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Ahmad Jamal’s Album: At the Pershing But Not For Me
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This month’s transcription is Israel Crosby’s bass line from Poinciana off Ahmad Jamal’s album: At the Pershing But Not For Me. Before reading through the piece, take a listen to the track. The lesson to take home from this recording is the use of themes and arranging techniques within a jazz bass line. Listen for the themes in the track and take note of how often it switches to a new theme. Listening once before you play will give you a better idea on when a theme is temporarily interrupted, or when the theme actually changes. At first glance at the notation, it could seem like there are too many changes in themes, or that repeating one theme too often will make the song boring, but listening to the track once before playing it will answer all those questions.
It’s important to keep in mind that Israel Crosby is a heavy cat. If you listen to the rest of the album, you will find that he can play incredibly melodic and interesting walking lines even during blazing tempos. He is capable of walking through a song without having the same idea happen twice. If he wanted to, he could play devoid of all themes or motifs. Remember that a lot of thought went into this song before it was performed, and Israel specifically thought this bass line was best.
Poinciana is filled with extremely strong motifs, not only in bass but in all the instruments. Imagine for a moment what the song might sound like without such distinct and specialized parts. Imagine a standard jazz drum groove and a walking line where no two measures are the same. The tune would definitely lose most of its flavor and appeal. When listening or working on a tune, ask yourself how often the audience could sing parts from the piece once the song is over. How much should they be able to sing? Some melodies can be very corny, but the fact that it can be buzzing in our heads long enough for us to be able to sing them later, proves that we were able to identify with it on some level. Isn’t that what music is all about?
Onto the analysis. When I analyze a piece, I want to find out why the bass player chose his or her approach. This piece has the most thematic bass line of any other jazz song I have ever heard. It’s not like some tunes where the bass line plays the exact same pattern for the entire tune. I am a fan of that too, but that’s a different approach than what we’re seeing here. This tune has at least 16 different themes. That’s a ton for a single song. A theme gives the listener something that they can hold onto and identify with. An audience needs to have something to identify with from a song or they will lose interest. This is why some jazz tunes appeal only to jazz musicians. It means that the only identifiable elements are elements that can only be recognized if you have studied jazz. The only other reason people might appear to identify with such a tune is when they pretend to appreciate it in order to look hip. It’s funny, but true.
Now that we know that themes were very important to either Ahmad or Israel (most likely both), and that the idea of using such strong themes was clearly intentional, let’s take a look at when the themes change and why. Take a look through the sheet music and circle the theme (usually one measure long) and note how long it takes before the theme stops repeating. Remember that a fill or slight variation doesn’t mean the theme has been abandoned unless the change keeps repeating. A good example of this difference is measures 59-66. Measure 59 is the theme. You’ll notice that 61-62, and 65-66 depart from this theme, but a new theme doesn’t start until measure 67. It’s basically a call and response. The main theme at measures 59-60 and 63-64 are the call, and the parts that occur in the opposite measures are the responses.
When I went through the song, I circled each measure that introduced a theme and assigned it a letter. This helped me to see where the same theme reoccurs and identify it quickly later on. After you mark the themes, make a note about how long each theme repeats. Once you are done, your analysis will tell you how often themes reoccur, how many themes exist total, and any trends in how long themes repeat. I personally want to learn about what Israel and Ahmad think are the strongest musical choices, and I analyze a tune to try to find this information.
16 major themes occur in this tune. Each theme is a measure long, and they are introduced at these measures: 1, 17, 27, 43, 59, 67, 75, 91, 99, 107, 115, 123, 139, 147, 155, and 163. Most themes last only 8 measures. The exceptions to this usually have a reason. The intro and outro have themes that last longer, but this makes sense. Both sections use the same theme and serve to relay the feel of the song. The intro is just that, in introduces you to the song by giving you a little idea on what you are about to get into. The outro for this song gives you one last reminder to the feel of the piece. Another place that a theme lasts longer than eight measures is when the introduction ends and the tune actually begins at measure 17. This is a common arranging technique. Keep the top of the song simple. When a song begins, the audience might be exposed to it for the first time in their life, even if it is a standard. Keeping the beginning of the tune simple teaches the audience the foundation of the song. With this foundation, the audience will have an easier time relating and identifying variation and improv later. Being confident in the foundation of the tune, they can more readily recognize what the performer did to vary or embellish it. If you come right out of the gate with tons of improv and variation it can sound like a mess to someone in the audience.
Good arranging is all about texture. A song needs changes in texture to keep it interesting. Texture changes can appear as changes in volume, tempo, motifs and themes, space, being busy, energy, instrumentation, playing more or less notes, key centers and modulations, ride vs. high hat, etc. A commonly accepted rule of thumb for arranging is that there must be a texture change about every 8 bars. When you start thinking about texture changes, it makes some parts of the song make more sense. It now makes sense to keep a theme going for 16 bars at the beginning of the tune, because it will make it more apparent later when a change in texture occurs. Also keep in mind, that if everything is crazy in a song and if no two measures are alike in any instrument, this is an example of only ONE type of texture. If you keep this going throughout the entire song, it’s not an overload of texture, it’s actually a song with NO change in texture. Boring!! Take a listen to Ahmad Jamal’s song “What’s New” on the album (you guessed it) At the Pershing But Not For Me. Listen to it from the beginning. What happens at 1:38? A huge texture change occurs in all instruments. The song goes from an open “two feel” to a looped rhythmic motif that stays strong for a little over 60 seconds. Now that’s what I call giving your song some serious flavor and personality. Without this element, it would still be a great jazz ballad, but not very different or special compared to any other jazz ballad. This kind of arranging device is what can keep people thinking and talking about your performance for a long time.
So how does all this apply to Poinciana? It tells us that it is important to note when the motif changes because this is a texture change. These guys are pros. The have a lot of experience and knowledge in what works and what doesn’t concerning texture changes and arranging techniques. When I look at this tune, I take away the knowledge that a texture change about every 8 bars is important after the song has been established.
Think of the last time you saw a jam session where each soloist played the exact same amount of notes continuously at one constant volume. It’s so boring!! Even if they are good players. But if there are obvious differences in amount of notes, space, volume, or intensity in a solo, it makes every one listen and relate. I think a lot of us can get in the mind space that every measure has to be its own amazing idea and can never be repeated in jazz. This piece definitely disproves that. I hope that for some this analysis will open up some freedom and new ideas.
Thinking from an arranger’s perspective forces us to think “big picture.” What’s good for the song? What makes the song stronger and helps the audience to identify with it? This kind of thinking will develop a much different song when compared to playing with the mindset of “let me impress everyone with my vast and varied catalogue of walking licks.” That’s cool too, but nothing trumps the perspective of making the song stronger. Hope you enjoyed this month’s tune.
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
