reading the book about the work of Behind Coltrane A Love Supreme, I really understood how important they are in the low group, and most importantly the battery. In the quartet's historic John played Elvin Jones, known for his polyrhythmic dowry, which he said some 'the cornerstones of jazz drumming "classic" (excuse the oxymoron!).
Lately I'm so very interesting to the percussionists, who are not, contrary to the pop and rock, relegated to mere human metronomes, but a part of the music. John himself will appear in public with two drummers, or rather a drummer and a percussionist in his later production. It should be enough to understand the importance in a quartet.
coninvolgente A rhythmic, insistent that no without breaks or fantasies to fill the mentally beat or upbeat, by the listener in my opinion is what makes a song a mediocre track extremely valuable. An example of this is the aforementioned Elvin Jones, but also interesting contempranei Odwalla, led by Massimo Barbiero, where the mix of Latin rhythms, oriental fusion, creating a lovely atmosphere, full of sound material to ensure the soloist many, too many improvisational ideas (have you ever wondered why Coltrane was playing a solo for hours?). Then
beautiful, the beautiful jazz drummer. A few elements with which you can create crazy rhythms. As for his philosophy Elvin planned to use all the drums and percussion in his available to create new scenarios and always in motion. Looking at the drumkit of Barbiero then, so rough, essential, gives the impression of lightness, and an intense rhythm of India, with percussion ranging from rattles to strange dishes hanging perpendicular to the ground.
An example in my opinion worthy of note, is given by this wonderful video of Masada, the historic group of composer / musician / eclectic, and so on and so forth, John Zorn. The oriental air, the dynamics of the percussionist, the sharp sound of Zorn ... magma sound levels Trane dear ...
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