I've come to terms that my favorite rhythm section of all time is definitely Ron Carter and Bernard Purdie. Ron carter does alot of stuff with Cobham and Tony Allen, but there's something special (read: FUNKY) when him and Pretty share a track. I'm just putting up pictures of the ones that I own, What other records should I be looking for. Anyone have a copy of that El Gato LP? Is it worth tracking down? This can't be Ron on this? Can it?Haves:The revolution will not be televised Pieces of a man Larry Coryell s/t Wild horses rock steady Esther phillips - alone again, naturally Hank Crawford - help me make it through the night - spidey
Shit, Tony Allen that was just a typo on my part. I meant Tony Williams. I'm one of those weird Tony williams fans that actually loves the Lifetime shit. However this thread is about one of the nastiest drummers of all time getting down with one of the greatest bass players of all time. I know they probably have more projects I haven't heard of? Possibly kudu related?
beautiful woman is my favorite coryell track by far..... its the only reason i got that record...i like purdie, but i like carter alot more.... hes just too funky....
both these artists recorded massive amounts of music. alone they are easily in my top 5 drummers/bassists. but i just don't see them as a "rhythm section" along of the lines of carter/williams, garrison/jones or porter/modeliste, dunn/jackson.
i could be wrong and i'm hairsplitting in your thread.
both these artists recorded massive amounts of music. alone they are easily in my top 5 drummers/bassists. but i just don't see them as a "rhythm section" along of the lines of carter/williams, garrison/jones or porter/modeliste, dunn/jackson.
i could be wrong and i'm hairsplitting in your thread.
Tony Williams / Ron Carter on Miles' 1964 - The Complete Concert. The whole band were told just before they got onstage that Miles had donated their fee to the Congress for Racial Equality (it was a CO.R.E benefit black-tie gig) and they were not happy about this as they were all skint at the time. They go at those tunes like a bull to a red flag.
Philly Joe Jones / Ray Brown - Heaps of stuff, but their work with Oscar Peterson is my favourite. I remember seeing an old BBC Jazz 625 set where Philly Joe plays the into to Cubano Chant with just his bare hands hitting the drums. These guys didn't appear to have to open their eyes for the whole set. You should also check all the work Joe did with Miles and Paul Chambers.
Dave Weckl / John Patitucci - for their work with Chick Corea's Elektric and Akoustic bands. Yes, these blokes are held up as paragons of technique, and they did have mullets at the time, but I can't deny they had feel. Esp. the Akoustic stuff, which Weckl never goes insane on. If you want that, check the gig where Vinnie Colaiuta deps for him @ the Blue Note, Tokyo.
Dennis Chambers / Gary Grainger - In John Scofield's mid-80s band. I can understand any incoming finger-crucifixes because I can't remember if Slap Bass is in or out this week, but as a bassist who grew up on the likes of Loius Johnson's sound, this is the mutt's nuts. They play the shit out the tunes and I am grown enough to admit to wigging out on some F*sion from time to time. You know what Chambers does and why folks hire him (for the Fred Durst fashion shine?). This is right up there with his best.
There are millions more of course. These are just the ones I've remembered recently. The Meters. The JB sections with Clyde. James Jamerson / Benny Benjamin...
DocMcCoy"Go and laugh in your own country!" 5,917 Posts
On the subject of faves, these two always get love from me;
They're like the Al Jackson and Duck Dunn of art-rock. Their shit was always super-tight, economic and totally in service of the groove (and Talking Heads could most definitely groove). I play bass, and Tina Weymouth remains one of my favourite musicians. When I started playing, I used to admire the deceptive simplicity of her style, and the way she'd often play less obvious high-register shit instead of taking the "gettin' fonkay" option, which she could quite comfortably have done anyway. Those first four Talking Heads albums are awash with great examples of a rhythm section putting down tight, spare, disciplined shit that really moves the song along, but manages to be inventive and intelligent at the same time. If you wanted to talk about great, yet consistently underrated, rhythm sections, Chris Frantz and Tina Weymouth would have to be pretty near the top of the list.
