Drumset Concepts: Volume 1 - page 29
Audio 4: page 29
Track: Waltz for Ruth/Kenny Barron and Charlie Haden/Night and the City/1998
Track info: Piano solo with walking bass/3:13-4:50
Personnel: Kenny Barron, piano; Charlie Haden, bass
Tempo: quarter = 118-120 bpm
Notes on book use:
The 3/4 sections of volume 1 contain two primary hi-hat patterns which can be used in a variety of ways. By putting the hi-hat on beat '2' the drummer can match the overall feel of the bass player playing downbeats or looser dotted quarter-notes, whereas putting the hi-hat on beats '2' and '3' connotes more of a walking feel from the bass (all three quarter notes of the bar). For this reason, page 29 fits this section of the tune where Charlie Haden is walking the bass line under Kenny Barron's solo (hi-hat on beats '2' and '3'). Earlier in the tune, Haden is playing a sparser bass line - ideal for using the hi-hat on beat '2'.
Notes on performance:
Form: ABA'C (32 bars)
Because there is no drummer on the track, it is an excellent opportunity to imagine yourself in a live setting with two of the greatest players of our generation. After the piano intro one time through the tune rubato (0-:47), the bass joins for the second time through the head (:47-1:36). I have played this with brushes for the opening head - coming in with the bass at :47, then either switching to sticks when the solo starts at 1:37, or staying with brushes and waiting until the bass begins walking at 2:26, or even later at 3:13. The solo choruses cover a range of subdivisions including triplet lines (4:01-4:20) with several excursions into double-time as well - the last piano solo chorus starting at 4:50 is one example.
Hayden plays two bass choruses (5:38-7:16). Switching to brushes is certainly appropriate here, and following the dotted-quarter comping figures in the piano comping makes a lot of sense under the bass solo. The out head starts at 7:16, and concludes with a 3x tag of the last 4 bars. This album Night and the City features 7 tracks of bass and piano in a variety of time signatures and feels.
Track: Waltz for Ruth/Kenny Barron and Charlie Haden/Night and the City/1998
Track info: Piano solo with walking bass/3:13-4:50
Personnel: Kenny Barron, piano; Charlie Haden, bass
Tempo: quarter = 118-120 bpm
Notes on book use:
The 3/4 sections of volume 1 contain two primary hi-hat patterns which can be used in a variety of ways. By putting the hi-hat on beat '2' the drummer can match the overall feel of the bass player playing downbeats or looser dotted quarter-notes, whereas putting the hi-hat on beats '2' and '3' connotes more of a walking feel from the bass (all three quarter notes of the bar). For this reason, page 29 fits this section of the tune where Charlie Haden is walking the bass line under Kenny Barron's solo (hi-hat on beats '2' and '3'). Earlier in the tune, Haden is playing a sparser bass line - ideal for using the hi-hat on beat '2'.
Notes on performance:
Form: ABA'C (32 bars)
Because there is no drummer on the track, it is an excellent opportunity to imagine yourself in a live setting with two of the greatest players of our generation. After the piano intro one time through the tune rubato (0-:47), the bass joins for the second time through the head (:47-1:36). I have played this with brushes for the opening head - coming in with the bass at :47, then either switching to sticks when the solo starts at 1:37, or staying with brushes and waiting until the bass begins walking at 2:26, or even later at 3:13. The solo choruses cover a range of subdivisions including triplet lines (4:01-4:20) with several excursions into double-time as well - the last piano solo chorus starting at 4:50 is one example.
Hayden plays two bass choruses (5:38-7:16). Switching to brushes is certainly appropriate here, and following the dotted-quarter comping figures in the piano comping makes a lot of sense under the bass solo. The out head starts at 7:16, and concludes with a 3x tag of the last 4 bars. This album Night and the City features 7 tracks of bass and piano in a variety of time signatures and feels.