Friday, February 22, 2019
A simple conceptual exercise today, inspired by a lesson I took with Carl Allen many years ago and from Todd Bishop's recent blog post on playing music with "odd" forms. Check out his insightful commentary here.
Basically the above idea is an exercise that involves keeping the form while alternating between playing measures of Time and then improvising on the drums for a pre-determined number of bars. It's also an exercise in becoming comfortable with "odd" phrase lengths as well as shorter ones.
So here's the basic routine:
1) Choose a Time Signature (ie. 4/4, 3/4, 5/4, 12/8, etc.)
2) Pick a Style (Swing, Afro-Cuban, ECM, etc.)
3) Choose a Tempo (slower is always better!)
4) Play Time for the first section, then solo/improvise over the second half. Repeat. Then go on to the next one
5) The idea is that you are free to play whatever you want in each section BUT the form (ie. the number of measures in each section) and tempo must be clear and respected at all times
A few other variations:
- Trying changing the time signature every time you reach a new section
- Stick with one phrase length for the timekeeping sections but cycle through the lengths of the solo sections (ie. 8-8, 8-7, 8-6, 8-5, etc.)
- Mix up the order in which you play each section
- It is advisable to plan these routines out in advance and maybe even write them down such as I did for reference (ie. a road map!)
- Once you are comfortable with each phrase length and the transitions between them, challenge yourself to play over-the-barline phrases within each section.
- Be creative and have fun. Challenge yourself
Anyways, it's not rocket science but I find little games like this really help me break out of my usual vocabulary. Personally I find it can be a bit cold to play like this without any melodic reference or framework but it IS a good exercise in sharpening one's concentration skills and overall attention to phrasing (a tune like Victor Feldman's "Joshua", made famous by Miles Davis and his quintet, comes to mind...)
I also suggest recording yourself while practicing this, listening back afterwards for the clarity and definition of each section. Imagine that you are the saxophone player in the band, listening patiently to the drum solo and anxiously wondering when you need to come back in with the melody!
Thursday, February 21, 2019
This one was making the rounds of social media yesterday and I just had to share it. Here is a lesson in sustained musical accompaniment on the drums courtesy of Jack DeJohnette, backing up an all-star saxophone section featuring Michael Brecker, David Liebman, George Garzone and Joshua Redman, anchored by Geoff Keezer on piano and Christian McBride on bass (with a guest appearance by Dave Holland!) on the John Coltrane anthem "Impressions":
Amazingly Jack not only manages to keep a sustained energy and interest going through all those successive tenor solos, never once backing off, but then he takes an epic drum solo himself to cap everything off!
Wednesday, February 20, 2019
I've been messing around with some interesting cross-rhythm excercises and the idea of poly-rhythmic "layering" lately (more on this later...) and this prompted me to revisit this excellent tutorial from percussionist and rhythm guru Pete Lockett. Take some time to check this one out as there is a lot of great and practical information to be found here:
Monday, February 4, 2019
I'm hitting the road shortly so I will be taking a break from blogging for awhile. However, in the meantime, be sure to check out these latest two instalments from Chris Smith over at The Drum Hang: an episode on Billy Higgins' solo vocabulary AND an excellent tutorial on the how's and why's of feathering the bass drum (perhaps one of the most misunderstood and underrated tools of Jazz timekeeping). These two segments are quite long each of themselves so plenty to dig into while I'm gone. Hope you learn something from these excellent videos. I sure have!
Tuesday, January 29, 2019
Inspired by recent social media posts and drum videos from such drumming luminaries as Geoff Clapp, Chad Anderson, George Sluppick, Quincy Davis, Gavin Sorochan, Dan Weiss, Josh Jones, Ted Warren, Conor Guilfoyle, Todd Bishop, Chris Smith and many more...here's my humble contribution to the hive, a simple sticking pattern I came up with and some orchestrations around the drums. It's basically a variation on an old fashioned paradiddlediddle except with a extra note stuck on the end of each grouping, making it two seven-note patterns that alternate between each hand.
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Here's what the basic sticking pattern looks like:
Rubim De Toledo and Carsten Rubeling both think it sounds like something Tain would play (I should be so lucky...but I'll take it!) In any event, hope you dig it.
Monday, January 28, 2019
I've been meaning to share these ones for a while now....some incredible playing from the late Sebastian Whittaker (also known as "Bash"...), a wonderful musician who had a deep impact on those around him, particularly in the Houston Jazz scene: www.houstonchronicle.com/entertainment/music/article/Houston-jazz-scene-loses-a-major-player-8352671.php