The Jazz Ensemble Rhythm Section

Fall 2001 Volume 4

The Jazz Ensemble Rhythm Section
by Dean Sorenson

A jazz ensemble cannot exist without a rhythm section. It is the section that defines the jazz ensemble sound. The quality of the overall ensemble is dependent upon the quality of the rhythm section more than any other. A strong rhythm section can make an otherwise mediocre band sound excellent. Conversely, a poor rhythm section will seriously weaken an otherwise strong ensemble.
     To make matters worse, the rhythm section is often responsible for more than its share of director frustration. There are two main reasons for this. First, most directors do not play rhythm section instruments, and instrumental methods courses do not address the special needs of the instruments used in the jazz rhythm section. Many directors feel extremely uncomfortable, if not downright helpless, offering advice to rhythm players. Second, since guitar, piano, bass, and drum set are not usual members of the concert band, players often have to be recruited from outside the program. These students for the most part did not come through the ranks of the concert band, and their knowledge and skill levels may vary widely compared to the students that came up “through the system.” Rhythm players from outside the band who show interest in playing in the jazz ensemble usually want to improve as much as the rest of the students, but directors need to be aware of the different backgrounds they may bring to the table.
     Developing instrumental technique is the responsibility of the individual student. As with any instrument, the value of private study cannot be overemphasized. If at all possible, try to locate private teachers that have some jazz ensemble experience. Guitar and piano are often used as solo instruments, and are often taught from this perspective. Players with more of a “soloist” background will have a more difficult time understanding their role as part of an ensemble.
     Assuming a reasonable amount of individual technique, getting a good section sound is the next challenge. More than any other section, the rhythm section will benefit greatly from sectional rehearsal. Dedicated rhythm section rehearsal time will pay large dividends to the rest of the ensemble. To be most effective, the rehearsals should focus on refining portions of the music the ensemble is playing.
     A practical technique for rehearsing the rhythm section is to choose a short excerpt where the rhythm section is playing a basic groove and to perform it as a vamp. The excerpt should be two to four bars in length and should be free of extra fills, figures, and breaks. Building the groove one instrument at a time allows everyone to hear the building blocks of the groove, and will make individual problems easier to identify and fix. A steady tempo must be maintained throughout this exercise. When all parts have been added, have the rhythm section play the vamp for at least 32 total bars (16 times through a two bar vamp or 8 times through a four bar vamp). Let the players get comfortable and let the groove “settle.” As an example:
     1. Begin with the basic portions of the drum groove. On rock and Latin grooves this is usually snare drum and bass drum. On swing grooves, it is hi-hat and ride cymbal. Make certain that these parts are clean, dynamically balanced, and played in solid tempo.
     2. Add the bass line. On rock and Latin grooves, the bass drum and bass line are often matched rhythmically. On swing grooves the steady quarter notes of the walking line should lock up perfectly with the hi-hat on beats two and four.
     3. Add the guitar part, as well as any additional elements of the drum groove. As the dynamic level rises, listen carefully for balance between all instruments. In rock and Latin styles, the guitar can be slightly more prominent than in swing styles.
     4. Add the piano part. In rock styles where guitar and piano are often doubled, the guitar should dominate dynamically. In swing and Latin styles the piano part is often more independent and can have a more prominent role. Make sure the pianist is locking up with the rest of the rhythm section and is avoiding the sustain pedal. Use of the sustain pedal diminishes the crispness of the piano articulation and tends to make the groove “muddy.”
     5. Add the auxiliary percussion, if the chart calls for it. Be sure the tempo remains steady, and that the additional colors provided by the auxiliary percussion are present but not dominating.
     Using this technique will help create a stronger overall rhythm section sound. In future articles, we will discuss in more detail the roles of the individual rhythm section instruments.

< < Previous Article | Back to Index | Back to Top