- Tapa blanda: 138 páginas
- Editor: Createspace Independent Pub (25 de marzo de 2015)
- Colección: John Benítez Bass Method
- Idioma: Inglés
- ISBN-10: 1507685807
- ISBN-13: 978-1507685808
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
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The John Benítez Bass Method, Vol. 1: Freedom in the Clave: A Rhythmic Approach to Bass Playing (Inglés) Tapa blanda – 25 mar 2015
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Reseña del editor
In the world of Latin Jazz/Latin American music, John Benítez is considered to be one of the greatest bassists alive today. With five GRAMMY awards to his name and performance credits ranging from Tito Puente to Chick Corea, his impact on the music world is unquestionable. “The John Benítez Bass Method Volume 1” is the first in a comprehensive book series forged from unique teaching methods developed over years of private instruction. “Volume 1 • Freedom In The Clave: A Rhythmic Approach To Bass Playing” is a vast collection of rhythmic independence exercises designed to strengthen a student’s overall rhythmic confidence and awareness in regards to the clave, thus facilitating higher degrees of creativity and expression during performance. The book also contains five note-for-note transcriptions from various albums in Benítez’s discography to demonstrate how this master musician puts his own concepts to work in real time. Volume 1 is a highly useful, one-of-a-kind method for bassists and other inquisitive instrumentalists alike.
Biografía del autor
Ian Stewart was born and raised in Syracuse NY and grew up with the sounds of his father’s record collection which included the likes of Frank Zappa, King Crimson, Return to Forever and Weather Report. He was also fortunate enough to begin gigging at an early age in the various bars, clubs and restaurants in the Syracuse and Rochester areas. Upon graduation Ian continued his studies at State University of New York at Purchase College were he received his BM in Jazz Studies in 2008. Here he would have the ability to study and take classes under Todd Coolman, John Faddis, Ray Vega, Charles Blenzig, Doug Weiss, Kermit Driscoll, Gerard Hecht, Pete Malinverni, Doug Munro and many other members of the Conservatory’s esteemed faculty. In 2009, Ian relocated to Chicago, where he would remain until 2013. He quickly began performing around town with various acts of varying styles. It was around this time that he met pianist Darwin Noguera, and began playing with the Chicago Afro-Latin Jazz Ensemble and Noguera’s Evolution Quartet. It was also through Noguera that Ian started to work with many different bands in the Chicago Latin Music scene. Over the next few years he would play with Angel Melendez, Salsa Con Soul, A Cor Do Brazil, Lise Gilly, Havana, Las Guitarras de España and other assorted groups in the area. In 2010, Ian began playing touring with Moonjune recording artists Marbin. He spent the next two years playing almost exclusively with the band, visiting nearly every state in the union and opening for the likes of Allan Holdsworth, Jimmy Haslip, Virgil Donati and Scott Henderson among others. After parting ways with Marbin in 2012, Ian returned to Chicago and for the next year enjoyed a busy and eclectic freelance schedule once again. During this year he began playing with composer/multi-instrumentalist Hector Silveira and began delving deeper into the world of Timba and Cuban Jazz. Since moving to NY in the spring of 2014 Ian has had the honor of performing with Gerardo Contino, Gabriela Anders, Los Hacheros, Peliroja, Keith Ward, Bobby Sanabria, Axel Laugart, Oriente Lopez, Mike Eckroth, Buyu Ambroise Conjunto Guantanamero and other New York based artists. In addition to performing, Ian is also a contributing writer to Timba.com where he covers the latest in concerts and album releases in the NYC area.
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While this book appears to be well written and thought out, the physical size of the book is smaller than the standard size of paper which necessitates the notes to be a much smaller size. There is nothing wrong with my eyes. I'm a professional musician and read music daily. I've never seen musical notes this small. One almost needs magnifying glasses to read these notes on a music stand. These notes and pages are smaller than any music I've ever seen. There's nothing wrong with the content, it's the implementation of getting the information on paper that is faulty. One needs to be able to see the notes to play them.
For the sake of context, I've been playing bass for about 30 years, mostly in rock and pop settings. I've been working on expanding my musical vocabulary for a while and have bought many, many books and methods over the years. The reality is that there are a huge number of books that will teach you how to twiddle your fingers quickly or teach you "cool licks". This book goes beyond that music-by-the-numbers mode and delivers lessons that go beyond just technique.
It offers a biography and musical analysis of John Benitez, a significant player who I imagine is unknown to most people outside of the Latin music scene. Benitez is, simply, a monster player. The transcribed songs are well selected and the transcriptions by Stewart are excellently rendered. They offer a good representation of the breadth of Benitez's work and the analysis by the author really helped me focus on the most significant elements worthy of examination. I ended up buying the recordings of the songs and discovered a whole new range of artists to explore.
As with other methods, this book offers a large number of exercises, focusing on the understanding of Latin rhythms and forms built on the clave. However, it offers one of the most clearly articulated explanations of the clave I've read as well as a very reasonable approach to learning to use it as a musical concept. There are numerous tips regrading practicing the exercises, which can get quite challenging but Stewart is a wonderful teacher and guide throughout.
More than anything else, however, what struck me about the book was Stewart's ability to write cogently and clearly (soulfully!) about music as a shared human activity. Interspersed with the musical lessons are his observations about ways to learn and practice music through sharing time with other musicians - that it's more than just about learning patterns and copping licks from players, it's about getting out there and MAKING music together. Yes, I suppose it seems an obvious point but it is rare to see a book that actually speaks to it in an authoritative but direct and inspiring voice.
In short, this book made me practice with more joy than any other in a long time. Stewart is a good writer who is clearly passionate about the material and has the chops to deliver the necessary information in a well organized and meaningful manner. I can't wait for Volume 2 in the series.
(Note: there are no tabs in this book. Learn to read music!)