It don't mean a thing if it ain't got that swing

Interesting take. I was previously unfamiliar, but I actually love it! "Satan Said" is the track I listened to, and I hear a little bit of Ornette Coleman meets early bebop in playing fast and loose with note clarity and tempo. I will be seeking this out. That said, I can see why it might not appeal to everyone.

More about Charles Bell:

sites.google.com/site/pittsburghmusichistory/pittsburgh-music-story/jazz/modern-era/charles-bell

What I like about "Another Dimension" is Charles Bell's inventiveness as a composer. But we shouldn't be mistaken: This is not avant-garde music of the day. Both rhythmically and structurally, it follows the conventions of some "modern" jazz of the fifties, especially Teddy Charles and the like. Played more perfectly, it would have made for a thoroughly enjoyable album. Let's just listen to this again:



I find the theme very appealing, and the interplay between piano and guitar quite interesting, but if you decide to play this kind of music (which is rather conservative in terms of rhythm and structure) or any "jazz" music, for that matter, you must have a rhythm section that works. Ron Carter and Allen Blairman are never together, and guess who I blame for it. The longer it lasts, the more it sounds like a poorly rehearsed amateur group. To me, the album is no more than a somewhat strange collector's item.

I actually want to wrap this up because "this is not objective", as Gregory said. A good argument which cannot be applied universally though - especially in matters of craftsmanship.

Oh yes, there was some foot-tapping on my side too, all through the theme (and most of the other themes) and for some of the choruses. BECAUSE Bell sounds good, the guitar player mostly sounds good, Carter is trying to do his best, ... - ? All said.

I am trying to keep it short, so this will not deal with all the aspects of jazz rhythm. For the time being, I am leaving it to others to elaborate on such subtle questions as "Is there any swing in Free Jazz?" or the intricacies of Tony Williams' "rubberband" timing ... (Man, didn't he swing!)
Now here is my take. What is not really understood, I think, is the function of one of the most common characteristics of "swinging" music, eighth note anticipation. If you want a straight melody to sound jazz-like, you will inevitably place some of its notes earlier than expected - one eighth note earlier in most cases. It is a common misunderstanding that jazz syncopation is just randomly "breaking up the rhythm". No. It's always anticipation. (Some may disagree. Examples welcome. I will disprove them all.)

Anticipation creates the feeling of being constantly pulled forward by some irresistible force yet in the end falling back precisely on the beat, so you never give up the steady pace, never give up your "time". If you were to do this, the rhythm would instantly fall apart. There are, of course, players who prefer straight eighth-note strings to syncopated phrases for most of the time.

The other characteristic found in many jazz players from Armstrong to Zorn is relaxed playing. Putting all your phrases (including your anticipated notes) a tiny fraction behind the beat. We all know that's how Wynton Kelly created his magic. Why this laid-back playing? Well - again it's this irresistible force that's pulling you forward, a force you try to resist by slightly leaning back.

Irresistible force? Irresistible drive? Think of the original meaning of the word "jazz". Jazz as an expression of the most human feelings. Basic instincts, as the enemies of the music have always argued. This, of course, is not the whole story of jazz. But it's the story of eighth notes and relaxation.