that structural rythm of Classical music classical

for four.

Your here in motsart baseline in youre in bethoven sonaron that music.

The strong base are coming out one and three.

But when we play jas were doing this so thats telling you right away, there

is a metric difference between a jas and classical music basically.

Classical music is monolithic in nature backfi.

You may have four lines of melody, but it is all t rothemuning esposa

running. Sixteenerplay between those and yes, you may have a base

playersinelayer sandra bank, bank, bank and horns about la.

Thats four different Rit hems and melodies so jassibasically poly rhythmic

in nature.

It is also polymetric, which means more than one meter that s with this

polimetricity. Its also Pauli Paul state pulse.

Its also Paulii mila, which is so were gonna talk about today.

So now the underlined structural Rit.

Hmi jes is something like this.

Has somebody account that?

How are you count

osalan do it? Musso? No te forfatterforeone.

Two three, one, two, three, one, two three, three tree for fieofefour five.

Six se for five.

Six en one,

two, three, two three lisbon ense my prince.

No, you can hear that.

It was all the same flow of rothman.

What you heard? There was the bar lines all in different places.

I was on a radio show with disiente took me as a guest a.

I was interviewing him.

Interview was trying to get an insight in the disease concept.

So he had about three different personalities dis one he was a escobal thats

what I call him diseno.

I knew Jungle because.

We were very close by our families.

Were close in everything.

He had a very serious side to him, which I was fortunato enough to be

involved with both as a musicians and as a person.

Sometimes he be interview.

Need be saying off the wall Stuff, but he told his guys always milibar up

with Rit hmi backer.

What he was talking about was what you just heard.

If you patefiat all of that all those ritmo going on then you play, Stell.

Aby starlite going to effect the way you frase going to effect the way.

Your accent gong taefecttheway you keep time.

What he meant by keeping time of such a way that all of these items actually

more than what I display.

I m going to mention.

Now about there are three stages of development.

That musicians go through.

This is true in classical music to sense.

This is about Jas would speak about in Jas.

You might call the first day.

The Imitativa state second stage the realizada third state matours.

Now the inv itati state essentially a talent state most everybody that

plays. Yes.

Starts out like that you start out like playing like your favorite players,

or your you coping things off a recordingsawhen.

I say that is a talent state.

You have to have a talent to do that, but the stage after that is the

realize stage.

This is more related to the stuff I was this showing you so pretty much

before. Someone can know the physics of this.

I should mention something important.

Now, this is sometimes harden for young players to grasa.

You dont put feeling in the music.

You get feeling from music and the ways you can⁇t create music with

feelings. You create feelings with music.

Ill demonstrate that a minute.

They asked louis armstong years ago an interview asked him what swing was he

said getting the notes in the right place two things you can learn from

that, there⁇s a place and there⁇s a right place.

One of the problems in todas young musicians in Jes is they seemed to be

stocking. The Imitatorstage thats pretty much due to the fact that you

printiship program broke down.

I guess around

the way we all learned.

We were coming up when I was in high school canabal atterley was from my

hometown. He at a teaching gigi⁇m from Fort Lauderdale.

I grey up there and cannonball he was a school teacher there.

So I was in the tenth grade, i first met him.

He called the band director at my school.

The lady at the african American Church passed away at that time for

Lauderdale was a little berry was not the metropolis.

It is now a little Navia station town.

And so they had that one church and the woman died they called my school and

they said have anybody over there can play this kind of music so my andres

we got just hit here.

That sort got a feel for that kind of thing I started playing in that church

for their sunday service and I remember distinct ly preacher he gave me a

him books majas it up a little bit so I started just improvisan that was the

earliest start.

After that I went to a jam session because at that point in time for loteria

had a serious problem with drinking people.

The kids were at and killed arma bill.

So they started these teen age night clubs at that point, Jesse was pretty

popular. It was more like an B, but it was the arn B.

That closely related to Je Sani got a call from a disjocky named le on Pea

Kley Jazz Radio Show He Said, would you mind work could you play with a

negro said white marion think like that when I went to the gig the cuota

negro is cannibal adderly who and he ask me I play anyway canabal already

played like he plays but he was not famous at he was a school teacher and he

was making very little money as a school teacher.

My Dad had a club date bani played the digimon you believe this I want to my

dad som he had a gig.

He was going to play a street dance.

