Shelly Manne (1920-1984) - Historically important jazz drummer most associated with the ‘West Coast Jazz’ style. Shelly was so versatile that he also played on hundreds of Hollywood movie, and television soundtracks. While Shelly’s extensive discography is amazing, the list of musicians he has played, or recorded with is literally mind-boggling.

Not So Modern Drummer columnist David Barsalou asked internationally recognized drummers –Sergio Bellotti, John DeChristopher, and Skip Hadden to share their ideas and opinions on the following quote attributed to Shelly Manne,

"The ride beat is the easiest and the most difficult thing a drummer will ever play".

JOHN DECHRISTOPHER

“Shelly Manne’s statement is undeniable. Sure, playing a simple ride beat is easy for a drummer to play, but playing that same simple ride beat and having it swing and feel like, say… Elvin Jones, Tony Williams, Joe Morello, Peter Erskine, Steve Gadd, Jeff Hamilton, Jeff Porcaro or Charlie Watts, is a completely different thing.

As a young drummer, I understood my role of being the timekeeper, the importance of a solid groove and making the music feel good, but didn’t fully embrace it - when I sat down to practice, I would tend to work on things like speed, technique and playing cool licks.

Now, at 55, playing in a band again, Shelly’s words resonate more than ever. When I sit behind my drums, whether I’m on a gig or in my practice room, my goal is making those simple quarter notes, or eighth notes, and the music itself, feel good. When the guys in my band turn around and smile, that’s the payoff. I’ve had the good fortune of working with many of the world’s greatest drummers, in all genres of music, and being around all these great drummers has afforded me a greater understanding of playing the ride beat. The importance of being relaxed, breathing, posture, keeping a loose grip on the stick, allowing the cymbal to react naturally to the stick, and choosing a ride that sounds good. That may seem obvious, but sound is important. I know for me, when my drums and cymbals sound good, I play better and feel better.

One of the nice things about being older, is recognizing the things you didn’t know when you were younger. The ride beat is one of those things. Case in point: Joe Morello’s masterful playing on “Take Five”, Charlie Watts’ exuberant playing on “19th Nervous Breakdown and Don Henley’s simple, yet perfectly suited playing on “Take It To The Limit” - three distinctly different drummers, with the ride beat being the common denominator.

To sum it up, when Peter Erskine plays a ride beat at a tempo of, say, 65 BPM, there’s a groove and a pulse, and even at that tempo, it swings like crazy! It’s one of the most beautiful things you’ll ever hear. To me, it illustrates Shelly’s statement perfectly; that the ride beat is the easiest and most difficult thing a drummer will ever play.”

John P. DeChristopher/Viper Representation & Consulting
Artist Representation for Steve Gadd, Peter Erskine, Rick Marotta & Danny Seraphine
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SKIP HADDEN

In response to the Shelly Manne quote: "The ride beat is the easiest and the most difficult thing a drummer will ever play". I thought of these comments. A possible analogy would be when enticed to seek inner peace or at least some quiet in your life it is suggested you learn breath control through study with a yogi. A possible response, “What I’ve been breathing all of my life what are you talking about?” Then when you find out how deep they are suggesting that you can go with the breathing, it becomes a whole other story. “Oh!...That kind of breathing”…Yeah!…Hmmm… Being able to lay out the time and seemingly doing nothing is indeed an example of what Mr. Manne speaks of in it being the easiest and most difficult at the same time. The obvious is just not that obvious sometimes…
Thanks for the opportunity.

