by Edil Ciuffardi "Kromofonica"
I am writing this review on Jeff Schmidt not because it is crazy but because I find this artist so incomprehensible in its beauty from feeling the need to take stock of the situation. Meanwhile, a left-handed, but plays with the strings turn to the right. Use the 5-string, and fretless (Pedulla) and with keys (MTD).
His fretless bass has a particular sound, keyboard painted. I think the lower chord is often given in G (he changes the tunings from one song to another). So, I have a MI that is pulled to SOL, the rope higher (on paper) is a DO. His bass is therefore quite high, and it shows. Instead I heard the low MTD un'accordatura in F #, again the specter of the instrument will be very high, to be low, and even here, he feels. In both low, I had the impression that uses strings with scaling rather fine.
I think we better define the specificity of Jeff with the keys in the lower than in those without. Not that the Pedulla proves virtuosity and genius, but the maximum response with the characterization of the MTD. This man Slappa little, indeed, nothing. Does not use either the pull, which not only begins to inch the ropes, but not tear even with the other fingers. Yet one can not say that the slight percussive manner, only that these are exercised in an original way. For example, Jeff slaps the bass strings with the tips of his fingers, finger strikes the keyboard together like a bongo, use the percussive tapping.
In practical uses all the techniques bass players and guitar with the exception of the typical slap. Why? One reason may be that he does not like, another that does not belong to his music, I think the reason is another. He plays with the thin strings to the head and the grave to the feet. I wonder if he preferred a slap with his middle finger on the strings serious (which is not really a slap). But would not pull much sense, because in this condition can not be used as a "return" nature of the slap.
I think just the reverse of the strings as they have moved away from the typical slap, but in this case are more doors open ... Jeff, in fact, should not hard time stopping the low strings, the rest is enough to blind her right hand on ropes at the base of the fingers tow ropes available, while the tip goes in search of the high. It happens that is exactly the opposite of what happens to bassists who play with the strings set in the traditional way. In fact, the bass players often find themselves in the need to control the low strings and not stopping those tall. Jeff has used his characteristic, and conveying them in a personal style.
By controlling the low strings in a natural way has instead "let go" as high. In his playing, in fact, we often hear the high notes like these, they last, will give the change without interruption, are free. Here is a first "secret" of Jeff. One feature, a style that depends not only on his extraordinary inventiveness, but from physical approach, a tool that is presented "different" in his hands because he is a southpaw, but it sounds right. No right can ever play like he plays. Could succeed only by reversing the strings on the left.
And from this first element, fundamental, we can recognize a number of features that follow. Indeed, having a very airy in the upper middle register is obviously trying to find ways of agreements. Jeff plays a lot for agreements. It is a bass player, but can easily be mistaken for a guitarist who is not familiar with the instruments. That's because of Jeff's playing is certainly much guitar, especially with the lower keys. Not only uses the accords, but moves his hand to the deck like a guitarist, playing more strings together, 2, 3, 4, 5. Despite this, who has a little 'more musical experience can not but appear as a bassist, but very particular.
Another thing that probably is not detachable as seen so far, is the genre, the artistic choices, what to play, as play it. Someone wants to rule the genre of Jeff? That stuff works? I try to establish what I heard as a kind of modern American folk, well aware of not being able to take in this definition, the whole repertoire of Jeff but maybe most of his own pure, obtained without traces of your computer. But Jeff might include musicians such as Segovia, which has nothing to do with American folk themselves.
That said, both for analysis, for the sake of the division of the decomposition, which can only help us understand what is not divisible, Jeff fact remains inseparable. It makes little sense, in fact, determine whether its musical sensibility has led him to his technical approach or its technical approach has led to his musical sensibilities. This is, in fact, two legs that were born and grew up together and brought this music to its formidable performance.
But do not think that everything depends on technique. Jeff Schmidt fact has no heart. Listening to him I had the sensation of feeling loneliness, sadness, depression, grandiosity, power. Jeff manages to convey emotion, and more for this than anything else is truly worthy of attention.
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