They were dedica ting an area for ladevil called the gateway shopping center

and so they hired my daban to play the street dance for the gig.

This was the first time in the history of four Lauderville that they had a

mixed band this way back in the

I remember that people were all out in the street in the big Moon in Florida

at night and canabal walker up on a stand.

And the whole crowd was a hush.

And he started playa stars fell on Alabama and he melted everybody everybody

started dancing.

It was like beautiful man.

So my Dad started using him on the gigs.

And En canabal got me a gig with an arm b band.

It want even.

His band was harold Ferguson ban we started playing the Caitlin circuit up

and down Florida.

Butrsi⁇m telling you the story about Apprentiships.

Im like fifteen years old I m camping behind in cannibal his playing is

affecting the way im plan because Im picking up a touch so like when I go to

play my solo.

Im planstuff I dont know how Im plantthis is a very important thing touch I

know in school.

They have people taking down Charlie Parker solos and things which the

greatest year training in the world don⁇t get me wrong, but you can⁇t take

down a touch.

You have to experience that I should mention some there⁇s a big difference

between experiential knowledge, and Intellectual knowledge one of the main

elements of Jess is experiential knowledge have I not experience but canabal

I would how did I know about a touch? And so all the years I was with i play

with Roy eldril those people like that it was affecting my touch because

quite as it.

Kept the ability swing is definitely related to your touch.

Now, you cant get that from listening to records.

You cant get that from taking down solos.

You get that from playing with somebody who has it that⁇s how we got it

back? Then I played with disiasat was affecting my playing.

You can⁇t learn that in a school, even the good stuff about of school is the

stuff you are learning.

Its all extremely important to be a musicians and be a jazz musicians.

But that aspect is not something that can come from a school.

Has to come from an experience and hopefully some of the things were going

to talk about today will help in that area especially if it gets into the

educational system when I was studying with he and Ray brown they pose this

question to us one day in the class, he said what kind of Environment

produces jazz musicians saint here anything about ethnic background.

So all of us gave feebles answered the environment.

It produces a jazz musicians is called bastan.

Who you've been on the bastan with

that was why I told you.

The story about cantaban diseanthat has very much to do with development of

a jazzmusicawho.

You've played with who you playing with.

I was so fortunato to have topper tagu ig with Dise because it gave me a

barometer. So I knew I was playing some on it didn’t go he was playing.

I was wrong and so I had to say.

There is the barometer.

Gave me a gage like try to get my thing to fit.

What he was doing so and Dizzy was a great teacher not only.

Did he teach verbally.

He would teach with his horn that wasn⁇t cool.

He would play some on home to pull me into a pocket next thing I know, Im

playing a whole different way.

There were times where he would come up during my soul and sing something my

year next thing I know Im playing Different.

That was a time we het be playing to tamboril right my hear.

Id be picking up this my touch would start changing every that type of

learning what I mean, by experiential knowledge, it is not intellectual.

Knowledge intellectual ly, you can get some of the insight into it, but

there again it requires an experience like what I did on the drum what I do

with my student? I teach them to play the drum and and I give them exercises

that are like Mladic catalysti type things that puts it on their instrument

after this were gonna make another will be me actually teaching that to a

student everybody to see how the rudman on the dom and then you⁇ll see those

exercises and how they affect a persons play like each one home takes the

rhythmic behavior another level and the student stay there for while not

goes to another level that will be in the second Dvd.

Todas dvd is more of an orientacion.

Si very Bayamesas more a technical conservan instrument.

I tank it it that way so that that work can go so many ways in Peoples mc

thatforced still still at.

Well all do respect.

I m talking about it from a different perspective the touch for saxon player

can be the way you attack a tone for trump potplayer.

You attack however when I teach students this drumstufand.

I give an exercise.

They start feeling something in their hands that they didn’t feel before and

behaves a rythm takes over.

And that is what I touch meandoest mean the technically a touch on I like

the way classicalmusic is time what I had on the board was touch time tone

technique and tase thats what comes out of the drum and its not touch the

time conception is entirely Different.

So that affects your touch what students usually experience when they learn

this drum technique and then they play the exercise as I give them is the

panel start to behaves a certain way that wasn⁇t there before accent started

jumping off in places that they did experience before Rythm started to

develop and that thing we talved about anthology takes over.

And this music does not come from the mind.