Examples of “JUST TIME” or what is possible playing nothing…yeah right nothing… “Roach” Larry Goldings w Jay Bellerose 2015 https://www.youtube.com/watch?v=W8EQr7qEUvg&list=RDW8EQr7qEUvg “Lil’ Darlin’” Kurt Elling “Flirting With Twilight” w Peter Erskine 2001 “It’s So Peaceful in the Country” and “The Best Thing For You Would Be Me” Bill Charlap Trio “All Through The Night” w Kenny Washington 1997 The other side of time keeping…the busy side…but exquisite “No Improper Use” Enrico Pieranunzi Trio “Stories” w Antonio Sanchez 2011 “E.S.P.” Ulysses Owens Jr. “Unanimous” w Ulysses Owens Jr. 2012 “Identities Are Interchangeable” Miguel Zenon “Live at Newport 2015 w Henry Colé http://www.npr.org/event/music/354587935/miguel-zen-ns-identities-are-changeable?utm_source=npr_newsletter&utm_medium=email&utm_content=20160626&utm_campaign=npr_email_a_friend&utm_term=storyshare Artists to check out… Jonas Burgwinkel w Pablo Held, “Forest of Oblivion”, “Live”, “Elders”, “Glow” Jochen Rueckert “Soul Eyes” w Marc Copland “Haunted Heart and Other Ballads Richie Barshay w Chick Corea Five Trios Box Set Disc 5 2007, Bill O’Connell “Heart Beat” Henry Colé w Miguel Zenon, Alfredo Rodriguez, David Sanchez, Afro Beat Collective Celso De Almeida, Rosa Possos Raphael Barata, Eliane Elias, Kenny Werner Kiki Frietas, Joao Bosco, Nosso Trio Martin France, “Everybody’s Song But My Own” John Taylor Trio “Whirlwind” Francesco Mela , Joe Lovano, “Us Five.” His own recordings Ted Poor, w George Colligan “Ask Me Tomorrow” 2014 Lastly check these out: Compare and contrast these two… An example that Jazz is in good hands, pun intended… “Beehive” Lee Morgan “Live at the Lighthouse” w Mickey Roker 1969 “Long Branch” Mark Guiliana “Family First” 2015 http://www.skiphadden.com

http://www.jeffballard.com/interviews/skiphaddeninterview.htm

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SERGIO BELLOTTI:

While it is not an easy task to determine which component of the modern drum set could be more important than another, most would agree that ride cymbal is most likely in the top list.

We shall also all agree that all of the elements really contribute to modern drum set playing but I don't hear as often length discussions about a 10" tom sound or a cowbell. Being a drum shop owner, a professional drummer and educator for the past 30 years, I will tell you that I have been part of these many interesting conversations about the “perfect” ride.

As it turns out there isn't one, in fact drummers tend to pile up a few in their arsenal.

What I find fascinating about the ride cymbal is how that alone could affect the overall feel of a performance. It is the largest and loudest component that in most cases we utilize to spell out the subdivision and address the feel of the song. I really like to think of it as my go-to place when it comes to be heard, set up a mood, lift the band up and resolve ideas after making a statement. Yes...Because a great ride is also a dear crash and carries a bell which when it comes to groove, is the ultimate place to explore....

Now...Get your own Ride(s)

Sergio Bellotti

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Sergio Bellotti is an international artist and Renaissance man. As a powerful and tremendously gifted drummer, he’s played with some of the world’s finest musicians. As an educator, he’s an in demand clinician as well as a professor at the esteemed Berklee College of Music. As an entrepreneur, he owns 247 Drums which caters to the needs of drummers everywhere.

Hailing from Bari, Italy, Sergio’s passion for music and accomplished drumming spurred him to move to Boston in 1995 to attend the Berklee College of Music. Shortly after arriving in the U.S., Sergio met his longtime musical partner, fellow Italian expatriate and bassist extraordinaire, Tino D’Agostino. Together they founded and continue to lead Spajazzy, a jazz fusion group, which has featured guitarist Mike Stern on both of their cd releases. Good company indeed.

In addition to his professorship at Berklee, where students from all over the world come to study, Sergio serves as a visiting artist at the GM Drum School in Torino, Italy and as a faculty member at the Conservatorio Della Svizzera Italiana in Lugano, Switzerland.

Sergio is the founder of the “Do You Speak Drumming?” program and often travels to Europe to conduct clinics, concerts and master classes. He is a drum artist for both Yamaha Acoustic and Electronic drums.

Sergio has recorded or shared the stage with world class musicians such as Mike Stern, Tom Scott, Nathan East, Robben Ford, Alessandra Belloni, Bernard Purdie and Rocco Ventrella to name but a few. He has performed at international festivals such as the Montreal Drum Fest, The Golden Jazz 2015 in China, Bari In Jazz 2010,Cape Breton International Drum Fest, Berklee World Percussion Festival and the PASIC and 5 consecutive KOSA festivals

Sergio has been based in Boston ever since arriving in 1995 and is still immersed in the city’s lively music scene. He holds down the drum throne for his weekly gig with We Jazz Up. Their Tuesday night show at Slade’s has become a time honored ritual and one never knows which talented musician might visit to sit in.

In addition to being an artist, educator and clinician, Sergio ministers to the needs of drummers with his shop, 247 Drums. The major manufacturers of drum gear have recognized his talents, and besides Yamaha, Sergio is also an endorser for Remo drumheads, Zildjian cymbals, Vic Firth drum sticks and the Vibe T5 Stick which he designed himself.

Whether playing, recording, teaching or supplying drummers with gear, Sergio Bellotti is truly a renaissance man.

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