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Post by brucerothwell on Feb 1, 2016 11:22:14 GMT -6
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Abraham Laboriel, Sr.
This one shows off quite a bit of his technhique:
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Post by chasmanian on Feb 1, 2016 15:25:45 GMT -6
just want to mention about his son Abe jr. he plays drums for MacCartney. I recently bought a vst for Vdrum kit. the guy who was helping me configure it, told me how they used to tease Abe jr, (in a totally friendly good natured way), about playing on a Hanson records a while back. wow, just checked the wiki on him. he's played with so many phenomenal artists. just freakin amazing, man.
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Post by Gustav on Feb 2, 2016 6:32:19 GMT -6
just want to mention about his son Abe jr. Monster player. And he just seems like such a cool cat too... Bassplayers. Chuck Israel's work with the Bill Evan's Trio is the definitive study in how to hold down the fort in a coked out, old skewl jazz trio setting. Flea let us know whats up on De-Loused in the Comatorium with The Mars Volta Whoever played bass on anything recorded by Hall & Oates in their "prime" is da real pimp. James Jamerson busted out busy, melodic bass lines with his busy bass finger, while maintaining an aura of discretion. Its the painting of that paradox that makes him so unique. Someone mentioned Peter Steele, so next round is on me. Gustav
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Post by levon on Feb 2, 2016 6:48:00 GMT -6
Plus 100 on Hall & Oates, T-Bone Wolk was a monster on those records...
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Post by tonycamphd on Feb 2, 2016 9:19:02 GMT -6
just want to mention about his son Abe jr. Monster player. And he just seems like such a cool cat too... Bassplayers. Chuck Israel's work with the Bill Evan's Trio is the definitive study in how to hold down the fort in a coked out, old skewl jazz trio setting. Flea let us know whats up on De-Loused in the Comatorium with The Mars Volta Whoever played bass on anything recorded by Hall & Oates in their "prime" is da real pimp. James Jamerson busted out busy, melodic bass lines with his busy bass finger, while maintaining an aura of discretion. Its the painting of that paradox that makes him so unique. Someone mentioned Peter Steele, so next round is on me. Gustav seems this sort of drumming feel is in short supply? this is where the $ is, he just saddles up his significant talent, and lays it down with unfettered intent, gotta love it.
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Post by Bob Olhsson on Feb 2, 2016 10:33:36 GMT -6
I should supply some context for where James and Motown were coming from.
Doo-wop was the predecessor of hip-hop, music performed for each other on street corners and in living rooms by kids who couldn't afford instruments or music lessons. Motown's early producers and artists came out of Detroit's high school doo-wop scene. Jamerson was improvising on what a doo-wop bass singer would be singing. In many cases the bass line had been given to him by the songwriter.
The reason for using an expensive arrangement of top musicians was that if you only recorded vocals, you ran the risk of a better known pop artist covering your song and getting the hit. The more expensive the arrangement, the bigger the gamble an artist and label were taking on covering a lesser-known artist's record. Country-politan was developed in Nashville for the same reason. Something many people don't know is that a huge percentage of Atlantic's R&B hits were covers of unknown artists. That risk was also why labels always wanted to own the publishing so a cover wouldn't be a total loss.