The mind is not involved in this music is way behind the mind

otherinfconshousness talk a little about that Le with the time conception

back in the bebop ara mary Le williams wrote this toon calledelandavo blade.

She had something specific in mind when she said that because andrew another

state of ciencias ness and music actually comes from that place.

And so that place is not involved with the mind is not involved with

thinking is way beyond the mind you put plugged into a place.

Does satse music says go over there you go.

Where tokishima for somebody to get it es talking about being plugged into a

place.

It kind of a testimonial.

You know, not directly for myself but catas that I worked with for years at

Rafidies who we both know and Adam as a student of mike and Montero by a bit

a Adamawa bring as andro with him playing these exercises that Mike show

him. And so I was asking adam about these exercises.

Because he Adamo, do it before he play? Did his regular practicing on the

catar andi was asking him what kind of affect it had on him working with

these Rit Hms and Adan said what he gets into my touch? When I can still

feel into my touch? When I play the getarian has this great criticidad ritmo

walkyour saying a lot of access and with different directions that he can go

in fact.

He does this pretty.

While thing where he plays the ganar a t on his lap like a recursión

instrument. Its pretty pretty amazing, but I could definitely hear that in

his playing and field at and his playing from playing with him all that de

tripié stuff and I can get a set a bit from his playing.

All that triple stuff is in his fingers.

Whether he was playing it or not its affecting.

Where is putting the nose ben wallis great si Ipone back here.

Who had been when when Mike show me this this thing on the drum? I really

experienced exactly what he was talking about its a bus in the hands and the

when you feel and your finger tips on feel all way through when I put the

saxophone in my mouth.

The sax oline Clarin, etito have the size that it used to there was really

tacto changear think the change is multi later that⁇s the first thing that

happens and goes up to what youre talking about which is is the state of

consciousness change.

And I find the played that ruling enough it really kind of put you into to

spell all these things that microsno our enemy steps because it changes the

way in play and down really second one mike just said that you preparing to

play this music.

Its a real coches at, but when you are actually playing, it is nothing to do

with the brian.

Somebody nt sama thought about when he was playing and he said absolutely

nothing. But there I think the thing the mars and any science and the

stalker is the boy play this drum.

The more of these things are going to have thank you again.

Look fast.

Three. One, two, three, one, two, three, one, two, three star con three your

head shifted and ensomplace that⁇swhere you has got to be when you play and

J, if your head is not there, that⁇s what I meant by times got a different

kind of time conception what you have now with a lot of young players is the

plan her head not there there what you call monoritmictime so it ends up

being Jez influenced music, but not necessarily Jes in the sense of Wadi

Sawa. Im going to show you oh by the way he was on the drum the drum se to

be talking at onorato guitar that s with Jeff heard in Adama trumpet on a

piano that talking drum that⁇s what I meant by tone thats not the tone you

play moatwiththat polymetric tone is this being express through you touch

and so that talking things like you hear, that car is mary thing in some

like Sonny rollins you hear that in his play here in Charlie Parky here in

Disimiles.

Whati⁇m gonna do? Now, I try to demas this is co call a Rithmic pile.

This is sort of whats going on

feeeeeeeeeeeeeeeee

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you. If the mandal these things are fitting at all the etnias are kitten at

the same time down here there sixteen, but they a kitten in the same place

the it so that is all going on at with dismet but he filled up his bar with

ritmo somebody plays all these Rit hems at the same time you started patino

foot to him at certain kind of time field starts to happen it affects

everything manifes the way you frase affects the way you here in your sound

it inspires you to play different more melodicideas especially in the more

advance days because I say we⁇regonnao make for Dvdese second when is the

fundamental Stuff? Where Ill be showing people how to do this on the drum

with the exercise? Then comes the advanced the third david be advance the

fourth Vwl be alter advanced stuff when you get into that that you be

experien cing melodies coming from a place you don⁇t even know where there

coming from and I like crystalizing in ideas and to me that s the real

beauty of playing jas I can remember nice with disea that su I remember we

plan how are university outdoors canabal group was on it dise a Jimmy Smith,

but there was one place we had a jamstation where Jimmy Smith played with

our group an arcshield the rythm was messing looking up at that Moon man, I

could feel like an there⁇s no place in the world I would rather be than

right here, right now, that felt so good.

