I wish I was one of these drummers that proudly say phrases like: “Buddy Rich is one of my big influences”. Nope, he is not. Even though I own Big Swing Face and I ‘ve listened to it a dozen times I still can’t quite claim I can grasp the amazing brain of Buddy Rich.
What I surely can say is that watching his big band performances with good sound is like eye(and ear)-candy to me. You have a killer band, killer tunes and killin’ drum ideas hidden in every corner. This is a performance he did at Montreal Jazz Festival. He sounds immense with his Ludwigs here, almost like a rock drummer with the ultimate touch.
I didn’t know who Jacob Slichter is. It does not matter. I then read he’ s the drummer of Semisonic, which I don’t like. It does not matter. This guy made a five-part study on the essence and concept of time and feel and he hits all the right notes.
Subjects like these of course are highly subject to personal opinion and perspective but I happen to agree 100% with him so I had to repost it.
Part 1 – Time Analysis including examples from Al Jackson, Ringo and Charlie Watts
Part2 – Analysing the feel differences between three drummer of the Boss
Part3– Pointing out that it’s not just the drums that create the feel of time (amen to that!)
Part4– Suggestions on practicing the concept
Part5 -Analysing two legends: Elvin Jones and Roy Haynes within the same context of a song.
Matt Chamberlain is helluva guy. This tiny link proves it beyond doubt. He is one of the few drummers to actually carry a signature sound and that’s why he served as the go-to guy for pop/rock producers for almost two decades now.
One of his best works is Macy Gray’s debut album, On How Life Is released in 1999. All the songs in there have pretty much the same chilled mid-tempo feel but that doesn’t count as a bad attribute.
It’ s the drumming that keeps the whole record together as a whole but at the same time sets every song apart in a very unique way. Mixed with loops and percussion layers, Matt Chamberlain’s amazing touch shines through.
This week I’m playing my first “tribute” type gig. Its 3 nights dedicated to Elvis Presley. The selected set for the job is my 1968 Pearl Luan Mahogany kit. Sizes are: 20″ x 14″ / 13″ / 16″.
I found it as a cheap bargain online and I thought I could take the risk. As it turned out the previous owner was very kind to it and it was in near mint condition when it arrived. It even had its original old school hardware (cymbal and tom mounts seen below).
A little history about it. During the 60’s, the drum industry was completely conquered by American brands like Rogers, Slingerland, Gretsch and so forth. Little Asian companies made their first appearance at that time by trying to immitate the big boys and create cheap replicas of their core sets. Pearl was actually one of them.
Judging by the logo of my kit it is crystal clear that they were trying to rip off Rogers. But only on the outside. Cause in the inside its just pure “cheapness”. Three plies of luan mahogany aint something special. But make that three plies of luan mahogany after 50 years of careful storage and you might just make something. This kit actually delivers way more that its supposed to be and I love it for that.
I’ m also loving the hardware solutions for the working drummers of that era. They could just put almost everything on their bass drum and finish their gig happy. I recently found out that Ludwig and DW have brought back into the light revamped versions of old school hardware. I would like to see them become a trend (along with a pricedrop..).
You can have a taste both from the kit and the Elvis Tribute Band here:
“A Can Of Bees” by The Soft Boys was a record released in 1979. I repeat.. 1979.
Franz Ferdinand who?
I could easily just start another blog about Steve Jordan and post all his videos with commentary about how awesome I think he is. If magic was real he would be a druid.
Instead of spamming all my favourite moments of his I ‘ll just wrap it all up in a small piece of wisdom he recently shared. The video was probably shot before or after an interview session he did for Guitar Center.
The moment I watched this video felt like my first day in school.
Bun E. Carlos is the drummer of Cheap Trick. His minimal playing often goes unnoticed by most of us because at his time everyone went for the uber impressive stuff but him. His legacy though can be easily heard on players like Ronnie Vanucci of The Killers and others.
These two next videos are a small part from a clinic he did some time ago. He more or less proves that if you wanna be serious about your drumming, you gotta learn your history. His opening line after the intro-solo was groundbreaking for me. Enjoy!
After watching this it was clear to me that “stealing” is probably the best way to find your own unique voice on the instrument.
We should all take a note of what he says around 4:30. He explains how he discovered the killing sonic capabalities of the hihat cymbal. I, myself had to learn that the hard way by “destroying” some recording sessions (plus numerous gigs).
The ugly truth is that no matter how gentle you are on the hihats they are still gonna sound freakin’ loud. I ll probably make another post just for that.