Playing in the POCKET(BY Anthony Muthurajah)

Anthony Muthurajah氏の「Playing in the POCKET」を翻訳しました。




Hey guys, how's it going? And three manager here, back with a new video lesson for you all. Today, we're gonna talk about pockets or playing in the pocket. Now, that's something we hear a lot as bass players or drummers, just part of the rhythm section, you know? Man, the pocket's too deep or your pocket ain't right. So when I first heard that word, I really had no idea what it was meant to be. What is a pocket? I just, it just didn't make any sense, you know? And then I thought about it. What is a pocket in the most literal sense? It's something where you store temporarily, but the important thing is the storage has to be the right amount of depth. For example, I don't know about you guys, but I favor certain trousers I wear just because the pocket depth is right for me to keep my phone, my wallet, and my keys, and they don't fall out. And neither do they get too lost because the pocket's too deep. Now, if I were to translate that into music, for me, music, in music, a pocket is basically like an envelope that surrounds the music and supports the music. So to kind of think of it like it's like creating a room or a vacuum, right? So you have space, but then you create four walls and then you create the floor, but you leave the roof open, right? Or you can leave a door. So basically, the idea is to go in and out of it. So a pocket is something that goes up and down. Now, most people often mistake a pocket with a two and four on the snare, but every style of music has its own unique vibe of a pocket. From swing to country folk, Balkan music, Arabic music, everything has its own sense of pocket, and it's very different, which is why you seldom find one musician playing different styles of music with great ability, because besides the essence of the music, the pocket that comes with the music is very different. Which is why I've always loved Vinnie Colaiuta so much, because of how he can execute different styles with the right pocket. Like from playing with Sting to Megadeth, to Faith Hill, Herbie Hancock, Chick, yeah, it's versatile. He's got the chops and everything, but the pocket in which he plays each style is so amazing, right? So how do we go about understanding a pocket? Now, a pocket, it generally is what makes you feel the pulse, makes you feel the groove overall.

みなさん、こんにちは。マネージャーのThreeです。新しいビデオレッスンをお届けします。今日は、ポケットについて話しましょう。ベースプレイヤーやドラマーとして、私たちがよく耳にする言葉です。ポケットが深すぎる、あなたのポケットが合っていない、などと言われます。最初にこの言葉を聞いたとき、正確に何を指すのかわからなかったんです。ポケットって何だろう?全く意味が分からなかったんですよね。でも考えてみたんです。もっとも文字通りの意味でポケットとは、一時的に物をしまう場所です。でも重要なのは、その収納スペースが適切な深さでなければならないということです。例えば、私は特定のパンツを好んで履くんです。なぜなら、そのポケットの深さが私の携帯電話や財布、鍵を入れるのにちょうどいいからです。それらが落ちることもなく、深すぎて迷子になることもありません。では、音楽に置き換えると、ポケットとは音楽を包み込み、音楽を支えるような封筒のようなものです。まるで部屋を作るかのようなもので、四方に壁を作り、床を作りますが、屋根は開いたままにするか、ドアを開けておきます。つまり、その中に出入りすることができるということです。ポケットは上下に動くものです。多くの人がポケットをスネアの2拍と4拍と間違えがちですが、すべての音楽のスタイルには独自のポケットの雰囲気があります。スウィングからカントリーフォーク、バルカン音楽、アラビア音楽、さまざまなスタイルごとに独自のポケット感があり、非常に異なるものです。そのため、一人のミュージシャンがさまざまなスタイルの音楽を素晴らしい能力で演奏することはめったにありません。音楽の本質に加えて、音楽に伴うポケットも非常に異なるからです。だからこそ、私はいつもVinnie Colaiutaをとても愛しています。彼は正確なポケットを持ってさまざまなスタイルを演奏するからです。StingからMegadeth、Faith Hill、Herbie Hancock、Chickまで、多様性があります。彼は技量も持っていますが、彼がそれぞれのスタイルで演奏するポケットは本当に素晴らしいんですよね。では、どのようにポケットを理解すればいいのでしょうか?ポケットは一般的にはパルスを感じさせ、全体的にグルーヴを感じるものです。

If I'm playing a swing, for example, and if I just play very dead quarter notes…



Right. Now, if I add a little pocket to it, it will start to groove by itself.



Right. Now, you might think it's the ghost notes or those little triplets I'm throwing in. Yes, they do add to the pocket, but the thing is, they're also in the pocket. But basically, to develop a good sense of pocket, one of the key elements needed is dynamics.


Now, that's a walking bass line. Now, if I were to take something more pop…



Right. So, you feel that too, and even if there's no drummer, I'm playing that as if there's a tune in my mind. So, if you think about it, when you're in a jazz gig, especially modern-day jazz, you don't find the opportunity to move a lot because of the intricacy of the music. So, which brings me to the second point, dynamics. Usually, the simpler your parts are as a band, the more pocket there is because there's a lot of space for people to breathe and just vibe off of. Because it really makes you move, all right?


Now, if you ever see a heavy metal band or rock band, you often see people headbanging. And that's because of the groove, yes, but the groove is so in the pocket that you see everybody in sync, headbanging, or you know, the whole mosh pit. There's a synchronization to it because of how the band is enveloped together in a pocket.


All right, so one of the other things that I did to really develop my sense of hearing pocket is to check out bands with different musicians filling in, especially drums and bass. Like Toto, for example, listen to Toto with Jeff Porcaro, then with Simon Phillips, and briefly Keith Carlock played, and now I'm not sure who's on drums. And their bass players have changed over the years too. They play the same songs, but it sounds a little different. And that's usually not just the sound or the way the guy approaches the groove or anything. It's just the vibe of the pocket that each player comes in. Porcaro's pocket, in my opinion, is a little deeper than Simon Phillips. And when Keith Carlock was playing briefly, it felt like Picaro again because he has the same kind of vibe to his pocket. Very deep, heavy, and open sounding. And Simon Phillips is a little more on the light side.


Right. So, first thing, dynamics. Second thing, keeping it simple for the most part. And the third thing is to listen to different bands playing the same songs with different musicians. All right. So, that really helps you understand what an actual pocket is. All right. If I were to point out some drummers who I like for their pocket, off the top of my mind: Jeff Porcaro, Steve Gadd, Bernard Purdie, David Garibaldi, Max Roach, Elvin Jones. Now, Elvin Jones, to me, in the jazz and the swing stuff, I really love his pocket. Just that swing made you bounce. It made you move. You feel like jumping. So, that's what a pocket is supposed to do. It's supposed to make you move, all right? Because essentially, there are only so many things that separate one musician from another, right? So, it's these little nuances that really make those huge differences for me personally.


Alright, so I don't want to chat too much. I hope you got something out of this, and I'll see you guys in the shed. Peace.



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