And music was coming from this ultra spiritual place dos used to say a

musicians has to get his ego out of the picture ego ngo anything ego is the

enemy of this music sense I see some a musicians acting egotistical i know

you can⁇t play this causic this way beyond the eagle

well they say metaphysical but its a spiritual thing this he had a very

acosta divinity about his musicalité.

He was to me.

I never experienced.

O, no.

The human being like that in my life.

He was extraordinary.

He almost had his cosmic quality about him.

One to three for one, two, three, three one, two, three, four five, one,

four five, four five, one, four five, one, four five.

Six, the four five.

Six. For

all the same for I can demonstrate a andrew could you play the sale do

see what happens is one guy might be in five and the other one in six so a

down beat in one guy playing just becomes an accident in the other guys, and

they all go together that⁇s what you might call universal Rythm

Please

a

he was playing.

Six eit I was playing in five, I was playing in Seven.

It just sounded like Accent and Rythm going together and so nothing was

bumping anything that the a polymetric time conception that affect you

timing it effect you touch it even affexharmonyif anybody ever examine the

shilling er system he had a philosophy that of weird thought anybody could

create music on a par with a master l like baton just by using math that

sort of leaving out to spirits are part of music.

However what he did come up with is a terrific way to analize music, you can

actually see the interworking and there was a point when I first went with

Diseo, I was playing we all hip cats in New York, all the male players and

all that I had a Paul Chambers and I had a treat the embers.

West, this was before I was with Disyallthe cass would come by there and sit

in on our last set.

We would like to hit Rithemsaction in the town all the guys from males group

joaco by Lo soloflutebackin diy rice They would come bryan play with us

when I went with Diy I felt like a beginner actually I played very well to

opening night I joined Dis december eleven nineteen sixty at a club in

Milwaukee called the vanguard and the first night I played I was inspired, I

played very well had written his peace for panel I site and second night I

went in the toe.

Why did you got to play like this every night? Yeah, what to help you thing

Im playing you for it.

Meant di you had to play Jess at that level every night to be with that

group and this time in history was during all the race.

Riat In stuff here I was out there with dises group and you can imagine the

critics be a areready to tear you up people waiting for you to find you, but

so they could get to gig and alcate that started me on this journey man

where I had to start like really developing myself it was years that I

played for Dise, but it want till much later like I could play with.

Diy. I could play for him, but there was no where him and James Moody both

man every night maybe hide nita this fantastic level of highest level of

jazz playing.

There was there were a lot of time like you going down to street on the

truck and you fall off then the truck is going me ha there again.

I want to a lot to do, many.

In fact, I still have trying to learn what there was to Dizzy.

He has a death.

That still not quite appreciated or understood.

So this is what Pauli matricity me show you.

Something is called.

Addictive, Rythm.

Addictive, Rythm.

Would I do it hasta

in the Western world.

All of us we were caught, Rit.

Them something like this

software most everybody here learned this way.

But addictive, Rita is an eastern concept ice cumulates across the page for

example.

You got somebody sing that, Ritter to me one to three.

Okay, how would you count it?

Okay, he said one in to an.

Lets this an dos an upbeat.

Correct, but you didn⁇t sing it up, be you sing it down, beth said.

Bangtan boys not an upbeat.

And so in all musical cultures the number one when you account music is

heard of a down beat.

So that means, there had to be a one here for you to sing it.

You sang it correctly, you sing it.

So it ones basically instead of those asnos being in terms of four and four.

How many asnos in this first attack before another attack.

Its three that three plus.

How many in his attack? No

he me five.

So you talking about three plus five not for plus four.

So its not one in t s like I want the otto five one to three tre porfi want

to three bank if you take the numbers away and put drumrithem youre gonna

hear bank.

Bangbangbang. So I was basically three plus five in terms of editorthem.

Now how galper was talking about cinco pasion.

I remember the reason how came, and he took lesson with me.

He call me up because he said an wer have trouble teaching students

syncopation. He said this kid came in and it was blowing everybody away.

And he said he bought a book by me.

I was a book called.

How to cite remaches and other cinco pate type Rit hems which dilsinei added

to gotham principle.

But what how san when he talking about sincopation is really the result of

editor, Rythm? Now in the sense, this would be more like reading.

But in the sense of what we actually play, this

is actually the equivalent of this

or this

so in a sense.

If you keep in time with this, asnos are basically dartianotes so now in a

sense, this is really five.

Plus seven

that would include the swing.

