9/28/2023 0 Comments Dave brubeck take five drummerYou do not have to be a jazz aficionado to instantly recognize Dave Brubeck. Courtesy of Wikimedia Commons and Associated Booking Corporation.Įveryone knows his music. Left to right: Dave Brubeck, Paul Desmond, Joe Morello, and Eugene Wright. Enough Yacking: Let’s See The Video Already.Top Image: The Dave Brubeck Quartet in 1962. In the final mix, the two lead guitar mics were blended as follows: the close mic (SM57) was panned slightly left and makes up about 70% of the tone, and the room mic (M147) was panned slightly right and provides about 30% of the tone. There was no EQ added to the guitar tracks. Within Logic, the guitars were compressed slightly and a stereo delay was added to the overdrive section of the guitar solo. The mics were run through a Focusrite Scarlett pre-amp into Logic. I used a Shure SM57 on the grill of the amp, and a Neumann M147 (large-diaphragm condenser mic) about 3.5 feet away. The guitars were recorded through the amp at a pretty loud volume. It also provided the overdrive during the last half of the guitar solo. Underhill.įor the guitars, a Line 6 POD HD500 pedalboard was used in front of the amp for compression and reverb. And the melody/lead guitar was played on my black 1969 Gibson Les Paul Custom named Mr. The bass was recorded direct using my Ibanez Ergodyne Bass Guitar. Nerd Alert: Gear Dataįor the rhythm guitar, I played my bright orange Ibanez Art Core AF75TDG (semi-hollow body) named Flash through the Marshall amp. I was originally just planning to make an audio recording, but then I thought it might be fun to make a video of my “one man jazz trio.” So I set up a couple of cameras (my iPhone and my laptop) in my home studio and went to town laying down the tracks. I first sketched out the arrangement I want to go with and then programmed the drums using Toontrack Superior Drummer software instrument plugin in Logic. Once I had the song down fairly well I started putting together a track. I found a lead sheet online and once I had it “under my fingers” I transposed it from the original key of E-flat down to B because I felt it sounded better in that range on the guitar. The song I chose, Take 5, is in 5/4 time and on the original recording the melody is played by a tenor saxophonist Paul Desmond, who is also the composer of this particular piece. So I decided to try performing a jazz song with it and the video below is the result. But when I plugged a Les Paul into this amp and cranked it up I was struck by how clean and gorgeous it sounded. Marshall is world-renowned as the go-to amplifier for rock guitar players from Jimi Hendrix to Slash. Oddly enough, the thing that inspired me to give this a go was the acquisition of a new Marshall Origin 50 combo amplifier. So I suppose it was only a matter of time until I took a stab at a Brubeck song on guitar. And, oh yeah, if you happen to count it out you might realize they are not playing in 4/4 time. The songs are so well-written, and the musicians so talented, that it just felt like they were grooving and making music. It didn’t feel like they were counting beats in their heads while they were performing, trying not to mess up. Not only is it technically challenging to nail the odd-meter grooves and licks they were playing, it ‘s doubly difficult to do so with the musicality and panache that the Dave Brubeck Quartet delivered on that album. It was about wanting to challenge ourselves as musicians.Īt some point along the way, I was introduced to Brubeck’s Time Out album on which all the tracks are in odd time and I loved it. And the power metal band I formed a little later on with some friends (Avatar) was very much into odd-time signatures and exploratory harmonic landscapes. I loved Rush, Dixie Dreggs, Kansas, Mahavishnu Orchestra, Stravinsky, etc. Back then, as a young drummer and guitarist, I was going through a phase where I was really into progressive, technical music. Since I was a teenager, I’ve been a fan of Dave Brubeck.
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