So, I'm assuming I've pretty much amassed the Carter/Purdie sessions then. I guess greatest wasn't the right word, "My Favorite." I could go on for days about rhythm sections. Kaye/Palmer, and Jaki/holger are definitely some of my other favorites. I wonder what kind of funk Purdie and Carter could pull off in this age.
SPlDEY
Vegas 3,375 Posts
I've come to terms that my favorite rhythm section of all time is definitely Ron Carter and Bernard Purdie. Ron carter does alot of stuff with Cobham and Tony Allen, but there's something special (read: FUNKY) when him and Pretty share a track. I'm just putting up pictures of the ones that I own, What other records should I be looking for. Anyone have a copy of that El Gato LP? Is it worth tracking down? 
This can't be Ron on this? Can it?Haves:The revolution will not be televised
Pieces of a man 
Larry Coryell s/t 
Wild horses rock steady 
Esther phillips - alone again, naturally 
Hank Crawford - help me make it through the night 
- spidey
Comments
- spidey
anybody?
- spidey
sorry bro. i'd much rather hear chuck with "pretty" peace, stein. . .
isnt this cobham?
+
Carol Kaye and Earl Palmer is my pick for there work with axelrod
purdie's on the version of rock steady.
both these artists recorded massive amounts of music. alone they are easily in my top 5 drummers/bassists. but i just don't see them as a "rhythm section" along of the lines of carter/williams, garrison/jones or porter/modeliste, dunn/jackson.
i could be wrong and i'm hairsplitting in your thread.
no, you're right
add Mingus/Richmond to your list, among others
Tony Williams / Ron Carter on Miles' 1964 - The Complete Concert. The whole band were told just before they got onstage that Miles had donated their fee to the Congress for Racial Equality (it was a CO.R.E benefit black-tie gig) and they were not happy about this as they were all skint at the time. They go at those tunes like a bull to a red flag.
Philly Joe Jones / Ray Brown - Heaps of stuff, but their work with Oscar Peterson is my favourite. I remember seeing an old BBC Jazz 625 set where Philly Joe plays the into to Cubano Chant with just his bare hands hitting the drums. These guys didn't appear to have to open their eyes for the whole set. You should also check all the work Joe did with Miles and Paul Chambers.
Dave Weckl / John Patitucci - for their work with Chick Corea's Elektric and Akoustic bands. Yes, these blokes are held up as paragons of technique, and they did have mullets at the time, but I can't deny they had feel. Esp. the Akoustic stuff, which Weckl never goes insane on. If you want that, check the gig where Vinnie Colaiuta deps for him @ the Blue Note, Tokyo.
Dennis Chambers / Gary Grainger - In John Scofield's mid-80s band. I can understand any incoming finger-crucifixes because I can't remember if Slap Bass is in or out this week, but as a bassist who grew up on the likes of Loius Johnson's sound, this is the mutt's nuts. They play the shit out the tunes and I am grown enough to admit to wigging out on some F*sion from time to time. You know what Chambers does and why folks hire him (for the Fred Durst fashion shine?). This is right up there with his best.
There are millions more of course. These are just the ones I've remembered recently. The Meters. The JB sections with Clyde. James Jamerson / Benny Benjamin...
They're like the Al Jackson and Duck Dunn of art-rock. Their shit was always super-tight, economic and totally in service of the groove (and Talking Heads could most definitely groove). I play bass, and Tina Weymouth remains one of my favourite musicians. When I started playing, I used to admire the deceptive simplicity of her style, and the way she'd often play less obvious high-register shit instead of taking the "gettin' fonkay" option, which she could quite comfortably have done anyway. Those first four Talking Heads albums are awash with great examples of a rhythm section putting down tight, spare, disciplined shit that really moves the song along, but manages to be inventive and intelligent at the same time. If you wanted to talk about great, yet consistently underrated, rhythm sections, Chris Frantz and Tina Weymouth would have to be pretty near the top of the list.
Lest we forget, Tina was a bit of a cutie, too.
"Stop Making Sense" DVD has been heavily rotated in my gaff. It's OK, I've already had my latepass.
And,
Vitamin C facemelt deathmob.
I agree. When I think of Bernard Purdie and a regular bass-mate, I think of Chuck Rainey. They had a real distinctive sound together.
- spidey