So if youre saying beckett basket dedicated basketball say in five plus

seven. And so this addictive really idea can be a very usable tool

like if you want to record date is something and you got a time to look over

your partners a difficult rythm output.

Apply this addictive prince.

You know what to think south like before the tape stars are so you gonna

nail it for example.

Take a look at this

a asocasalsa

what I could give somebody a problem sight reading however if you see this

is three plus three.

It becomes very because then you say backeberg bank three plus three.

This is familiano banana.

You use that editor principal.

You gonna play that I exactly in the right place.

Right in the pocket.

O, want.

You know that this three and this three are there you hear that triplebucker

bon becket Iano donde youre gonna play it? Perfect right in the pocket.

If your trying to read in terms of this, ve whedon that is basically what I

think how galper alluring to how very hip.

He understands it.

There is a problem in this area it.

He said the main problem facing.

Yezzie, cachi stuff the sincopation mainly because everybody is thinking

like this.

You can say one y anda todo to play wrong wont be anywhere near it.

Bononatocon, do you do that? May you start to feel grave? So there in lies

the problem with sincopation editore.

Lets take a look at another

during. The period I was with disea.

We want to went through at least five base players and everyone had a

problem with manteca.

Bont bat.

Bont banton.

Ban bonito.

Which becomes easy.

Wants you see three here on backtrack.

The rest can feel bont.

Basket contacto backed sins you see that two three the problem goes out to

window. Yes, sir.

I break it the way you break it down.

Is whatever the lowest comodenominater is if the laws not vii sixteen would

do in terms of sixteen it was an eighty terms this have to be an eight.

The one before was in.

Sixteenth, and this becomes really evident.

What the second ver gong to make I actually teach us student how to play

this drum and given the exercise because this used to refer to someti i

called a perfect offbeat.

He did speak in terms of what we call an addictive.

Rit Hmi did some research on this and

came up with that.

Some in classical music.

Rod a book about it and that what oasis doing but dise would call it the

perfect offbeat in double time.

Perfect offbeat what he meant was in class music.

The upbeat offbeat is simply the second half of a donboneinjaz another beat

up it bad.

You hit some up there every time.

So you as one, oneto, one.

The idea of an tonwhat⁇s happening in Jess

one of the things that can solve the problem.

I done this with my students.

I⁇m gonna write the three ways.

Im going to right couple of bars of the notation to confirmation aaeeeeeeeee

a emeeseese.

I supposed young players looking at this and he⁇s thinking in that way, we

saw before with one and to and through and for

to take a look at it this way.

A esascosassonpersonales si.

Esaaaaaaaaaaaaaaaaaaaaaaaaa

no. Yo think this is not mono ruthmicsixeight.

This is a six eight like you.

Heard my plan to african thing bakedao three four six.

One, two, three, four five six.

One, three, four six.

One to three four.

Six one now one of the biggest problems with the other kind of thinking is

these things that are falling on six

like this and falling on three because most people are playing like one in

and the thing I ve had Students 11 they play this this ay tan I just go back

and say orales play forget about that.

I do like this.

They start swinging playing the accent in the right place.

Now, here is the Kitty Great remember what we said about Aditivo? Rythm?

What is this

on too three one, one to one that⁇s what the addictive way of looking at

that six.

Eight, which is a totally acor.

It is two plus three plus one plus two plus one, one, one, one So if you

look at it, that way on to one, two, three one, one to one, one, one, one,

one, one no youre gonna play it exactly right.

It is no question that Charly Parker was hearing

now.

I told you before to remember that Rithmic Pyle we had up there because now

were gonna talk ab bout it from a different.

Soon, as you have students play a toon like that and a six eight time all

the sucden Ill be swagging me.

Jeff Brought up before about a triple field.

A triple is not to say thing is six eight time I know, there⁇s an awful lot

of people in some of the music department Jas Department.

He talking about a triple field, some ice play Dorama Ramy, that is not

jasmin. You cant call us a triple fiel.

Has no triplets something entirely, Different? Yes.

I recently saw a thing on the Internet where a discussion group on a drum

site was talking about one of my students gat aris he had written what they

call a controversial article about dont practice with a metronomy which he

probably got from studying with me however he was mentioning on the site.

The site was mentioning.

Some drummer was saying that you can get all over the Youtube.

The african he had names for the African.

Rit. Hems

african drummers actually playing those Rit Hms.

