Re: Dixieland


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Posted by Joe S. on May 22, 2001 at 21:43:26:

In Reply to: Dixieland posted by Cathy on May 22, 2001 at 11:41:15:

Only weak technique or a "specific" type of sounding band would be reasons to limit oneself to 2/2 time, and with weak technique I would think that 2/2 time would be just as much of a problem as 4/4.

I like to mix up the choruses with all sorts of "beats" (many different types of 2/2 and 4/4) and I'm always communicating with the drummer and/or the soloist to make sure that everyone is "happy" with what I've chosen. There is one cornet player who works with me occasionally and HE likes to take over these responsibilities - which makes it a lot of fun for me, because then I can just take direction from him for a change, instead of deciding myself - and hoping that others will like my decisions. I pay a lot of attention (besides to the rhythm of the patterns) the LENGTH OF THE NOTES. Varying the note length from one chorus to another offers striking contrasts in the color of the music.

Occasionally, I'll take chances. For instance, on one very traditional number that sort of "goes" a certain way, I took over the feel one time on the "out" chorus and made it have a "salsa" feel (!!??). It actually "fit" quite well, and now that particular band (I was subbing with them.) plays that song that way as their "special" arrangement each time they play it.

For me, the most difficult bass lines are the ones where I am accompanying banjo solos with the tuba. (I don't have any trouble accompanying the tenor-guitar-with-the-string-bass - I just play 4/4.) When accompanying the banjo, it is very easy to sound "too" rudimentary, as an attempt to "stay out of the way" or to go the other way and have it end up sounding like a tuba solo with banjo accompaniment. Quite often, I like to play a tuba chorus and have the banjo play his chorus right after mine, and I just drop out. That offers the kind of obvious transparency that showcases the banjo and allows everyone to not only hear everything he plays, but realize that they are SUPPOSED to be listening to HIM. A VERY good tuba/bass player will listen closely to the keyboard player (if there is one), particularly if the keyboard player is a virtuoso or near-virtuoso player. Often, these "top-drawer" keyboard players have much to teach to bass players.

Here are two very contrasting styles of Dixieland tuba playing:

Dr. Eli Newberger (tubist) - New Black Eagles Jazz Band (Boston, Mass) numberous recordings available (recordings from the late 1970's to the present)

Rich Matteson (tubist) - with Louis Armstrong and the Dukes of Dixieland (late 40's "swing" style 4/4 playing, although very much "Dixieland") - This was recorded in the mid-1960's.



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