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There is the straight ahead swing (the triplet aproximates it : 66.666 % to 33.333%. Most people vary it, like evening it out to around a 60% to 40% ratio. It varies at different tempos and with each player and even from tune to tune.

Accenting the "and" more than the downbeats is characteristic, as is laying back (Miles) or even playing slightly ahead of the beat is used for a dramatic effect (Errol Garner).

Then you have the even eighths in modern jazz. Accents of some of the eights gives even eighths jazz it's mild swing feel.

And let's not forget the technical aspect either.. you are not going to be able to swing at 300bpm just because you "feel it", you will actually need to learn how to do it physically.

It's like anything you do, like martial arts, you are not going to do a judo throw just because you feel it, you are able to do it because you practiced enough to make it a second nature.

At 300 bpm I go with even eighths

ECM (Edition of Contemporary Music) is a record label founded in Munich, Germany, in 1969 by Manfred Eicher. They put out the first records where I heard jazz players using even eighths.

http://en.wikipedia.org/wiki/ECM_(record_label)

The first ECM release was Free at Last in 1969 by American pianist Mal Waldron. For some years the label specialised in jazz, releasing recordings by pianists Keith Jarrett, Chick Corea, Paul Bley, and Art Lande; saxophonist Jan Garbarek, vibraphonist Gary Burton; guitarists Pat Metheny, John Abercrombie, Ralph Towner, Bill Connors and Terje Rypdal; bassists Eberhard Weber, Charlie Haden and Dave Holland.

The label's output shares a certain common aesthetic framework, including a crisply nuanced recording sound, repertoire consisting mostly of original compositions by the artists, most of which did not swing in the conventional sense, and often stark and minimalist photographic cover art. Some detractors characterized the sound as cold and the music, and presentation, as Eurocentric. Others have credited the label's early aesthetic approach as a precursor, for better or worse, of the new-age music movement.

Jazz+

I was told by some of the teachers that you can still get some swing feel by accenting the off beat some of the time. I can't really do it myself so I am not sure

Here is some 300 bpm swing, listen to the Griff on the Autumn Leaves clip:

http://www.amazon.com/gp/recsradio/...1_001?ie=UTF8&track=001&disc=001

when you fall in love do you guys also analyze what is happening in your stomach so deeply? or do you just play (with her) what you feel? LOL

lot's of fun here...

Of course when you first fall in love you really don't care about anything else, but after a while you realize how much work it takes to make something work and last. You have to take time to understand each other and learn to accept each other's shortcomings and improve on them, and keep the good things going.

When you start playing, you don't really care if anything sounds good or bad, you just have fun, but after a while you learn things so that you can do it better and in a more meaningful way.

Ignorance is not a bliss.

Here is some 300 bpm swing, listen to the Griff on the Autumn Leaves clip:

http://www.amazon.com/gp/recsradio/radio...01&disc=001

Swing eighth notes are generally played legato (slurred). Accenting the "and" between each beat slightly is also a common swing characteristic.

Various Rhythmic Swing Approximations:
1:1 = eighth note + eighth note, "straight eighths." (accent the "and") play rhythm from introduction with no shuffle, as straight eighths (help·info)
3:2 = long eighth + short eighth, "swing" or "shuffle" play example with light swing (help·info)
2:1 = triplet quarter note + triplet eighth, triple meter; "medium swing" or "medium shuffle" play example (help·info)
3:1 = dotted eighth note + sixteenth note; "hard swing", or "hard shuffle" play example with hard swing (help·info)