Jazz Lesson #17: 4 Ways to Ornament Your Walking Lines

#jazz #bass #walking #hiccups #paulthompson
Some of the greatest Jazz bassists--from Milt Hinton to Ray Brown to Ron Carter--not only mastered quarter-note time, but sprinkling swinging inflection into their lines that gave the music lift, made the groove dance, and gave the music forward motion. What are some techniques you can use right away to add to your quarter note timekeeping and push the groove up to another level? Check this out. I break down 4 popular techniques used by the masters that can help you "tip" a little more when you need to.

Instagram@ pdbass74

[LorenzoDeLeon]

Ron Carter on Chet Baker's Tidal breeze. Killer swing with Mel Lewis, killer tone, solid time, ornaments for ages. This song taught me that rakes rule the groove ! ;-)

[kenkarsh]

You’re Paul Thompson and THIS....is your masterclass! I learned a lot watching this!

[kyleandrews]

One of my favorite things about playing with you is when you catch the and of 4 with me at the end of phrases. It always feels so good!

[charlesbrazell]

To Mr. "pdbass"-have been playing bass(first electric and then years after, upright)since the late 70s-and from watching you demonstrate your skills on the upright, I can tell you got "finesse"; that overall level of quality that sets one apart from their peers-it was a pleasure to see you at "work"(or is it play?)! Continue to do your "thing" and I think many will be blessed for it(even as they already have been yes?).

Also-have noticed your manner of "delivery of notes" to produce a certain sound or effect is somewhat different from the way I would do it at times-but it all comes out the same(sound-wise, that is), and I never realized that this was the case until I saw you play tonight on this video; I experienced a similar thing decades ago, when I was strictly a bass guitarist, and having observed others who played differently from me, but obtained the same sound basically, it seemed. I didn't realize until tonight though, while watching this video, that once again, METHOD of delivery, though differing from bassist to bassist, will often produce the same sound or effect.

And for the record, I studied for about 2 years with an instructor, then began to continue teaching myself form that point on, as I did from the beginning, with the bass guitar. I'll admit, self-taught may/does have it's advantages at times, but there's nothing like having the advantage of a teacher, who will expedite one's progress on whatever instrument one is learning, compared to the time one will spend learning the same, through being self-taught, especially in the beginning, when one needs to learn the fundamentals of music theory as it is applied to any musical instrument one is learning.

I have no real regrets however, for the years I spent teaching myself, because in the process I think I accomplished a great deal; it's kind of all behind me now-I'm in my mid 60s and have seen things "come and go" if you get my meaning. There's also a whole lot more I could say about these matters but I'll leave it at that for now-and I enjoy watching the bass being played by a young master like yourself; keep up the good work!

Respectfully, I'd like to say also, I disagree with how many "ghost notes you say should be placed during the chorus of one's playing; I hear where the pros use them more often than you suggest they should be used-and so do I. Could it be then that what you've suggested boils down to a matter of choice? Personally I think the use of ghost notes throughout one's playing-but not overused-can be a fun way of keeping one's interest when walking a bass line, so that one does not get bored about it. But then again, I say this is my personal opinion about the matter-and you are sir, a first-rate bass player in my opinion!

P.S.: Would you recommend some recordings that you've played on-in particular, of most recent, that would reflect the clearly evidential progress you've made since, perhaps, you first began recording? There's so many good cats on the instrument that most of us will probably never, ever know about-I'd like to have some of your recordings in my collection, young man!

UPDATE(2-11-23): Just came from practicing on the upright and I found this: what you're saying about the overuse of the Ghost Note can be applied to the walking 12 bar blues line(which is what you were demonstrating when or when not to use the ghost note)but for standards-it leaves a void when that rule of 'no more than 2 or 3' is applied.

In all of the years that I've been playing the upright(including an almost seven year layoff), I've never given the idea much thought, other than to use personal discretion(or is it feeling?)when it comes to using the Ghost Note; only after seeing/hearing your video, did the idea ever become considered. And in retrospect I think it would've helped, and provided greater clarity of truth(especially for the novice or beginner)to say the rule of not overusing the Ghost Note is best applied(yes?)to the walking 12 bar blues bassline. 2-10-23.

[bassdog]

Good info here. Recording yourself will quite possibly reveal the overuse of ghost notes. Worked for me.

[UberStrikeCupcake]

Last thing was the best technic in all the vidro thanks man

[zqaswx]

Fav moment? Look for a record called All Morning Long (it's on youtube, Red Garland and Coltrane), it's a great example of a more heavy handed use of these techniques and still swingin. Our Delight, as well as the title track.

[CurbSideManor]

Quincy Jones wrote and played some great stuff. But, "Killer Joe" is my most favorite. Probably because I fell in love with it the very first time i heard. Everything around me cam to a halt. And I only heard the music! Beautiful!

[johndaniel]

Simple, clear and concise as usual. Bravo.

[maxwellwhiting]

You have established a practice schedule for many situations. Useful for all types of jazz and swing performances. Thanks

[JoshuaTanzer]

Terrific video! EVEN better than usual.

[targus]

Leroy Vinnegar's walking solo on Sonny Rollins' version of Alone Together has got some of my favorite use of ornaments. also with Rollins, NHØP's walking solo on Oleo from the Denmark tour in 1965

[tpxchallenger]

Very nice! And Sugar? Thank you, hadn't heard this before.

[MyRadioNation]

Dude, do you give private lessons???

Not every teacher has the "Ability" to teach. You, my friend, have the special gift. I really want to improve my bass walking and you are just the person to help.

[christophercharles]

Great lesson and really well laid out. For those who want to explore these ideas a bit deeper - over different keys and a few more variations - there's Modern Walking Bass Technique, Vol. 1: A Contemporary Rhythmic Approach by Mike Richmond. It's kind of a classic - I'm sure you've played through it, Paul. Keep up the good work!

[adtroy]

Great content Paul. Love hearing about good tracks to check out, and gotta love those Ray Brown bombs!

[mikemathews]

fantastic lesson and information. Top notch.

[jazzbrew]

Another amazing video. A lot to digest here and I really appreciate the recording suggestions. So much to learn by just listening to the greats (like yourself). Much thanks!

[mcsplivens]

These videos are so well done. I have been incorporating these techniques into my jazz guitar walking bass lines. Thank you very informative.

[christianfrey]

Nice presentation and examples! Other recordings I love in this regard are For Dancers Only on Junior Mance‘s (R.I.P.) Happy Time, Basin Street Blues (piano solo Section) in Miles‘ Seven Steps To Heaven and Come Rain Or Come Shine on This Here Is Bobby Timmons.