My doctor put me on a new drug that actually made me a bit stoned for the first few days. I was prepared for this and planned my days accordingly. What I didn't realize was how it would affect my playing. Being a little bit high (from whatever cause) can help you get into the music. Best case is to be high on the music alone. Less desirable is to be in enough of a fog to forget to pay attention to, for example, the guitar player trying to catch my eye because he wants to end the tune.
Read moreBe Kind To Your Support System
I had an interesting time playing a “back line” set. It was a high quality set – very complete – but with a few weak points. The main issues were the hi-hat, snare and bass pedal. Wait a minute ... aren't those the most important tools for a drummer? With a part missing from the hi-hat, a jammed snare release and a bass pedal badly in need of some grease, I had to be vigilant just to 'TCB' which, of course, takes away from playing music and my mental health.
Read moreBook Review: "Charlie Watts' Favorite Drummers", by Chet Falzerano
There are twenty six very famous drummers profiled in this book who span the twentieth century and the entire history of modern drum set drumming: Chico Hamilton, Phil Seamen, Kenny Clark, Davey Tough, Big Sid Catlett, Papa Jo Jones, Max Roach, Roy Haynes, Art Blakey, shelly Manne, Jake Hanna, Mickey Roker, Billy Higgins, Art Taylor, Elvin Jones, Joe Morello, Paul Motion, Dannie Richmond, Philly Joe Jones, Tony Williams, Billy Cobham, Ginger Baker, Jerry Allison, Earl Phillips, Al Jackson JR. and Jim Keltner. Thanks for writing such a comprehensive, educational and very entertaining book, Chet.
Read moreWorking Drummer Podcast is a new feature in Not So Modern Drummer
Everything you need to know about being a professional drummer . . . and a few things you may not want to know. Hosted by Matthew Crouse, co-hosted by Zack Albetta and produced by Mike Jackson: the podcast Working Drummer covers it all in interviews with dynamic pro drummers. WorkingDrummer.net
Read morePASIC 2016 Wrap Up
Wes Little in clinic at PASIC 2016 w bassist Brian Allen
Nov. 9-12, 2016, Indianapolis Convention Center, Indianapolis, IN. PASIC is the Percussive Arts Society International Convention. If you haven’t been to PASIC, then you should make time to go! It’s a day totally devoted to drums, percussion, the education of percussive arts, and just about anything that can be translated to rhythm. Just imagine – a convention center filled only with drummers! There were many concurrent sessions (making it impossible to see everything) so I elected to attend the drum set clinics primarily, and peruse the exhibitor booths in between. Unfortunately, that meant I missed out on many percussion ensembles, marching exhibitions, electronics, etc… Please check out the 60 pics on the NSMD Facebook site.
Read moreUnpacking Polyrhythms Part 1: The Basics
According to the Harvard Dictionary of Music, a polyrhythm occurs whenever two contrasting rhythms happen at the same time. That doesn't nail things down for us very well, especially given that there are a number of terms used to describe polyrhythms. What adds to the confusion is that the book uses the same bit of notation to illustrate several of these terms. So what gives?Terminology is helpful when it clarifies concepts, and a pain in the butt when it serves only to confuse. So I'd like to offer a few suggestions for interpreting the rather imprecise terms available to describe concurrent rhythms.
Read moreHitting Bottom
I'd only playing for a few years and was about a year into my studies with a world-renown teacher, but at this particular lesson I was bombing. I didn't know why I was bombing. My teacher, who didn't often say much, was pacing the room slowing shaking his head. “Let’s try it again,” he said. That meant another month of the same material. So I knuckled down and did it all again. I was good at knuckling down. I had the discipline and determination to master the material I was assigned. And I HAD mastered it. Or so I thought.
Read moreAlan Dawson exercises in a New Orleans context
When I attended Berklee in the late sixties, I studied with Alan Dawson and couldn't endure his drive for perfection. I wanted to move forward in a quest for new concepts, and he wanted to make sure I dotted every “I” and crossed every “t.” Alan had the patience of a saint, while I was a child that couldn't get his pants up quick enough to get started every day.
Our personalities at the time were, in many ways, at polar ends of the spectrum; yet, his demeanor was easy going and he was easy to like. Alan would say, “Here's your assignment I expect you to put a lot of time into the concepts I give you,” which, in his delivery, might include a passive-aggressive tinge. Alan preferred to imply his core message, rather than just say it out loud. At the time I didn't get it: I couldn't wrap my little young-adult head around such nuance.
