quote by Miles Davis

My ego only needs a good rhythm section

— Miles Davis

Massive Rhythm Section quotations

Women and rhythm-section first!?

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.

Guitarists should be able to pick up the guitar and play music on it for an hour, without a rhythm section or anything.

I usually write from the rhythm section.

..If a drummer got a funky beat on some things - like a half-shuffle or a shuffle or a backbeat that's even - I can write something.


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?

I always felt as a horn player, a jam session wasn't satisfying enough for me.

I should have been a rhythm section player, actually.

The hardest thing for a musician to learn is how to play WITH people.

That's what made the Basie rhythm section.

Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.

I can always tell if a band has a British rhythm section due to the gritty production.


And I like messing around in the engine room of music.

Seeing what happens in the rhythm section area.

My nails are my rhythm section when I'm writing a song all alone.

Some day, I may cut an album, just me and my nails.

If the rhythm section is really swinging it's such a great feeling - you just want to laugh!

I like to play fast. I get excited, and I have to sort of control myself, restrain myself. But when the rhythm section gets cooking, I want to explode.

I tend to think of the organ as part of the rhythm section, rather than a frontline voice.


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.

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.

There are five of us. We've all played in various bands together, in different combinations. I know that Todd [Cook] and Tony [Bailey] are my favorite rhythm section - they're just like a unit. I guess we've all just played together in various capacities, so when the band was coming together, it was sort of like we just chose members because they had similar sensibilities and also because they're just cool. We all got along real well.

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.

I raised the camera, pretended to study a focus which did not include them, and waited and watched closely, sure that I would finally catch the revealing expression, one that would sum it all up, life that is rhythmed by movement but which a stiff image destroys, taking time in cross section, if we do not choose the essential imperceptible fraction of it.


What makes that record special is something that is gone from music today - it's called a rhythm section.

New Year's Eve, we're going to be doing a concert with the Philadelphia Orchestra in Symphony Hall. It makes me feel good, because of all the people they could have had, they wanted me! We do have to do a little work with the rhythm section.

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.

CSPS is a breath of musical fresh air.

With a whale sized hooks and neck wrenching riffs you’ll have more than you need to fall head first into this band’s fanbase. Take a listen and see what all the fuss is about. I’m sure that if the bone tight rhythm section doesn’t lock you in, the finely spun lyric and melody will surely ensnare even the pickiest of musical palette.

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