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Originally Posted by bubba40
IMO, above-average jazz work from Carter is as follows. First, I should say that 1) I am not a drummer, 2) I have studied and do study the technicalities/specificities of jazz, 3) I have a LOT more to learn/study, and 4) I'm 100% a jazz guy. 100%.
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Good someone from a different perspective than the rest of us. I like diversity in conversation.
Quote:
Originally Posted by bubba40
But I think much, hell maybe most, of Carter's work is at least jazz-influenced. Or at least much/most of his work not on Everyday/Stand Up.
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This basically sums upwhat you said and what I'll say. Is the Jazz influence there? Absolutely. This sums up everything you've said in your post. And when I got here, it made me re-write everything in this post
Quote:
Originally Posted by bubba40
-his tom work on Say Goodbye (highly reminiscent of the very, very early drum and fife duos that preceeded what we today call jazz)
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GREAT call on this one. The only thing I find missing is the call and response. Not very much of this going on in Say Goodbye intros (or in the song). Its more like drums and flute. I agree that the connection is there though.
Quote:
Originally Posted by bubba40
-syncopated groove on Spaceman
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I think we can all agree that this one is just snazzy.
Quote:
Originally Posted by bubba40
-A live #41 from the Coffin era, especially his high hat.
-comping/supporting work behind Roi or Rashawn soloing on Sugar Will
-background on Roi's solos on PFWYG
-his work on the outro of Rapunzel
-much of LITHOG
-the dreaming tree verse, and outro from '07-today
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I can agree with the idea of a jazz influence. One of the key elements of music to me is the idea of the musical conversation - a discussion between instruments. This idea is very prevalent in jazz, but doesn't mean it can't be found elsewhere. The conversation is present throughout all of DMB's material and Carter is a very "conversational" player - so is the band.
Quote:
Originally Posted by bubba40
I think Carter implements a lot of syncopated grooves in many, many DMB songs in the live setting. And I find him improvising within the established structure, rhythm, and groove of the song constantly. A little high-hat accent there, an extra snare hit here, some quick tom work there. And I do feel him frequently swinging.
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This relates to my previous comment in the thread about the brain and approach to drumming. Some drummers won't change a lick (Neil Peart) and others will stretch out (Carter). Some will be more subtle in changing than others. It's all in how the individual approaches the instrument and the idea of music.
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Originally Posted by bubba40
You know what, I was wrong about the latin sensibilities (with the exception of Warehouse). I can't come up with another example besides that tune. And I do really like his latin feel there.
Okay, he guested on a song on Santana's "Supernatural" album; I really liked his latin feel there.
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Eh... it's "Latin" but it's not latin.
Quote:
Originally Posted by bubba40
Overall, IMO, syncopation and improvisation are two of jazz's tenants. I feel that Carter utilizes both constantly. .
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Agreed.
Some items that you mentioned - ghost notes and a few others - can be found in other styles though. Ghost notes are a big part of funk, too.