The Afrological Soul of Jazz Organ

[dazzjazz]

I've now had a couple of email questions regarding Smith's quintuplet-based phrases that I have dubbed "Smithtuplets". For those who haven't check out that chapter yet, Smith plays quintuplet-based phrases on his solo from "The Preacher". Here's one of my responses to a question from Jazz+:

 

Regarding the quintuplets, the process of discovery was, pun intended, quite organic.

 

My academic supervisor, Simon Barker is one of Australia's most advanced jazz drummers - check out the documentary on him "Intangible Asset Number 82".

 

So, after a discussion of the mechanics of different R & B and jazz grooves, especially the different types of uneven 1/8th notes, Simon got me practicing different combination of quintuplet based rhythms. These were, of course, unfamiliar to me but I soon got them to the point where I could clap and play them while thinking about them (conscious competence).

 

Then some months later, while transcribing Smith's solo on "The Preacher", I initially transcribed some rhythms that I assumed were triplet-based and wrote 'laid back' above them in the score. Given the academic nature of my thesis, Simon was a little critical of this for two reasons. Firstly, someone reading/playing the transcription might not know what that means and secondly, it doesn't do Smith's genius justice as he is obviously in control of this rhythmic expression and its musical effect is profound. Simon is also critical of the homogenising effect of Western musical notation that generally notates things in groups of 2 or 3. Why not 5 or 7?

 

So, throughout this process, I'm practicing internalising these quintuplets and one day I'm listening to Smith's solo at half-speed and it hit me - maybe theses 'laid back' triplets are actually quintuplet groupings of 2/2/1. I converted the notation in my Finale document to try it out and it played back quite perfectly - very, very close to what Smith is playing. The hardest part to play/mimic is the grace note.

 

Now, I highly doubt Smith though about this as quintuplets. He might have, or perhaps its some kind of 'cultural rhythm' that exists in African-American music via its African roots.

 

The exciting thing for me is that, after much frustrating practice, I can now play these. I often find myself playing polyrhythmically in a very groovy, natural way. Sometimes it's Smithtuplets, sometimes its something else - I don't know what and don't want to know, because I'm feeling it. That is way more valuable.

[Joe Muscara]

Cool story, Darren!

[Tom Williams]

Now, I highly doubt Smith though about this as quintuplets. He might have, or perhaps its some kind of 'cultural rhythm' that exists in African-American music via its African roots.

He may well have known exactly what he was doing -- Mr. Smith did have some college / conservatory training as a piano player before he switched to the B3.

[Morizzle]

Hi Darren! I've sent you an email, too. Maybe it got stuck in spam? It's from a gmail address.

[Al Quinn]

Hi Darren. Just wanted to let you know how much Im enjoying your thesis. Theres so much great info, most of which I never knew before. Im up to page 41 in the Jimmy Smith chapter. Great work! Thanks so much for sharing it.

[dazzjazz]

Thanks Al, glad you're enjoying it. The offer is still open if anyone else wants to read it. Get in touch.

 

Darren