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JCJameS
#850
Quote:
A decade ago, Merlo Podlewski got the call to play with an obscure surfersongwriter named Jack Johnson. Podlewskis chill demeanor and love for the Meters, Jimi Hendrix, and Bob Marley made him an easy personal match for laid back Jack, and hes been riding high on a monster wave with him ever since. Johnsons latest, To The Sea, is out now.
Jack Johnson has professed his passion for unobtrusive tones. Is that how you would describe what youre going for?
I guess so. Im going for a reggae tone, but Im not playing those licks in their native context. We go for the irie tones of a reggae bandslightly dirty guitar, dry, old-school drums, warm, round bass, and a mellow vocalbut we dont use one-drop rhythms or anything like that. I learned loads of licks listening to Family Man Barrett and Robbie Shakespeare growing up, but we mostly play them in an American soul style.
Can you elaborate?
Different styles of music utilize many of the same stock licks. Where they stop and start in a bar is often the only difference between, say, a funk lick with an emphasis on one, and the same lick in an afro beat context, where it might start on three. Reggae is like soul like moved over you dont emphasize the one as much, but the licks are essentially the same.
Can you draw similar comparisons tonally?
When I started playing in clubs, I discovered that Latin music and reggae have essentially the same warm bass tone. If you can get that tone out of a rig, you can do world music gigs, plus soul and hip hop.
How do your mechanics factor into nailing the irie tone?
I feel that you need heat on the front end in order to achieve a true tone, so I use heavy strings, high action, and I dig ineven on low-volume gigs. Ill pluck up near or on the neck to mellow my sound. I play a lot of Jacks stuff using frets five through ten. In that region, you get a warm sound that doesnt grind like the tone you get from playing the lower frets, and the notes dont jump out too much either. The middle region of the neck is the sweet spot.
Jack Johnson has professed his passion for unobtrusive tones. Is that how you would describe what youre going for?
I guess so. Im going for a reggae tone, but Im not playing those licks in their native context. We go for the irie tones of a reggae bandslightly dirty guitar, dry, old-school drums, warm, round bass, and a mellow vocalbut we dont use one-drop rhythms or anything like that. I learned loads of licks listening to Family Man Barrett and Robbie Shakespeare growing up, but we mostly play them in an American soul style.
Can you elaborate?
Different styles of music utilize many of the same stock licks. Where they stop and start in a bar is often the only difference between, say, a funk lick with an emphasis on one, and the same lick in an afro beat context, where it might start on three. Reggae is like soul like moved over you dont emphasize the one as much, but the licks are essentially the same.
Can you draw similar comparisons tonally?
When I started playing in clubs, I discovered that Latin music and reggae have essentially the same warm bass tone. If you can get that tone out of a rig, you can do world music gigs, plus soul and hip hop.
How do your mechanics factor into nailing the irie tone?
I feel that you need heat on the front end in order to achieve a true tone, so I use heavy strings, high action, and I dig ineven on low-volume gigs. Ill pluck up near or on the neck to mellow my sound. I play a lot of Jacks stuff using frets five through ten. In that region, you get a warm sound that doesnt grind like the tone you get from playing the lower frets, and the notes dont jump out too much either. The middle region of the neck is the sweet spot.
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