Neo Footwork: The Jazz of Combat “Know the Rules to Break the Rules”

 Dominick_Cruz_Highlights  TJ_Dillashaw_The_Title_Shot_Heard_Round_the_World_breakdown_highlight_by_Brendan_Dorman_2015  Demetrious_Johnson_Highlights

“Is a Revolution Really Coming, or is it just a Trend?”

“They Said the Same thing about Jazz”

Okay because I am a  musician as well as a lifelong martial artist I look at things a little differently about art forms and evolving techniques in those forms. When you hear “Neo Footwork”, or “New Skool footwork”, or that Duane Bang footwork, etc these terms are really a deep understanding of everything I have talked about when it comes to striking understanding angles not using them and using them, ability to punch with the head off the B line, pivoting on the inside to land and keep moving forward without leaving any space, walking opponent into death with footwork, everything that is fundamental to striking. Just like in Jazz a fundamental rule of thumb is you have to know the rules to make the rules. So that’s the first parallel to my favorite style to play my trumpet, and way to strike.

There’s something you also have to have or train for when wanting to strike with this “Neo Footwork”. What all of the “Neo” guys have is a gas tank something needed to move constantly which is a wave or pressure that most people can’t deal with. Look at Chad vs Aldo 2, Chad got rocked and staggered which diminished him in that fight and he couldn’t reestablish himself and plus Aldo is a murderer. So all that is need as a base fundamental striking, with a real cardio not some bursting and relaxing cardio but the ability to constantly movement think always perpetual movement in your cardio thats whats needed. Look at Might Mouse, Dillashaw, Cruz, and hell Frankie Edgar they all have cross country runner, swimmer, triathlon, grappler conditioning that keeps them is state of perpetual motion.

The “Neo Footwork” name is slightly misleading nothing up the footwork is hitting the opponent so the striking is the booming volume sound, again building off the perpetual motion in the way the striking takes place at every angle there is a strike coming. Be it the Dillashaw Duane style where on every strike your turning and stepping through to land the next strike, while still mixing in fundamental old skool striking movements. By creating no pattern or by creating an incredibly complex pattern you’re keeping the target constantly guessing.

 Muhammad_Ali_Tribute_Gorilla_Productions (1)  Muhammad_Ali_Tribute_Gorilla_Productions

Striking on every open angle where there’s no threat or a small threat of catching a counter is what the meat and potatoes is of this striking style. How you get good at this is by studying the godfathers like you would in jazz. Study Marvin Hagler like you study Louie Armstrong watch the young Ali like you would a Miles Davis, using a dash and stepping over with repeated crosses to end up going from orthodox to southpaw. Breakdown the modern Terence Crawford vs Gamboa to see a man switching between southpaw and orthodox constantly throwing volume and giant shots. Getting good at your opposing stance isn’t good enough you need your left and right foot lead stances to be equally as sharp so that there is no weakness that an opponent can counter on. Having clean fundamentals in the Jab, Cross, Hook, Uppercuts from both hands.

 Marvelous_Marvin_Hagler_Switching_Stance_Hidden_Angles  Marvelous_Marvin_Hagler_Switching_Stance_Hidden_Angles (1)

This style isn’t really that new when you look deep into combat arts. If anything this is really a variation of a slew of styles fluidly blended together. It’s the breaking of a rule pushed on all striking sports from boxing moving one way laterally not shifting not just your angle, but the angle that your bodys on giving multiply looks. From south to orthodox to square back to bladed in some way, it’s all we are finding out to be huge successful and efficient in combat.

 Greatest_Hits_Terence_Crawford_HBO_Boxing (1)  Greatest_Hits_Terence_Crawford_HBO_Boxing

So the bases of this is not really to explain how its done that will be a in part 2, but more so what is needed at the base level. Knowing how to slip from both sides how to land everything from both sides. Staying reactive from both ends and developing a v-step, pull counters, body rolls, and pivots all of that is needed. Or you’ll just be like every other fighter that tries to switch or “get cute” and get beat or clipped and shut off. So to play jazz in the ring you better know your scales up and down, you better be able to play and read any piece of music to play or strike without following the rules.

-Stay Chill Family and Folks

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