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Post by NoFilterChuck on Feb 2, 2016 14:49:28 GMT -6
seems this sort of drumming feel is in short supply? this is where the $ is, he just saddles up his significant talent, and lays it down with unfettered intent, gotta love it. Nah, bro. you gotta stop searching for this feel from rock/garage drummers and start listening to gospel and r&b drummers. all of them are monsters in the studio, no matter what style you throw at them. Derrick is the drummer for Adele and Toni Braxton: Or this guy, who plays for some japanese pop artist but is a berklee gospel drummer or this guy, who's one of the best producers/drummers out there:
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Post by chasmanian on Feb 6, 2016 17:48:00 GMT -6
I like how Bruno's Bass player dances and plays at the same time:
this one is great too. the volume is way low though. suggest listening through earbuds. the whole performance, everything about it........magic, eh? :
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Post by yotonic on Feb 6, 2016 18:14:21 GMT -6
I play with a lot of Gospel and R&B drummers but none that come any where near Abe Jr. His vocabulary is so much more incredibly sophisticated, and understated from years and years of playing with some of the best songwriters in history. Gospel and R&B drummers have a certain style and it often (but not always) is immediately identifiable. Abe can crush jazz, to pop and every little niche in between. I don't find that to usually be the case with Worship and R&B drummers. Abe is a virtuoso talent, you are talking about one of the most accomplished drummers around. And what he brings besides the polished dynamics you hear above, is that level of taste of knowing what is "right" to play and having that in his vocabulary to pull from. I'd take Abe Jr. over Steve Jordan any day.
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Post by chasmanian on Feb 6, 2016 18:42:26 GMT -6
I saw him on tv playing with MacCartney and his regular guitar accompanists. as someone who just recently took up drumming, Abe definitely impressed me. drumming is so fun, man. regarding Bass, I bought one a few years ago. I should pick it up and take it for a spin.
midway between it and my acoustic guitar (to which I am simply addicted), is my Tacoma Thunderhawk Baritone acoustic guitar. I played it a lot years ago, when i first bought it. it was often a good choice, when I was trying to fit songs to my vocal range, which I would say was quite limited. having sung for a couple thousand hours over the past few years, I can say with confidence, in my most humble opinion, I've actually gotten better. a lot of it has come from listening to super fantastic songs by super fantastic singers, who I then try my best to emulate. there are just so many great songs, and so many great singers.
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Post by tonycamphd on Feb 6, 2016 19:03:58 GMT -6
I play with a lot of Gospel and R&B drummers but none that come any where near Abe Jr. His vocabulary is so much more incredibly sophisticated, and understated from years and years of playing with some of the best songwriters in history. Gospel and R&B drummers have a certain style and it often (but not always) is immediately identifiable. Abe can crush jazz, to pop and every little niche in between. I don't find that to usually be the case with Worship and R&B drummers. Abe is a virtuoso talent, you are talking about one of the most accomplished drummers around. And what he brings besides the polished dynamics you hear above, is that level of taste of knowing what is "right" to play and having that in his vocabulary to pull from. I'd take Abe Jr. over Steve Jordan any day. I mostly agree, skibbiddy dibbiddy stunt drumming is sooooo boring to me, it's all about laying down a groove that's about the music, vacant bubble gum chewing/eating a sandwich, while circus drumming is totally lame IMO, John Bonham growling because he's so into it that if he doesn't he'll explode, is where it's at, and make no mistake... It translates! example, this guy played in my pals band for years, he is probably the most facilitated drummer who's ever lived, but i could give a shit less, he bores the crap out of me, notice how he loses the crowd early on when they start clapping, yes his chops are jaw dropping, but so is lighting yourself on fire, and I have no desire to do either, as they are equally unmusical imo.
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Post by Martin John Butler on Feb 6, 2016 20:07:29 GMT -6
Tony said, "skibbiddy dibbiddy stunt drumming is sooooo boring to me, it's all about laying down a groove that's about the music"
I LOVE THAT ! It's never been put better IMO.
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Post by Ward on Feb 6, 2016 20:17:45 GMT -6
I play with a lot of Gospel and R&B drummers but none that come any where near Abe Jr. His vocabulary is so much more incredibly sophisticated, and understated from years and years of playing with some of the best songwriters in history. Gospel and R&B drummers have a certain style and it often (but not always) is immediately identifiable. Abe can crush jazz, to pop and every little niche in between. I don't find that to usually be the case with Worship and R&B drummers. Abe is a virtuoso talent, you are talking about one of the most accomplished drummers around. And what he brings besides the polished dynamics you hear above, is that level of taste of knowing what is "right" to play and having that in his vocabulary to pull from. I'd take Abe Jr. over Steve Jordan any day. I mostly agree, skibbiddy dibbiddy stunt drumming is sooooo boring to me, it's all about laying down a groove that's about the music, vacant bubble gum chewing/eating a sandwich, while circus drumming is totally lame IMO, John Bonham growling because he's so into it that if he doesn't he'll explode, is where it's at, and make no mistake... It translates! example, this guy played in my pals band for years, he is probably the most facilitated drummer who's ever lived, but i could give a shit less, he bores the crap out of me, notice how he loses the crowd early on when they start clapping, yes his chops are jaw dropping, but so is lighting yourself on fire, and I have no desire to do either, as they are equally unmusical imo. I see your point. 40 seconds was enough for me.
