As a working drummer, I was obliged to master the givens of styles and stylists: Max Roach, Philly Joe Jones, Art Blakey, Roy Haynes.
People always considered the interval of a second dissonant, but to me it’s a very beautiful and necessary color.
bob moses: time stood still gramavision records, r2 79493(cd) (p)(c)1994 gramavision records, inc., usa recorded: august 1993 released: 1994, usa Doing club dates, I had to learn to play rhumbas and cha-chas and mambos. I don’t necessarily feel that way anymore.To sum up, at this point in life, I don’t feel that there’s any one form of music that’s innately superior to another; I also do not feel that sophistication necessarily makes for better music, because I’m a heart musician, and that’s what makes music for me.Copyright © 2020 Modern Drummer Publications. They’d actually go to the top of a tower for a view, and they would bring a grid made of wood—like an empty checkerboard—through which they could look at a landscape. Exhalation#3 (Fire Breath) 3. I’d like to get to that stage.
Rakalam Bob Moses Father's Day B'hash, released 07 April 2009 1. So I’m breaking all sorts of rules according to the way they’d teach chord scales at Berklee—like using minor harmonies against major chords. All Rights Reserved. I don’t believe that being popular has to diminish the art. It forces you to discipline yourself, package yourself and reach out. When I was a kid, I listened mostly to jazz, because at that time in the ’60s, it seemed like the most vital thing happening. My problem has always been the execution, not the inspiration.
They weren’t really being heard, but they continued with their art anyway.
This concept requires “creative ignoring.” The basic rule is this: If there’s any danger that anything you play or someone else plays can throw you off of your basic internal idea—which is what you’re using the groove to focus in on—then you cannot afford to listen to it.
Drums For Shompa Lodro 6.
I make them play better than I’ve heard them in other circumstances, just because I won’t settle for anything less, and I won’t let them get away with their typical responses. But what I needed to make me complete and what had been my weakness was mastering the structure.Drumming is one of the strongest things I’ve done, precisely because it was the thing I was the least talented at of them all; it was the hardest for me. I believe in making them go way past what they think they’re capable of.Also, I’ll go on trips that are dedicated to that purpose. What I want is to try to reach some people. I’ve always had the art, creativity and soul; those are given. So I thought, “I can do that, and then I’ll have 300 people looking at me.” But that’s cool, because the more I think about it, later on I got into music for music’s sake, and admired a lot of people who were very underground.
If you’re an entertainer as well as an artist, it makes you a much more rounded and complete artist.
Music, by its very nature, is very abstract. If we’re dealing with a 4/4, one of my methodologies is to work on the eight points individually as resolution points, so that you master the eight points and learn to hold them in your head.
Recorded 1987 at Beatworld Studios, Closter. Bassist Chris Wood utilizes his unfailing tastefulness to good advantage, complementing or balancing Moses’ drumming at every turn.
See, when you’re composing, you’re in charge of the over view, which is where I excel. Pollack Springs 4. Internal hearing postulates that a lot of times you’re not actually listening to what’s going on; you’re listening to what you’re playing off of.
When I have people do a round like this and come in with the same rhythm two beats later, they usually start listening to what I’m doing and we end up in unison.
Drums, Talking Drum, Surdo, Repinique, Pandeiro, Ganzá, Drums [Hum], Congas, Bongos, Electronic Drums, Synthesizer [Dx 7, Tx 816], Vocals Drums, Talking Drum, Surdo, Repinique, Pandeiro, Ganzá, Drums [Hum], Congas, Bongos, Electronic Drums, Synthesizer [Dx 7, Tx 816], Vocals – Billy Martin, Bob Moses; Recorded By, Artwork By [Back Cover] – Billy Martin; Notes Recorded 1987 at Beatworld Studios, Closter. I just love Jerry Marotta; he’s a monster. His discerning palate doesn’t always get the best workout in the confines of Medeski, Martin and Wood, so I always enjoy the chance to hear hi Basically, what I’m saying is that, if you mix two beautiful things, even if they’re totally different, you’ll get a third reality which is mysterious and beautiful.It’s like when I read about Renaissance Italians who were masters of depth perspective. I call it the 8/8 structure, because generally I don’t think faster than 8th notes. Our Life 8. See, I already know how to get my sound.
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