Dave Weckl's new cd due out July 12th

Yeah, fair enough. I never meant that this site was solely about those two guys, nor is it, really, if you look at it over the last few yrs [even tho we speak of them a lot, & why not]. It was just orig dedicated to their consistent mastery within their style[s] & profession, as you have them on your site, Stv, which is what drew me to you in the first place. Cool. But really, more of the spirit of them AWA all the other great players & music out there, of which there are many & diverse, & drumg & music in general, no doubt.

I think the vibe here has always been about great music awa musos, an "experiment" if you will in progress, & i def have been turned onto some great great players AWA music that i hadn't been exposed to yet. Funk, jazz, SA or bop, latin, brazilian, RnB, rock, ska/reggae/calypso, fusion, you name it. A melting pot of which there is really no exclusion. It's actually run the gamut over the yrs. A new person in here may only see what's been going on at the moment...

I just become amazed sometimes at some of the things i've read in here, about highly accomplished players who are "doing" it, but that's normal stuff, & everyone has their pref's. It's MUCH worse on most of the other forums out there, of which i've long since stopped bothering with. Not enough time in the day, anyway, really. ;-) [img]cool.gif[/img]

For instance when a hardcore trad jazz purist gets put off by folks who laud a contempo fuso type player. I really don't think jazz was meant to be this way, it's an evolutionary thing, but you def still have to have diff styles within that genre, awa an understanding of the history/eras/stages/purisms/foundations.

But pointing out how great 1 guy is is not at the exclusion of all the other players out there. Even if it seems to be done a lot.

There is indeed a WORLD of music out there for the taking. It's vast. Diverse. And there's something for everyone. And we are actually in THE most dynamic & explosive chapters in music history t this time...because just look at all that's behind us, awa where we are NOW, & what exciting prospects lie in the future. [img]cool.gif[/img]

OK, I'm outta here b4 i do another episodic turn...time served. I was starting to sound like a romance novel / TV movie promo spot / Disney or Universal ride intro anyway. [img]graemlins/hmmm.gif[/img] ;-)

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I need to utilize the space of my room more. It's and unorganized pile of books and music. I like to think I'm a mad scientist though and cleaning up would just tame me.

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<font size="2" face="Verdana, Helvetica, sans-serif">LOL

<font color="#a62a2a" size="1">[ July 02, 2005 02:19 AM: Message edited by: got_a_match_grip? ]</font>

Shockadiddle, flarob explained the 9:7 thing in his post, only he said 5 against the first 2 HALF notes, which of course is 4 quarters, then 4 over the next 3 quarters. Thus, 5 against [or, "over"] 4, & then 4 over the following 3 in the bar. 5:4 + 4:3 = 9:7.

To accomplish 5:4, first break the 5 into 16ths on staff paper; then line up the bar of 5 against the bar of 4 as follows ["Q" naturally = quarter, or "1/4" note]:

Both the 1's will fall of course on the 1.
The 2nd QN of the 4 groupg falls on the "e" of the 2 in the 5 grouping,
The 3rd QN [of the 4] falls on the "&" of the 3 [in the 5].
The 4th QN [of the 4]...on the "a" of 4 [in the 5].
& back to 1.

* IT IS IMPORTANT to keep the 1/4 note pulse even & steady metronomically [during playg the 5] as was both b4 or aft it. Count the 4-1/4's out loud as you're playg the 5 to help internalize it.

4:3, pretty basic, would of course be: the 4 QNs would fall over the 3 as on:
1
"a" of 1
"&" of 2
"e" of 3

But yes, on his solo stuff he does not employ outright 'polyrhythms' as such usually, except for the obv like 4:3 & vice versa, awa 2:3/3:2; the gamut of trip-divisions over any given... In fact, i can't recall on any. But loads of synchop, yes. But yes, not much 7, 9, 11s against 2,3,4 etc.
But I've no doubt whatsoever that Weckl is able to, AWA has, done this, AWA other combinations. [img]cool.gif[/img]

<font color="#a62a2a" size="1">[ July 05, 2005 04:19 PM: Message edited by: got_a_match_grip? ]</font>

Leave it to fuse to bring out the essayist in everyone. [img]wink.gif[/img]

No drummer's first favorite drummer is Weckl, Colaiuta, Gadd or any other low-profile session player. Most drummers who stick with it (I'm not going to continue anything I'm not any good at, are you?) tend to start very young. It only stands to reason their first few heroes are either the Icky Rackets of the world or, more by chance than any real knowledge, the Pearts and Bozzios, showy players in music videos.

Not every drummer's first hero is a flamboyant rock drummer, but nowadays it's more likely. Conceivably Buddy motivated several generations of fidgety young men to take up the call in the 40s and 50s. In the 60s Tony Williams with Miles could've been your Main Man, or Peart in the 70s, or Danny Carey in the 90s. The Toolman seems to be a favorite among drummers I know under the age of 21. I can see why, he's very good. But he ain't Weckl.

