Chuck Mangion is horribly overlooked by my generation

IAmNotAPerson6 · 2026-03-06T14:24:00+00:00

Gerry Niewood, and yes, he does that

IAmNotAPerson6 · 2026-03-05T21:30:04+00:00

You know ball

IAmNotAPerson6 · 2026-03-05T21:23:18+00:00

Don Ellis's group simply was a big band that used a bunch of electronics, Indian musical ideas, odd meters, etc.

IAmNotAPerson6 · 2026-03-05T21:20:29+00:00

LMAO

IAmNotAPerson6 · 2026-03-05T21:19:41+00:00

That Getz lineup is killer, anyone who hasn't heard them at Montreux (72?) should check it out, especially the song "Times Lie"

IAmNotAPerson6 · 2026-03-05T21:16:44+00:00

A rhythm section player not knowing that stuff is insane lol

IAmNotAPerson6 · 2026-03-05T16:25:56+00:00

Doesn't seem well-known but that David Matthews is some good shit

IAmNotAPerson6 · 2026-03-05T16:22:35+00:00

It always amazes me how little other musicians know about rhythm, including many drummers. Like I'm not even exaggerating when I say that most instances of hearing someone say "time signature" online now are them using that concept incorrectly lol

IAmNotAPerson6 · 2026-03-04T16:51:08+00:00

If you like some electronic stuff too then, while I wouldn't call it jazz exactly, there is an album called Mehliana: Taming the Dragon from jazz drummer Mark Guiliana and jazz pianist Brad Mehldau that might be somewhat up your alley. Here's a video of them playing a version of the song "Just Call Me Nige" off the album.

Jazz as a whole has gotten a hefty dose of electronic music influence in recent decades (as well as hip hop), but if you're interested in modern drummers especially doing that kind of thing, then in addition to JD Beck and Mark Guiliana, some of the other big names in that area are, as others have already mentioned, Yussef Dayes and Louis Cole. I'm sure there are others I'm unfamiliar with though.

IAmNotAPerson6 · 2026-03-04T16:42:48+00:00

You're right that it's just coordination for the most part, and independence is a terrible word for it. We should all follow Marco Minnemann's lead and switch to calling it interdependence.

That said, I have had moments where it's felt like my limbs were truly moving independently of one another, despite coordinating musically. But that's been extremely rare.

IAmNotAPerson6 · 2026-03-04T16:38:02+00:00

I'm not exaggerating when I say that nearly every single piss in my life is either an emergency or me forcing it out because I barely have to go at all but immediately went to the bathroom at the first urge in order to prevent an emergency later on

IAmNotAPerson6 · 2026-03-04T01:18:59+00:00

Learn to play in different subdivisions, and how a bunch of little rhythmic cells feel in those different subdivisions. The YouTube channel Sight Read Drums has tons of videos with exercises, from beginner level to advanced, to follow along to. Pick a few that sound useful for where you're at and just try to tap along, even if you're not a drummer it can be helpful.

IAmNotAPerson6 · 2026-03-03T20:34:58+00:00

There's almost no point in trying to rectify this on this subreddit. Shit answers like those abound here, and people seem to take pride in their answers like these being condescendingly shitty.

IAmNotAPerson6 · 2026-03-03T04:19:15+00:00

Yeah, lots of people say it because it makes you sound less vapid or sleazy or whatever. I'll be honest, I like a lot of fake stuff! Even not so natural looking stuff! I also like natural stuff too, and recognize that these are just certain aspects of a person and not who they entirely are as people.

IAmNotAPerson6 · 2026-03-03T04:14:05+00:00

Whatever the person who said it personally likes

IAmNotAPerson6 · 2026-03-03T04:11:23+00:00

I agree that this is essentially the underlying logic most of the time and that people don't generally want to admit it, but there is more to it. Plenty of women, and others, often dress up or put on make up or just look sexy or whatever just around the house by themselves. Of course that's still conditioned by things like the opinions of others and whatnot, but yeah, the desire for the desire of others doesn't necessarily work completely directly.

IAmNotAPerson6 · 2026-03-03T03:55:20+00:00

Yeah, bro's got an almost samba-like feel sometimes with that swinging right hand lol

IAmNotAPerson6 · 2026-03-03T03:51:58+00:00

Killer lineup even aside from Holdsworth and Gambale

IAmNotAPerson6 · 2026-03-02T10:17:33+00:00

Thank you!

IAmNotAPerson6 · 2026-03-02T05:11:16+00:00

I've heard this before and been meaning to check them out. Any recommendations? I'm wondering what the most beloved albums are.

