"Pocket So Deep, I Can't Find My Spare Change" (Isfahan)
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While all the harmony stuff is cool, what makes this music dance is rhythm. The underlying pocket (groove) is swing eighth notes, which are the 1st & 3rd triplet partial. Notice how we all establish that feel together. Also note how Luther is ghosting upbeat 1/8ths in his walking bassline throughout (rather than just quarter notes) which emphasizes the pocket.
Some players play straighter 1/8ths, but to really sit in the pocket at this tempo, it’s important to lean into that 2/3–1/3 feel rather than a straight 50–50. When playing with great cats like Dom Moio and Luther Hughes, you can lay back and know that the tempo will hold steady. It's important to develop a good pocket across all rhythmic rates—not just 1/8th notes. That means having 16th notes that are clean and precise and being able to place your triplets right in the pocket (not rushing, not dragging). They don't call this the “OLD MAN TEMPO" for no reason. Because at this tempo, every subdivision matters and the pocket has to be deep. You have to be able to lay back without rushing or dragging. Another important aspect of swing 1/8ths isn't just the delayed upbeat, but also the connectivity (no air between consecutive 1/8ths, instead they should be sticky). Here, however we briefly break the rules with a "Gallup Articulation", some staccato 1/8ths within a group of consecutive eighths (ala Dick Oatts, Wynton Kelly, Joe Henderson). And as important as the RH feel is, don't forget about the LH! It's rhythmic clarity of the LH that can take your pocket to the next level. This excerpt is from a special Bijan Taghavi Trio performance at the Ravenscroft (Scottsdale, AZ), ft: Bijan Taghavi 🎹 Luther Hughes 🎻 Dom Moio 🥁 To watch the full cut, CLICK HERE. |