Workshop Drums & Percussion “Signature Sounds (VIII) Kunstgriffe”

Hier die Online-Fortführung meiner drums & percussion Workshopfolge zum „Signature Sounds Kunstgriffe“


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Stutter Edit

Withholding the Kick

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>>Pino Palladino: D’Angelo explained the concept of how he wanted the bass to sound to me before we started playing. I attempted to put the bassline where I thought he wanted it. I would never have thought of putting it so far back behind the beat. But it becomes a different feeling: It stretches in and out of different accents.“

The heavy backphrasing is what D’Angelo collaborator Raphael Saadiq once referred to as performing with „the grease,“ in the effort to achieve a „loose, way back in the pocket feel“ or a „rubber band feeling.“ The backphrasing means that the bass is constantly changing its location in relation to Questlove’s straight-ahead, heavy time, impeccable drumming. The effect is a jumpy, unsettling pulse. The bass seems out of joint, never quite landing where you’d expect. Pino theorizes that D’Angelo likely takes his clues from hip-hop. He explains: „Hip-hop is music that’s been deconstructed, it’s made up of bits of samples arranged in different places and often placed behind the beat. The way people sampled stuff influenced D in terms of the way he would write his music. When I first heard the backing tracks for Voodoo, it struck me as the kind of thing J Dilla would do, how he would deconstruct and reconstruct rhythms and just kinda deliberately mess things up. So you get these messed-up wobbly rhythms. You know, Dilla might take a four-chord pattern and start it on the second chord. D does that kinda thing too in his writing.”

Questlove echoes his colleagues when he discusses his drumming on Voodoo. “The thing that really attracted me to D’Angelo’s music was this inebriated execution thing that he had, which we both got from J Dilla. Dilla would program his drums non-quantized: in layman’s speak, it’s the equivalent of having a 5-year old play drums. It sounds sloppy, but there’s a human quality there. Playing drums the way I did for the Voodoo sessions was necessary for me because I had been playing differently before we started recording. There was a time in the 1990s where there was resistance to the Roots’ presentation: There were hip-hoppers who felt like we were doing a disservice to the culture because we weren’t real enough for the street. In a culture of samples, I had been told I sound too much like a drummer. So prior to Voodoo, I had been going through a period where I felt I had to prove to people that I was a machine: I had decided that my playing was going to be cold, you wouldn’t be able to tell if I was a sample or not. I spent three years of just icing my presentation to a science where I was just a kind of super-metronome; I spent three years of trying to hide myself. Then, in walks D’Angelo, and he basically tells me: ‘Yo, I need you to strip yourself of all that coldness and play human. I need you to play fucked up!’ He wanted me to play as drunk and as slow and as dusted as I’ve ever played in my life. I don’t smoke or drink, so he really guided me to a level of creativity I wouldn’t normally reach without some sort of stimulant. The first year of recording he would say: ‘I need you to keep the pocket but don’t drag behind me, but play a little crooked,’ if that makes any sense whatsoever.”<<





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