And as good as Peart or Carey are they draw from wells much deeper than the pretty pools they splash in. After winning his first MD award in 1979 Peart suggested interviewing Graham Lear, Simon Phillips and Terry Bozzio: "Now those guys can REALLY play." Except for Lear, I'd never heard of Simon or Terry in 1979. I found out about Tony from Steve Gadd and Vinnie from Terry Bozzio in magazine interviews.

Drummers serious about their drumming usually become interested enough in the craft to research the history. The point being, among those devoted, Travis Barker and John Blackwell eventually lead to the mountaintop vistas populated by the Zen master mover-and-shaker black belts: the Weckls, Colaiutas and Donatis; the Smiths, the Gadds, the Cobhams, the Williams's, the Bellsons, the DeJohnettes, the Blakeys; the list is long and the real estate exclusive.

And! And just because Ed Blackwell (from whom Tony Williams appropriated large chunks of his style) could play doesn't mean John Blackwell can't.

Hai, dozo! Domo. [img]rolleyes.gif[/img] YESH!

<font color="#a62a2a" size="1">[ July 02, 2005 11:43 AM: Message edited by: Five Eight ]</font>

Man you nailed it. That was most excellent, squire. [Maybe ya shoulda posted that one on the old VC clinic-tour/911 thread.] [img]wink.gif[/img] [img]confused.gif[/img] [img]graemlins/hmmm.gif[/img] [img]redface.gif[/img]

NP, exclusively because of several drum mag interviews where he listed Cobham, PCollins, Giles, Brufe, AWhite, Palmer, awa others as major influences [also Moonie, NMason, NOlsson; he was evid heavily into the British rock scene ATT incldg prog-r] - led me from the easy-list world of FM & into the world of prog, which led to fusion; to funk; to jazz; to world ethnic...you get the pic. Altho my grade school did do me the most honorable service of exposing me to the symphony orchestra back in the [young] day, which prob was the second major factor in wetting my appetite, for this great & diverse thing we call music, next to FM radio & records [dating myself here; right b4 the 'advent' of the disc ;-)].

So it is that NP, having not played these other styles, single-handedly helped me as a musician in a roundabout yet still direct way.

Altho I'm long out of my CP/ELP drumg phase, I knew CP was a huge Rich phreek [& i knew of CP simply because of radio, awa NP], & I'd already had exposure to BR via Carson & other TV shows...& so, the Big Wheel goes 'round... [img]cool.gif[/img]

Getting back to the most fearsome Dave, I suppose i could just stick w all his other solo discs i have, which are a mighty yardstick...but i guess i'll still look forward to supporting the man & his mighty drumming. Even if I may not like the tunes or writing... /;-p j/k [Weckl discs never go 'back to the store.' & i bet they don't at the poo-poo's houses either.] [img]tongue.gif[/img]

<font color="#a62a2a" size="1">[ July 04, 2005 03:52 PM: Message edited by: got_a_match_grip? ]</font>

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Originally posted by Five Eight:
...several generations of fidgety young men...

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<font size="2" face="Verdana, Helvetica, sans-serif">Oh, my giddy aunt. All-time classic name for a band...

Gawd do I feel like a schmuck! My drumming woodie came at the age of two when I saw this guy playing drums with an all-accordion band. At least I was drawn to the drums. OMG what if....?????? [img]rolleyes.gif[/img]

Ha ha moose! [awa Rhythmatist]

5, quick; patent your phrase! [img]wink.gif[/img]

...I just wanted to add that I DO understand why some cats pref others playg aft a while over DW's. Aft a while it perhaps can seem to start sounding very pristine, clean, clinical, & much-intellectualized [even his splendid impromptu improv-phrasing]; don't know if that's a bad thing per se...but i also don't listen to any one player all [or most] the time either...as most if not all of us also do AW.

But nevertheless, obv he's still a scaawy, scaawy drumming-muso. I know we all agree on [at least!] that. [img]wink.gif[/img] [img]cool.gif[/img]

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fuseu1 wrote:

Aft a while it perhaps can seem to start sounding very pristine, clean, clinical, & much-intellectualized

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<font size="2" face="Verdana, Helvetica, sans-serif">I get your drift perfectly. After listening to Weckl play Humpty Dumpty live with Corea and Patitucci, then listening to Vinnie playing the same tune with the same people, Vinnie sounds sloppy.

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Moosetication wrote:

All-time classic name for a band...

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<font size="2" face="Verdana, Helvetica, sans-serif">Leave us not forget Russell Crowe's band: 30 Odd Foot of Grunts. [img]tongue.gif[/img]

<font color="#a62a2a" size="1">[ July 04, 2005 11:46 PM: Message edited by: Five Eight ]</font>

Ha ha 5/8, don't forget Russell's No. 1 hit 'Fighting all round the world'!!

(I love South Park).

Is he a better fighter than a singer? [img]wink.gif[/img]