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Great german la pompe example



  • MichaelHorowitzMichaelHorowitz SeattleAdministrator
    Posts: 5,815
    As Paul suggested, the idea of static "schools" of playing rhythm based on national origin was never the point of these labels. As i mention in the Gypsy rhythm book, they were convenient names for approaches to rhythm that had their origin in styles of some players from a specific place and time, but are by no means an accurate means to describe whole geographic musical groupings. Many styles are so idiosyncratic that they couldn't be categorized under any of these labels, and many players change styles, often at whim. Ultimately, I'd take these labels with a grain of salt and trust your ears as they will tell you who's doing what better than anything else.

  • CalebFSUCalebFSU Tallahassee, FLModerator Made in USA Dell Arte Hommage
    Posts: 557
    The rhythm differences always intrigued me but it seems with so much back and forth with digital music and the internet it would be really hard I think to make hard distinctions. I have to say though that Noe video is great. I am consistently impressed by dudes playing. Maybe one of my favorites.
    Hard work beats talent, when talent doesn't work hard.
  • PassacagliaPassacaglia Madison, WI✭✭✭✭
    Posts: 1,283
    dennis wrote:

    Check out these rhythm styles from Paris: (sounds German doesn't it?)

    So in just these four videos, you have a bunch of players from Paris , each with their own distinctive rhythm style.. And some of these guys have been around for a while too... Just who exactly is playing the "Parisian" style?!

    Really it's just one big mish mash....

    Again these are just my observations, however they are based on my very extensive travels and dealings with a multitude of players from various regions....

    Now that I've got an Ipod Classic, tons of storage, and Monkey Media to manage my files....looking to add to my collection, and just came across this thread again. Denis, I liked the Morgan Briant promo pieces with Noé Reinhardt & William Brunard. Does William play rhythm with Noé quite a bit?
    pas encore, j'erre toujours.
  • PassacagliaPassacaglia Madison, WI✭✭✭✭
    Posts: 1,283
    Sorry, can't edit. William Brunard is a bassist? Whoever it is in that youtube vid with Noé, I liked the rhythm, would like to hear more...
    pas encore, j'erre toujours.
  • BonesBones Moderator
    Posts: 2,735

    Yes that is a great clip and really nice, swinging rhythm playing.

    Does anyone know the name of that song?

  • PassacagliaPassacaglia Madison, WI✭✭✭✭
    Posts: 1,283
    Bones wrote:

    Yes that is a great clip and really nice, swinging rhythm playing.

    Does anyone know the name of that song?


    Bones, don't know the name of this tune, but Some of These Days is my next transcription. Total agreement, great swing and a good lesson. Never heard William before today, but everything I find is that he's a bassist? Multi-talented guy!

    Also didn't know of Morgan Briant before today - some really nice guitars, by the look and sound of it!
    pas encore, j'erre toujours.
  • Ted GottsegenTed Gottsegen Rowayton, CTModerator
    Posts: 615
    Hi Angelo
    arjr wrote:
    ha......this rhythm sounds no different than other players maybe with a slight variation on the beats, but I don't get why it's called German?

    Do ALL the German gypsy jazzers play rhythm in this style?

    I don't really care what or why, it's not important to me. It's just
    funny how people categorize certain things.


    Accents in rhythm and the same accents in language. I'm from NYC, I can when a person is from Manhattan, Brooklyn, Queens or New Jersey by the way their accents. In gypsy jazz; before the advent of CD's, players from different regions played slightly different from one another because their was less of an opportunity for musicians to hear one another. We're talking 1960's, '70's and into the '80's. So, the German players always had an aggressive (what is now called 'old school') sound. The guitarists in France used Stimers and played with a more lighter classic Hot Club sound (Mondine & Ninine, Maurice Ferret, Tchan Tchou) The Dutch a slightly more aggressive version of this sound (Romanej) and the Germans (Häns'che Weiss, Titi Winterstein, Schnuckenack Reinhardt) had a harder, more aggressive sound. This is more about identification and characteristic than categorization.

    All the best regards from Queens, NY,

  • arjrarjr ✭✭✭
    Posts: 75
    Thanks Ted for the clarification.
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