"Longer sound", I think that's the phrase I'm looking for when trying to describe what a dark/dry cymbal lacks.I like a lot of wash, rivets and all, but it shouldn't be too high sounding. The problem with some thin cymbals is they go into "crash overdrive" mode too easily, which will obscure the stick and also cover up other instrument sounds. If the wash is on the low side, you normally can coax enough stick click.
I think Billy Hart gets a a great washy sound that way:
On the other end of the spectrum, I also like Jack Deohnette's dry sounds, but for slow pieces, I might prefer a longer sound.
In my view, it depends on what kind of jazz. For bebop, Philly Joe Jones’ clicking attack and dark subtle wash that never overtakes the attack is the signature sound I listen for. It takes a very thin cymbal to do that.
I get where you're coming from Joe!it's touch placement and event
either you create the event or you don't
not sure the cymbal is the main ingredient
as much as it is -the operator-
in the moment
cymbals (and drums for that matter) don't make a damn sound on their own
I've thought of two snappy come backs for that line. One is thanks for the kind words gents...the other is extremely sexist and would get me banned from the forum.He does have magic hands!