Read moreJust Relax
A couple of years ago I had a recurring numbness in my lead hand. My fingers went quite numb and the numbness extended nearly to my elbow. I did a bit of medical research and learned that it was caused by, unfortunately, old age. The problem is similar to carpal tunnel syndrome. That’s when the nerve ‘tunnel’ in the wrist becomes chronically inflamed so the nerve can no longer slide along smoothly. Carpal tunnel is a tough one because it often requires surgery. My problem was less severe, and the recommended treatment was to relax. And so.....
Read moreBook Review: Inner Drumming by George Marsh
The Value of “Inner Drumming”
All drummers need to practice their rudiments and the various styles of music in which they are involved. But there is another crucial aspect of music not covered by those efforts. George Marsh's landmark book, “Inner Drumming” gives you the missing ingredient: internal awareness of your body as you are playing.
Read moreCarve Out Your Space
Drums are loud. And few if any neighbours would recommend living beside a drummer who practices a lot. So what is a poor, motivated drummer to do? Rent a practice hall? Good idea, but not convenient and not cheap. Just hope the neighbours are OK with it? Ya, I’ve tried that ... pretty risky. Maybe you can fit up a practice room that keeps the sound inside. That would be ideal. It’s also nearly impossible to achieve, but with a bit of time and investment, you can come close enough.
Read morePhoning It In
my favourite indicator is the dance floor. If it's filled with bobbing heads, then I know I'm not phoning it in. And if there is no dance floor, I watch faces and feet.
Read moreAnd A One And A Two
It would be nice if we all could just hear complex rhythms and then play them. Most of us have to find some way of counting them. For example, I learned to play quarter note triplets with 'Pass the gol-durn butter'. I use 'serendipity' to count 5-lets. Doesn't really matter how you count things, as long as it works for you.
Read moreThe Inner Inner Line
"Musical intensity will come from being able to play subdivisions with great specificity and control" - Peter Erskine.
Here's an interesting application. We think of funk as being very 8th note or 16th note oriented, but a lot of funk actually gets its groove from relaxing the 'inner inner line'. You may think you hear 16th notes on the snare leading into the down beats, but if you listen carefully you’ll notice that those aren’t 16th notes at all, but are based on a 16th-note triplet shuffle played within the 8th note structure of the rhythm. That’s why those beats are so relaxed and funky -- and a challenge to play properly.
From country to Led Zeppelin to funk, it’s all in the inner line … and the line within the inner line.
Reflections on Shelly Manne: Chapter 10
A ride beat moves itself ever forward, like a bicycle rolling along. And this part of the phrase, like the circle compared to the line, is where both the "hardest" and "easiest" parts lie. When played with fluidity it is rolling; a beautiful study of motion, grace and power. When played stiffly, it's like a mechanical device. Boring. Metallic. Uninteresting.
Read moreGet A Grip!
There is a plethora of ways to hit a drum, especially the snare drum, in most popular music styles. Elvin Jones called the snare "The Frying Pan," referencing the snare’s central role in cooking up, in his case, some very progressive jazz.
Read moreNic Marcy - Austin Drummer - Summer 2016
Nic Marcy is a world class player and educator. He started a new publication in 2016 called Austin Drummer which is about and for the drummers and drumming and music scene in Austin and beyond. There are some really hip articles to enjoy so we decided to make Nic's Austin Drummer magazine a column here at NSMD.
Read moreHey, Hey, We're the Studio Cats!
I recently watched an interesting and entertaining movie called "The Wrecking Crew". It's the story -- with lots of interviews -- about the coven of ace studio musicians who created almost all of the pop and rock music that came out of California in the ‘50s and ‘60s.
Read moreAdaptive Anticipation - or - What comes next?
I like to use a billiard analogy. You can just whack the cue ball and hope for the best, but serious pool players put a lot of effort into controlling where the cue ball ends up. It's important to make the shot, but if you're not preparing for the next shot, your game will suffer. Same with your strokes.
Read moreA Few Thoughts About Our Thoughts....
Mind
Self-esteem is what gives you the courage, the confidence you need to make it through life. Confidence helps you ask for a try-out for a band you admire. It’s also what enables you to play your best.
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