But what is not understood? Is that Dizeedidn⁇t? Do it like the cadiz his

own take on that and I can tell you a story about years ago.

I played a solo panel concert at the barge music down under the Brooklyn

Bridge and a student mind brought.

He hired a remote recording company to come and record the concert, and so I

used to play a lot with disea at his house often times when he have a few

days off? He want to keep his chops up and I go over and we play just piano

and trumpet and so we had a funny way of teaching.

You saying we were playing chess one night and were listening to my

recording often times he would say and he be teaching you something.

You didn’t realize that he was doing it and he said you have try this.

Written between you right? And left hand? I said no he showed me a mi, so he

got up and he put on this eight track tape machine.

And on the tape machine, hes playing a different precision instrument on

each track one track.

Hes playing to congas another track es playing to shaker another track

lanzan a ford colville know I m listing to a sound like an african drum

section. So he said where one and I put one where everybody would hear it.

He said.

Put it over here and when I put one where he said this most tickled joy.

Ous feeling.

Oh, my god.

What is this? Is a whole different way of here in music.

And so he then got out of horn and he wanted me to go to the piano and he

wanted me to play this voicing.

He was working on a new pe sandi started a companys voicing for him, and he

is playing a let me try that thing he told me about my right and left.

And since I did this four part contra penal dexter jumper off the piano.

Where s this comment from his grinding? He knew that was going to happen

then I.

Heard a very strange sound in his sound.

Very quality in his sound is an.

Hes playing with that one in that other place.

And so I picked it up in my touch which I was expla.

Ining before by apprentishipso I went back to my apartment in New York.

It was still in my touch and I recorded it.

So the next day I got up I wired out what was happening so about a month

later he used to stay off en it with my parents in Florida.

Kindof a dimas his parents and he would call them from the road and so he

calls me up from Holland.

He was in Amsterdam.

He said, put me together gotham section and meet me at.

Mayport Jefas in Jacksonville, Florida, he said.

I just put the take it in your credit card.

I pay you I see.

So I took ben brown the bases and Mickey poker the drummer.

So we went down at one point in the concert.

He played Salt Penas way up here.

I just ripped off this solo man and he comes across ni grabando photographer

a took to picture right while he was doing you dont need by you dont need a

bot a month after that he was down in Florida by himself stay at my family

house and there was a musicians.

I grey up with Ben Champion.

He s a sax phone layer who knew disa through me for all those.

Years at Desy would come down to Florida.

I get a call about four in the morning.

Waking me up in his Benchappened.

He said, man.

What do you do in Jacksonville y say Diy cant stop talking about it.

He kelsang you a very Special Person.

What did you do? I think I learn this thing he showed me and say he cant

stop talking about it.

So he know that I cop something from him and the reason I telling the story

is that it is not just the African thing disididomething the way he placed

his melodic in harmonic concept within the African thing is in a place that

the Africana are not pretty to.

You dont go to Africa get off the planet.

Here

don⁇t hear that in Africa.

And so dis.

Did something different than just the Africana are doing they don⁇t really

understand that aspect of his music.

And so that Basically, I guess you would say bebop when Desdi made the

logyspeech at his funeral? They had two funas.

The one was that one was that St peters church which was family and close

friends. That s where the basket in everything.

I had the big one for the public at St John divine.

But dentetespeech I was telling a story on that weekend di pass away Charles

Carola at a Sunday Morning show called Sunday Morning Charles Caroll.

And he was playing an old interview.

He did with disea and disease was doing this

and he said most musicians understand the three four in six eight.

But the five other thing all together what helps you talking about when I

heard that I did understand what he man.

And there was a period of a couple of years before that were dise ask me to

ride a chart on a tunero.

I think it was called free limbo.

It was in five.

When I wrote the chart? I wrote a counter rythm and

in fire.

And I have a big man in New York.

I wrote this chart based on that counter them and so banga boo at Birlan.

We were playing the peace man and everybody in the bart got them started

dancing their dancing in five four.

Didn’t know they were in Five because that Rithée Thing is off dance

students, when I write those little dots on the board? What do you call

those things? Guess where everybody says notes? If you said sounds you would

have been intesonas when you doing something like this five? You dont want

to think in terms of one into and three are one to three four five.

You want to be saginoidesounds because tambor is a part of rythm.

Years ago dise wrote this piece called he beat where he should have.

But its basically people playing of a bob where should had been to be? And

so you have to think tank a heres.