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Post by M57 on Feb 6, 2016 20:25:46 GMT -6
I see your point. 40 seconds was enough for me. I'm only slightly ashamed to say I lasted longer than that..
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Post by Deleted on Feb 6, 2016 20:41:09 GMT -6
Yepp. Totally agree. One could think this guy is some kind of Neil Peart/Simon Philips Frankenstein doped with jazz steroids, but well, does it work as intended? I guess he could do better with doing less but with surprising twists more catching dramatical strukture or melodic ideas or whatever really works. OK, he showed off everything he is capable of. In one solo. I have the feeling i already know everything about him and don't really need to see more. Doing the technically great stuff only works in a musical context. Or...it doesn't... OK, he is technically very good. Lots of talent obviously. But talent alone is not enough.
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Post by Deleted on Feb 6, 2016 21:20:46 GMT -6
Btw. just saw this drummer in the off-topic. What a difference. He does it right.
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Post by scumbum on Feb 6, 2016 22:29:48 GMT -6
The best I've worked with have been Jamerson, Bob Babbitt, Tony Levin, Dennis Crouch, Dave Santos and Dave Hungate. Jamerson , then Paul Mccartney , I think Jamerson was pretty much the sound of Motown . His bass lines and playing around the vocal melody was 50% of the song , the other 50% was the vocalist . I don't know how he did it but his bass lines had more soul and emotion than most singers .
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Post by Ward on Feb 7, 2016 10:49:10 GMT -6
Weren't most all of Jamerson's basslines written for him as per charts? Arrangers are the great unsung heroes of the song-world. Well, songwriters are almost always overlooked too!
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Post by scumbum on Feb 7, 2016 11:08:10 GMT -6
Weren't most all of Jamerson's basslines written for him as per charts? Arrangers are the great unsung heroes of the song-world. Well, songwriters are almost always overlooked too! Is that true he didn't write any bass lines ?
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Post by Ward on Feb 7, 2016 11:11:41 GMT -6
Weren't most all of Jamerson's basslines written for him as per charts? Arrangers are the great unsung heroes of the song-world. Well, songwriters are almost always overlooked too! Is that true he didn't write any bass lines ? My understanding is that most of his bass lines were written for him in two ways: 1. Most of any song's bassline was already charted but he had some freedom, so he co-wrote them 2. Most of the songs he played on were already charted, but occasionally there was no bass chart per se, so he went along with the chord chart and played for the song. James Jamerson always played for the song anyhow... and never changed his strings.
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Post by tonycamphd on Feb 7, 2016 11:44:09 GMT -6
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Post by Bob Olhsson on Feb 7, 2016 12:51:12 GMT -6
Motown's bass lines weren't written out like most session players' were. Producers often sang an idea that the player improvised from while following a chord chart. Our arrangers worked hand in hand with the songwriters turning their ideas into easily playable charts.
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Post by NoFilterChuck on Feb 7, 2016 13:44:30 GMT -6
What about this lady?
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Post by tonycamphd on Feb 7, 2016 14:21:10 GMT -6
She's all about the wrecking crew, and she's awesome sauce!
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Post by Bob Olhsson on Feb 7, 2016 14:39:01 GMT -6
The wrecking crew almost always used an upright bass doubled by electric. That suggests to me the bass lines were probably written out.
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