A Quote by Marian McPartland

I have a West Coast rhythm section and a New York rhythm section. I've got them spread out all over the place. — © Marian McPartland
I have a West Coast rhythm section and a New York rhythm section. I've got them spread out all over the place.
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 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 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.
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.
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?
The relationship in Pantera and with Damageplan is the opposite of the traditional rhythm section. It's me and Dime, not the bass, locking in always. Dime's such a strong rhythm player that we just walk in, and we're good to go. We've been playing together forever, and when he goes somewhere, I instinctively know where he's going.
Women and rhythm-section first!?
My ego only needs a good rhythm section
An important part of being in a band is the rhythm section.
Catch Harry Belafonte. He's got a helluva rhythm section.And so have the Pointer Sisters. And that little guy with Sammy Clayton. He plays the whole show with 40 members.
I've been back in New York a year and a half now. Before that I was on the West Coast for five years. There's no comparison between the two. You hear things in New York you don't hear anywhere else. Unless these guys go out. Quite a few make it out to the Coast. Of course, you can't stay in New York for ever. You have to move.
I get the 'The New York Times' and 'Los Angeles Times' thrown at my door every morning. I'll read the front page of 'The New York Times,' then the op-eds, then scan the arts section and then the sports section. Then I do the same with the 'L.A. Times.'
It's always been my dream to have a monster rhythm section that's just all groove and pocket.
If the rhythm section is really swinging it's such a great feeling - you just want to laugh!
I can always tell if a band has a British rhythm section due to the gritty production.
Writing is so much about rhythm. If you've got another rhythm in the room, it spoils the rhythm of the words.
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