My con Rythm Abababababab.

There is a swing on a whole different Temple.

What you saw my football is with the people at the barry.

Dancing to its not its the fives contain within that beat, but it is

another. Whole beat

every two bars.

The one will come back around, but you can feel that is a swan tek.

What people were dancing to now dis? I started to understand.

What you meant by the five? Now, Billy Taylor.

When Diy passed away? Did a fourteen hour radio broadcast called dises din

public radio.

What he did was he cronologically played all of disease recordings from the

beginning to the end.

And so those of us that still around at played with him during a certain

period. Billy would interview will he was playing those recordings at one

point. He was talking to Dis and he was asking dise about the Symbol beet.

O Disiscutieingchip bochini.

Now, the old drummers like Jo Jones on net there simbólica chick cataldi

cacao chick, thats a Different beat those drummers were more less

timekeepers. The beebox drummers were part of the 1000 elit Flow.

They like contrapunto involved in the music for example.

If you say cachachi and you got freddy green, you cannot sing a toni

confirmation is not going to go with that bump in the wrong way.

And the Bob Sim chip bathing chip bicing ban.

Basically it starts on the fourth beat, but I was showing a student one day

how to play this five

my guy.

There comes that simblebeat.

And so I understood what he meant by the fire was.

And so that Bibossinov came from the inclusion of five four into the

rhythmic flow that wasn⁇t really.

There before now what that opens up.

Is this thing for

that behavior

right back to the original.

So this is related

right back.

So all that be theres even a robarto is related to that one beat and that

five now.

So you what you think of that five? One tree for fices.

Entono? Tree four faces on back it to back the big big and should hear that

accent.

And that tambor would be

back, back.

No, heres the simb

a

a

im using triples here because this too much trouble right in Twelve eight

time, but tabatabai back, back, back where dis watcomo from tiptip but and

so that⁇s a way to get to the cat critics name it, Bobathatt.

What he called it? They hear him sing in shelton the start calling it be

Bob. But the bybobil based on fire that five is the first place where an

accident comes on that third note in the six eight no, Im gonna explain that

to in the minute that how you get to to be Bob Simbabe? Now, I told you

before to remember that pile of things.

We, wrote because what this opens up? The thing says Bab ababa.

That opens up this type of thing

comes from a five for simnat⁇s.

Not the same way that the Basi band or those kinfold Jess is not plan acento

what this Basically is is another? Six, eight it started right here.

And when Diy said the five another thing all together he was talking about

something. You might want to refer to his permutaciones.

Which is this every understand is okay,

it opens up this kind of

no, I said se this want to baudatat⁇s this down here.

That⁇s another.

Six, and now when I said remember that pile of notes each one of these.

I got that whole pile on it.

All that pile of meters and all polymetric each one of these.

Sixes have that big pile on it.

O when dises plan all of that is as moose the universal all the stars and

some kind of order.

So thats going on a Disney time conception.

Now,

there⁇s another hidden fire in and the that idea sangama.

There was Buamama whats his

gofiones four five, one babababababababababa banbyou⁇re that in framing like

Bis Worth, but teado that a bubba brings us to the next concept which is

continui ties.

This was definitely part of Disease concept.

Okay, there⁇s a story I tell behind us.

I was playing with Disi at the Village Gate.

We playing opposite Miles.

They had booked Dises quintet miles quintet for two three.

Weeks engagement at the gate at Different times.

And in another three weeks up at the club Barrena marlins every night, Miles

will come play with us.

I got to feel where it felt like to play with him and desate

walker up to me marido were in addressing room.

He walker up to me and hand me a placeof paper with this rito.

So he said to me you.

See this woman he walker away

what more like dont make any sense thirty five.

Years. Later I found.

Holy, see what is talking about.

There is another con.

Nobody with that lets go all speak you more about.

But this particular one what

let me li dup there for regno.

If you take the ato asnos in a bar,

the triple is basically three against these two correct in regular ethno

triples. So what? Nissan

why not throw you gains those two three again to between the two at.

Not now.

When you do that? When you get that in your plan? Something else jumps off

man. And like what jamie was talking about before about touch some of the

stuff start happening would you touch the word behavior is extremely

important when youre feeling a Rithmic behavior in your touch, your touch

changes this mas up a Rithmic behavior that extremely deep

when three against two is happening between these two as nos.

