MD Coherence and groove. I

From: Valuemetaphysics@aol.com
Date: Thu Jul 01 2004 - 00:32:39 BST

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    Part. I

    Dear forum,
    For those chronically addicted to music....

    Before joining funky soul singer/guitarist Ben Harper's band, the Innocent
    Criminals, Juan Nelson played with R&B acts like Vesta Williams, Brenda Russell,
    and Freddy Jackson. Juan's “nü-funk” outfit, Big Advice, just released Love
    Shines on Electric Monkey Records.
    How do you describe the groove?
    When I hear the word groove, I'm thinking “in the pocket.” You can play in
    front of the beat or behind the beat, but the groove is where we all meet
    together as a band in one place. It's the sweet spot. (Tension between static
    patterns of value.)
    How do you cultivate the groove?
    Work on groove? No—either you've got it or you don't. It's pretty much like
    that. It is something you can develop, though. (Become more coherent.) That's
    why I listen to a lot of different styles of playing. (Different patterns of
    value from which a large repertoire of static patterns may encourage critical
    coherence precipitation.) I've been getting into reggae a lot; I've been
    listening to Aston “Family Man” Barrett with Bob Marley. I play on top of the beat
    and Family Man plays way behind the beat, but he seems to hit that sweet spot
    in certain places. (Becomes coherent.)
    How do you to get into the groove?
    The way I play, I keep a pulse starting with a basic groove, and then I put
    in accents, almost like a drummer. Usually I feed off the drummer; I'm trying
    to stay out of his way while trying to get melodic so I can tie the drums and
    keyboards together. I'm like the anchorman, but I try to find my own space.

    Best known as the guy who took over the Weather Report bass chair from Jaco
    Pastorius, Victor Bailey has also recorded with Michael Brecker, Mary J. Blige,
    Andy Summers, Steps Ahead, Ernie Watts, Lenny White, and many others. He has
    recorded three albums as a leader: Bottom's Up [Atlantic ], Low Blow [Zebra],
    and That's Right [ESC].
    How do you describe groove?
    Groove is a philosophy, not really a concept. (High coherence between
    patterns of value.) It's a feeling that you're giving the music, whether it's swing
    or funk or whatever.
    How do you cultivate the groove?
    I guess it's just something I've always had, something I did naturally.
    ...The music had to always feel good. (SQ-SQ tension or coherence is a measure of
    aesthetic beauty.)
    How do you get into the groove?
    Before I actually play anything, I just try to feel something. In the studio,
    I listen to the track and start to sing something to myself that's more of a
    feel—not even specific notes, just like “ doom, doom, chick-um da doom doom …”
     until I find something that works. (Getting into 'the zone' or becoming
    sympathetic with the music - taken as patterns of value this is to become
    coherence.) Then I look for the notes. If there's already a specific line they want me
    to play, I start singing it before I play to figure out what's going to make
    it groove. (Notation is an intellectual pattern and this must become coherent
    with 'feel' which cannot be notated - groove taken as SQ-SQ tension is too
    Dynamic to be encapsulated by symbolic representation, but at the same time
    groove is not static - it is at the sweet spot.) Is it on top of the beat or
    behind? Is this note longer or shorter? When I start to feel good singing it, I
    translate that to the instrument. (Translation means to engage in a Dynamic
    process.)
    Is there a particular style that sums up your groove?
    The groove that really comes from me is a funky groove with a swing feel and
    a triplet undercurrent. ...Those little things won't get you voted best
    bassist, but will get you on a hundred more records than the next guy. (Quality is
    recognised by those who hear it and is not necessarily tied to 'formal
    technique').

    Part. II follows.

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