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[Fwd: Re: Can I have your feedback?]

Rick Walker schrieb:
> I've played with musicians from many different world cultures that
> have "molays" or
> rhythmic grooves that vary quite a bit from metronomically quantized
> time. From the way Algerians play their triplets to
> the way Rio Brazilians perform their parts on Ganza, Repinique,
> Caixa-Ca and Tamborim; the way Malinkan djembe
> drummers 'swing' their djembe parts in a way that is NOT triplet swing
> to the way New Orleans' Second Line drummers
> barely swing their parts in a way that is not even consistent, there
> are great grooves in the world that are not metronomic,
> but the fact of the matter is, those different feels have been worked
> out over dozens to hundreds of years with the very
> best and most accomplished musicians in the culture.

If done by an accomplished musician, I find the combination of the
machine-like (because it's a machine) and accurate human inaccurate
groove really interesting. One beautiful example for me is the "Secret
World Live" version of Peter Gabriel's "Digging in the Dirt". (That was
back in the time when Gabriel and Sting had that secret "who has the
most impressive touring group" contest, which for me Sting won with the
"Bring on the Night" group w/ Kenny Kirkland/Daryl "The Munch"
Jones/Branford "the less famous but better" Marsalis/Omar Hakim - but I
digress ;).

The album version of the track (album "Us") uses a one-bar computer drum
loop going throughout the song (safe for the bridges). The life version
uses the very same loop, albeit in a lofi-ed version and has Manu Katché
on acoustic drums. Katché does the really fun stuff here - while he goes
completely crazy in the intro, he joins the drum loop in the B section,
but varying mainly his snare hit to be dead-on/slightly lagging/slightly
rushing. Is that done consciously? Or subconsciously? Or lack of timing
quality? I don't know (albeit I suspect it's not the latter), but this
kind of tension/release works great on that track.

Actually, this track also works fine on the "cheesy along non-cheesy
sounds" topic you, Rick, brought up: the combo of the artifical loop and
the acoustic drums does just that.
(Right now, I have the experience that to truly enjoy Levin's stick part
on this, you really need to have a high-quality subwoofer...it continues
to shake the whole building here in a very accurate manner...)


(there's a lot of fun on that album: just now listened to the part on
"In Your Eyes" where after the breakdown section, Jean-Claude Naimró
comes in on a cheesy over-chorused piano and does a great job in
obscuring where the downbeat is, and Katché doesn't help, either ;)

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