And so another another kind

you can hear that in Kenny Clarks playing aline.

I rotation for my zanotti.

Dont be didasonline behavior of milli ty stars o developnentouch behavior

stars to develop.

This is extremely important aspect of Disease concept.

We meant by what im meaning by con notas there is another.

There is a aqordinariplet

theres another kind know the starts on eight in for the porteros

there⁇s another one that starts a sixteenth notando theres all these kind.

O when desysadfield isba rate you starting to get an idea what he was

talking about when you met buy a bar? I pat my foot four times in a bar.

Four four, but these patines foot where all these Rit hems are making him

patio. I can remember.

I recorded singles wet cati with disea was my first record with him.

And you had the the Romaniinnie.

The panel just playing these course swing los witham, but it soon as he had

the baselayer play on four en the whole thing start felina putin another

kind of equilibrium.

Changed you touch change all there and so those different kind noites,

theres want to start here too.

So we soplante should be able to feel where all those things are when that

happens something called the depth of swing.

Occurs these things oskused to talk about depth of tone depth of swing

temperature mis how hogar Cold is the music.

There was a good example of that on that can burn special where they show

benny Goodman band play they had to hit a record on Stompa Nato savoy then

it was a fletch of henderson.

Arrangements then they showed chick, wer playing the exact same arrangements

Bengoa banda, chica

big de kind of swing dept of swan because all of this stuff was in that.

And so the different de ps of swing theresideps of intensity somebody say a

lot of young musicians mistake intensity for the temple going up drummer can

be playing up by the bill of the singular.

Tan move out to the

hits. The intensity changing temperature mes how harto Cold is the music the

same thing could be like for a base player.

If your playing up by the fingerboard like what on a valloria doulou start

shift Ing gears to get in deep you down by the bridge.

Don, don, don, don.

Iksaagitar if you play him down when you call a Ingeborg, you get a

chilango. You ask Petrel her bellas.

When they start really in in it down there by the bridge popis there such a

thing as depth of swing.

Thats all related to this stuff about Cantoneses.

My new album is based on one of those contnitro Bob Arancel in Louis Nach.

So we had just one reversal and I play this in Louisa.

How are you doing? I m not doing.

What you think I⁇m doing? Cause he thought I was playing the second a third

note of a quarternotiplet.

What are is?

Is this

bank Blanka? Thats hard to read that way the best way to write it the would

be this

member luis.

How do you ever think of someone? I didn’t a gottero playing with this.

That⁇s this

a

one bap.

Bap.

Now. That puts this deep kind of grove on bap bap.

So that⁇s basic ly at quarter note know i mention ed to you guys before

about. You don⁇t put feeling in to music.

You get feeling from music.

Lets say luis arneplant like Zazazazaza.

All right.

And People will write it like this?

A e

bodversson like this.

You sent right lay back.

What does that mean? Thet⁇s trying to put the feeling into the music.

That s not what is happening what

if you read this and play just like his written it is gonna spain

this in guinto get it.

This is feelings.

This is knowledge

so you cant create me with feelings.

You have to create feelings with music.

Son as you play this, you feel the swan es no question about Usa.

You start feeling here is an example of music.

Creating Feelings heres an attempt for feelings to create music and some of

what how galper was talking about definitely related to this type of thing

so everybody understands.

What this means? Now.

Right what this means? What I just demonstrate that second when was ontology

the first one was a product of the ego or the imagination think about the

greek artur music majors and music mynor.

There are people who are playing music my norsar not necessarily coming from

an ego, but they are coming from an imagination for example.

The thing I said before about playback thats what somebody imagine jas to

be. Its not the experience of jazz.

That is a difference between experiential knowledge and intellectual

knowledge jazz is something you experience, and the best way to learn that

is plain with somebody.

You has it and so plan with is was an experience.

You see look.

It was not just somebody who play Jes dise gli Spy was Jess

eeeeeeeeeeeeeeeee aaaaaaaaaaaaaaaaaa.

Jaaaaaaaaaaaaa

a

jaaaaaaaaaaaaa

daaaaaaaaaaa

jaaaaaaaaaaaaa

a

yu that was an example of playing different meters at the same time perhaps

to be solar panel track on my New city in case intoyour intereses called

sting like a bee thank you so much for your time

a

a

thea

ricaaaaaaa A-A-A-A-A-A.

Aaaaaaa. A.

Aaa.