i've been listening to a lot of billy higgins lately and love that wider, kind of behind the beat swing he has going on. anyone gravitate towards this style of playing and have any pointers for developing a similar feel?
Let Freedom Ring was my gateway drug into the Billy Higgins World back in the 80's. MAN that record kills. That thing should come with a warning label for aspiring jazz drummers.I have a favorite Billy Higgins recording, “Let Freedom Ring” by Jackie Mclean. Billy is poppin on that. When I want to emulate that feel I play along, listen, imagine it. That gets me there.
I don't know about that...but in regard to a 'wide and loose" beat... Fill in ( with varying degree) with your (left) other hand in other words Yes let your Cymbal hand point to the pulse.........but extend and mutate with the left (the in-between note flow/beat) .......to have it appear your right is "loose and wide"any pointers for developing a similar feel?
What an incredible blog! I have never seen an article so in depth with a master's personal theory.Maybe it’s an equation???? 4x swing – 2y shuffle = Higgs
I don’t know but Hart’s thoughts below changed how I think about the ride rhythm in general.
Billy Hart: “..the island element. The cascara rhythm. Roker had the cascara in his ride cymbal beat, just like Higgins and Haynes. And drummers who have the cascara beat in their cymbal will always be very popular.
It’s really deep what that is…and Higgins has that from Blackwell the way Elvin got it from Haynes. Elvin and Higgins both have some correct sht that doesn’t come from where they come from. Higgins called it “The Lift,” but basically it’s a use of upbeats. An upbeat is not the “and of one” or the “and of two,” it’s a part of a triplet. It just sounds like an upbeat, since it’s so close. Elvin often played the last two of the triplet, and Higgins just the last. Where it gets deep is how Higgins ride cymbal is like the cascara — almost an even eighth-note — and his left hand is playing the triplet. Elvin has something similar, except for him it’s harder to define. And when you go back to see how Art Blakey or Philly Joe did it, you realize that this element is crucial to what we call swing. And some cats, like Roker or whoever have this so naturally. And they talk about it that way, too: “Man, how are you going to explain that? That is some natural sht. You can’t explain that academically.””
EI: I recall that you once told me that you thought the backbeat was a commercial simplification of the clavé.
BH: What! Did I tell you that? Do I really mean that? [Pause.] Let me put that another way: I hear the second-line, which is clavé, in all jazz. The backbeat seems pretty simple compared to something as vast as God!
The clavé (and all the great Latin rhythms associated with the clavé) is always four and six at the same time, or rather, triplet and binary at the same time.”
Farns!!! He is doing lessons online currently, I've studied with him-- such a kind soul and a great teacher. The knowledge he has to pass on is vast, and he got it all directly from the masters of this music! Highly recommendI would recommend taking a lesson with Joe Farnsworth. He is a world class drummer, fantastic teacher and was strongly influenced by the great Billy Higgins from both recordings and first hand observation. If I'm not mistaken, he is teaching online.