The Rhythm Section
The jazz rhythm section must phrase, play dynamics, attack and release along with the other sections of the ensemble. The main function of the rhythm section is supportive and complimentary to the soloist or ensemble
Piano
The main purpose of the piano is (along with the guitar) to provide chordal structure to the ensemble by comping. Depending on the work and the speed
of the chart, the pianist should comp light but solid. Almost never double the bass with the left hand, but outline the important notes of the chord. The third indicates major or minor; the seventh indicates major or dominant. The pianist also indicates added tensions such as diminished, augmented, sixth, ninth, eleventh, and thirteenth.
The pianist always should work with the guitar if there is one. When the guitar is playing rhythm, the piano should fill. The reverse is also true. LISTEN and be sure you can always hear the soloist or melody.
Guitar
Straight rhythm guitar is played by chording detached quarters every beat on slow to moderate speed charts. On faster charts, the guitar is chording only on counts 2 & 4. The Freddie Green style is usually played on an acoustic guitar. On an electric guitar, the current should be turned down almost to the breaking point, played with a pick in a brisk hard movement, and the left hand should voice the chords on the bottom four strings while deadening the top two with the lower part of the fingers. Do not play broken chords, and do not substitute electricity for energy. DIG IN!
Using the guitar for light fills (Joe Pass or Herb Ellis style) is done light, but solid. You can lead into a chord from ½ step up or down. Work with the pianist. For both styles you must know your chords.
On an electric guitar set your amp so that all adjustments can be made on the guitar. LISTEN!!
Bass
Both the electric bass and the amplified acoustic bass have their use in jazz. Most charts can be played by either although a standup string bass gives most charts an authentic sound. Set your amp at about BASS 3, TREBLE 8 and VOLUME 5 (low 1 to 10 high) Pull your strings and don’t rely on the amp. It takes a lot of concentration and physical work to keep the time for the band. Do not use super light strings; buy at least medium with some depth to them. The bass player’s main responsibility is the time. The bassist is also the main time keeper in the band, not the drummer. All the technique in the world does not matter if it’s not in time. In addition to the time the bass player gives the foundation for the pulse, and chord structure to the soloist and the ensemble. Put your amp behind you and the drummer so that you can both hear it. Work with the drummer, not against him/her.
To improve speed, play across the fingerboard not up and down. This will also smooth out your style. Don’t use 4th finger, use all four. Walk around the fingerboard and play positions. Lifting up one finger before you put down another gives you a dead space between notes. THINK SMOOTH!
Learn to use your tone control. Your notes should be connected for swing style and detached and percussive for rock style. Use the volume control on your bass and not on the amp. When you need to play subito dynamics, move your right hand up on the fingerboard to play soft.
Don’t play in the same register as the soloist. Usually stay low. LISTEN! Support the band, don’t drown them out.
Drums
Work with the bass player. It’s your job to convey his pulse to the ensemble. You must phrase the form of the chart in 8’s, 12’s, 16’s, and 32’s. Everyone in the jazz ensemble must give 100% and the drummer is no exception. Don’t change ride or style in the middle of a phrase.
The bass drum is used for kicks and accents only. The hi-hat is the most important with firm, hard and tight beats on 2 & 4. Get your left heel off the floor and walk heel-toe.
The left hand is used to give a light 2 & 4, or just 4 in soft passages and more of a heavy back beat in rock and heavier swing passages. The left hand should also be used to comp and shade. However, the left hand should never get in the way of the other members of the rhythm section, the soloist, or the ensemble. The right hand sets the style: rock, swing, shuffle, funk, ballad, etc. Know your cymbals and all of the colors they can produce. For heavy drive on the shout chorus, alternate between ride and crash on every beat.
Play dynamics, and stay under the band. To play subito pp, stop playing for one beat and then sneak back in.
On swing charts, the right hand can help with the push beats on the & of 2 and the & of 4. The right hand on ride cymbal can also work 2 & 4 harder than 1 & 3.
Always play tastefully, never overplay or play too busy for the music. LISTEN!