Re: Metronome

Crosbie, Jeremy MV ( (no email) )
Thu, 15 May 97 08:40:00 PDT

>However, I don't see any evidence throughout jazz history of musicians
>tapping on 2 and 4 or practicing that way at all.
>
>So that's a new things and if people have swung for generations without
>it, what is the point exactly?
>
>I'm so amused that people that find it uncomfortable would want to
>work on it. It's like if you reversed the gas pedal and the break on
>your car. You'd feel really uncomfortable and start crashing into things
>for a while but I guess you would eventually get used to it. But what's the
>point?

I had the great fortune of seeing Kei Akagi, who performed after the UCI
Jazz Ensemble last Friday night. For those who do not know who he is, he was
Miles' penultimate pianist and has played with Al DiMeola and a whole slew
of great jazz musicians. The icing on the cake was Joe LaBarbera and Derek
Oles as his rhythm section.

If not for this thread, I would not have noticed the fact that Kei taps his
foot on 2 and 4, and this guy swings like a mother when he wants. I do not
know if he advocates this as a practice method.

Reed is write in stating that it is strange for people that can't tap 2 and
4 and practice insist on doing so, citing it will make them swing better.
People don't come to hear you tap your foot, they're there to hear you make
music.