A Quote by Brittany Howard

An important part of being in a band is the rhythm section. — © Brittany Howard
An important part of being in a band is the rhythm section.
If you don't have a good rhythm section, your band is toast; you're a bar band. Good rhythm section, you've got a chance to get out of the bar.
I have a West Coast rhythm section and a New York rhythm section. I've got them spread out all over the place.
I can always tell if a band has a British rhythm section due to the gritty production.
When I started off in Wales, I sang and accompanied myself with guitar in the '50s. And then I got a band together, which is a rhythm section, really. I used to do a lot of blues, and rhythm and blues, and '50s rock 'n' roll and country, and all kinds of stuff.
Rhythms, beats, etc., are fundamentally central to my creative drive: my first instrument was the drums, nearly every band I have been involved in or at the helm of, is driven by rhythm, my band is driven entirely by rhythm, machine rhythm, and the purpose of the rock instrumentation is literally to speak the beats, to emulate the rhythms with guitars and bass, with very little articulation, and without being 'progressive'.
I tend to think of the organ as part of the rhythm section, rather than a frontline voice.
The rhythm, the sounds, the tonality, the chord sequences, the individual effect of each instrument and each section of the band - I'm talking about a whole continent in my music.
I think that the rhythm sections, drummers in particular, are the unsuing heroes of the music. It's the rhythm section that has changed the styles from one period to the other.
Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.
The thing that I always notice that dates a record is the rhythm section. With a good arranger the music can be timeless. But, rhythm can change, because heaven knows, we didn't know rock was going to come in, did we?
At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.
So, we went from being an Athens band to being a Georgia band to being a Southern band to being an American band from the East Coast to being an American band and now we're kind of an international phenomenon.
When you are in a band for a number of years you loose your identity in a way. You become a part of that band and then all of a sudden you are not part of that band. You are still the band without the other two members.
I can't get very excited about a musician who can do Art Tatum because I've got the Art Tatum records. I want to hear him take that and do something that hasn't been done. And there's enough of that going around that keeps the music very exciting. There's so many great young players coming out. I think we're in some kind of renaissance, especially in the rhythm section. I mean the musicians on drums and bass and guitar are really trying to figure out different ways to bring a rhythm section together.
I certainly think, obviously, rhythm is a huge part of being an actor. It just is unconscious, to a degree, but particularly in comedy, rhythm is pretty essential, and there's probably something more physiological going on.
I think that's an important part about being in a band, to be able to stand for what you do throughout the whole thing.
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