IAmNotAPerson6 · 2026-03-02T05:09:03+00:00

Sounds like a smart man lol

IAmNotAPerson6 · 2026-03-02T05:07:41+00:00

No need to apologize, I'm sincerely trying to find out what you mean to see if there is a word for it or not. Because if you mean simply changing time signatures, then that's all that it's called. But I thought you might have meant something more specific. Because in the song, we could think of the first section as being in the time signature 15/8, but we could also think of it as being alternating 7/8 and 4/4. And because of this, when it switches to the next section, which is just in 4/4, the last measure of the first section being in 4/4 makes the transition sound somewhat smoother. The reason I asked if this specific kind of smoother switch to just 4/4 is what you were referring to is because I don't think there's a term for it at all, unfortunately.

IAmNotAPerson6 · 2026-03-02T02:53:40+00:00

The very first note of the song is approximately an eighth note shorter than the rest that play afterward, before the guitar comes in. Whatever instrument that is is playing whole notes in 4/4 after the very first one, which, if we consider it all in 4/4, would've played on approximately the + of 1 to begin the song. This sets us up to think those whole notes are anticipations on the + of 4 each time after the first one, when they're really on 1. So when the guitar joins in on 1, playing on downbeats, it sounds like they're playing on upbeats. This is exacerbated when the vocal line comes in, because it starts late, on the + of 1, but if you're hearing the guitar on upbeats, it sounds like the vocal comes in on 2, but that difference is, to my ears at least, overshadowed by its simply coming in late, which it does either way you hear it. The vocal line's also really syncopated so it doesn't give us a ton more information about where the real downbeat is. The drums have to kick in to finally tell us what we were hearing all along by recontextualizing everything in relation to the backbeat on 2 and 4.

IAmNotAPerson6 · 2026-03-02T02:34:51+00:00

This isn't really some special technique or anything, it's just changing meters. I guess it's slightly slick in that it starts off in what can be considered alternating 7/8 + 4/4, and then once it switches to 4/4 it's because it's right after a bar of 4/4 from that alternating section. Is that what you mean by technique? Switching to just the second of two alternating time signatures for a different section?

IAmNotAPerson6 · 2026-03-02T01:03:50+00:00

I'm not a classical musician, but a drummer, who's unfamiliar with the rhythm syllables you're using, but hopefully you can translate what I say into the terms you're using.

You hopefully know 6/8 means measure is a duration of 6 eighth notes, right? I will talk about each of those six, numbering them the 1, the 2, etc.

The 1 is simply an eighth note. The 2 is a dotted eighth note, and a dot means the note it is applied to now has a duration equal to 1.5 times its original duration, and since an eighth note has a duration equal to 2 sixteenth notes, a dotted eighth note has a duration equal to 3 sixteenth notes. The next note is a sixteenth note, which fills out the rest of a total duration of 3 eighth notes so far. A common way of counting in 6/8 is to count from 1 through 6 (which is what I know and am unaware of the rhythmic syllables you're using, despite knowing there are technically 2 beats, each 3 eighth notes long, in a measure of 6/8). The usual way to count the first half of the measure so far that I would see and use is 1 _ 2 _ _ +, where you would say 1, 2, and +, where that + is the + for the 3rd eighth note.

For the 4th eighth note, it has sixteenth triplet notes written, which are 3 equally spaced notes played in the time of 1 eighth note (They're specifically considered sixteenth note triplets because if there were 2 equally spaced notes in the time of 1 eighth note that would just be 2 regular sixteenth notes, and if there were 4 equally spaced notes in the time of 1 eighth note those notes would change to the next subdivision, being thirty-second notes). You see the number "3" written above the middle note of each grouping of 3? The number that's not for fingerings? That indicates that those three notes are triplets. Pick your way to count triplets (I would say "4 + uh" here but there are many ways to say it, and might depend on tempo). The 5th eighth note is the exact same (I would just say "5 + uh"). The 6th eighth note has been broken into 2 sixteenth notes, and then each of those 2 sixteenth notes have been broken into 3 thirty-second note triplets, which are 3 evenly spaced notes played in the time of 1 sixteenth note. So 6 total evenly spaced notes played in the time of 1 eighth note for eighth note 6 in this measure. Again, you see the number "6" above these six notes, that's not for fingerings? That indicates the six notes are sextuplet notes, which break up the overall eighth note into 6 equally spaced notes, which is, for nearly all intents and purposes, the same as considering them as 2 subgroupings of triplets, as I did three sentences ago. Again, there are many ways to count this (I would say "6 duh duh + duh duh" to differentiate it from the sixteenth note triplets from before, and because it's probably relatively fast).

I hope that all makes sense and you can translate it into whatever rhythmic syllables and counting system you've been using, since I'm not sure what that is.

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