Christmas Wishes and Resolutions for the New Year?

[peter c]

So what are they for you?

[img]cool.gif[/img]

[Vdrummer]

I presume you mean drumming resolutions? I'm working on some new odd time ostinatos and a new approach to double bass, plus all the usual rudimental stuff that keeps me humble. It'll hopefully be something completely different by spring. Happy New Year everyone.

Brad

[peter c]

I'm hoping for Christmas filled with
a real sense of love and devotion for
my wife, son and I and separation from
anything that is contra, including the
familiar and destructive family dynamics
that destroy the season and create added
conflict for the new year.

As for the new year, I really want to
see many things - some of which have to
do with the drums.

Some of these are:

1. I want to bring my heels down for
both singles and rapid doubles on both
feet. My left is up for rapid doubles,
right now. I want my left foot to end
up being very close to my right foot,
by year's end. I will be playing my
normal, rhythmic patterns with my left-
foot to bring it to this level.

2. By the end of the year, I want to be
flamming 50%, leading with my left. I
do this a small percentage of the time,
right now (hands). I also want to be
leading on my fills both ways, up and
down, equally, at year's end.

3. I will be replacing my digital pads
(rubber) with mesh pads.

4. I want to learn, at least, 40 new ar-
rangements for large ensemble.

5. I want to be able to run through that
exercise that Billy demonstrated in the
thread that I told you (fingers), with
my left hand (limited, right now).

This is a start.

[img]cool.gif[/img]

[Vdrummer]

Hi Peter,

Your X-mas wishes are healthy and wise. I wish you luck achieving them.

Your drumming goals are certainly within your reach. Leading lefty with your BD is a good idea and will certainly help you make the motions more efficient and smaller. I'll be doing the same with my left foot.

What is the thread topic to the fingers exercise? I can't remember it. Happy holidays,

Brad

[Dazzler]

My new years resolutions are to be able to split flamadiddlediddles between my left testicle and nose, while maintaining a steady ostinato with my feet.
Then I hope to achieve playing a songo in 7/8 while pressing my right testicle on my 10" tom while inverting a double ratamacue on my floor toms.... AS I'M SURE THAT THIS WILL HELP ME GET A JAZZ/POP/SHOW/GIG WITH TOP MUSICIANS... yeah right. What happened to keeping good time and making other musicans feel comfortable when they play with you?
Maybe I'm missing the point, but I'm a MUSICIAN and not somebody who spends his life in his bloody bedroom spending his life trying to accomplish MEANINGLESS goals such as leading with his left breast while stirring soup. Answer me this.... what good will all these tricks - and that is exactly what these are, help you in a recording/live situation? The answer - absolutely NOTHING.
Will other musicians/producers be impressed by these circus tricks or will they be impressed with your (and I HATE to use this word!) MUSICIANSHIP?
I'm a working, gigging, professional musican and will not and REFUSE to waste my time with such futile efforts as I KNOW for SURE that this does absolutely nothing to further music or my career.
You may think that I'm some sort of philastine, but after having done numerous film and television sessions as well as jazz, pop, latin gigs I can only let you into a little secret... are you ready? ....here goes..... don't tell anyone.... No producer gives a sh*t about ones ability to perform drumnastics or circus tricks. Try putting them into practice when you're booked on a one hour session to play an arrangement of Ipanema and see how far that gets you! Try executing your RLLRLRRRLR nose LRRRL foot routines when asked to do a session where all you're required to create is a simple pop/rock beat.
So in answer to the question in hand... my goal for 2004 is to continue to give a sh*t about MUSIC and not drumnastics as this and this alone, I know will further my career and allow me to continue making music with top calibur musicians. I will also remember NEVER to insert a random 'blushda' as I know that this has absolutely no baring on anything. Then I will contine making love to my metronome as I know that this is all important in terms of locking in with musicians and and creating a comfortable feel/groove for a track.
2004 should be the year when all of us takes drumming out of our bedrooms and into the REAL musical world. If you disagree with this post - and you are more than entitled to, may I direct you to THIS guy who obviously has as little regard for music as you.

[peter c]

Dazzler,

You are a funny guy. LOL!

I'm both surprised and not surprised at what you write.

You love drummers that have shed so many hours and you condemn what they have worked on. Vinnie sweated in those Berklee closets for days and days, working on different applications and patterns that were not accompanied by other musicians and band members. Was it all in vain?

C'mon now, Dazzler - you're too good of a drummer to come out and vomit all over "technique", the way that you do, when all you have to say, in my opinion, is that technique applied is more important than technique that isn't and who here on this board would disagree with that?

Even a drummer like Art Verdi has his place in the world of drums, for the little or great contribution he has to make, even if it's just the idea of approaching left-hand trad as he does. Anything is and can be positive.

As I told my wife, what makes people different are their experiences and while experiences seem to be benign, they are anything but and who can know what these experiences are but the person who has experienced them.

While my goals might seem meaningless to you, how do you know if I have or have not had my fill, for now, of playing with groups and ensembles or working in the studio with hard-headed engineers or tyrant producers and composers?

I don't believe there is anything wrong with developing and evolving technique. At the same time, I don't think it's a bad idea to play a LOT, with bands and in ensemble situations. These are BOTH valuable.

How can you know if I have played with someone like Chick Corea or not and if a goal like that is just as meaningful as flamming, leading-left, more than 50% of the time?

I dig the way you play and whatever you have done to get there, I applaud. It has served you well.

I suspect that you made choices along the way, that have brought you where you are and you're proud of them. I am proud of you too.

Your big-band samples were really neat and they cut ice but your words cut more than ice, for my taste. I believe there are many ways to skin a cat and rather than comment on yours, I'll just focus on mine and what I think is best for me. I won't pretend to know what is best for you.

In the same breath, I trust that drummers everywhere will make choices and because of a motivation. I won't know what that is for everyone but I trust it will be what they want for themselves and for them, I'll cheer, like I have for you.

We all know where we are and what we must o. "Let us do what we feel we must and trust that what we feel what must be done will lead to a better feel on the drums."

I have the utmost respect for you, Dazzler. You know that. [img]smile.gif[/img]

I trust you ALL will and the best wishes to all for your progress into the future.

[img]cool.gif[/img]

<font color="#a62a2a" size="1">[ December 24, 2003 01:08 AM: Message edited by: peter c ]</font>

[Vdrummer]

Dazzler, I don't know where to begin. On the surface you try to make a good point. Technique alone is pointless unless it is used musically. Fine. We all agree. So what? We've all seen that horse beaten before but apparently you want to beat it again. So let's...

Is it that music is good and practicing is bad? Or is it that practicing technique is bad? Or is it that someone who practices difficult patterns is necessary unmusical?

Was Sonny Emory unmusical when he played with Earth, Wind and Fire? He can play Egg Beaters, you know. He just didn't on that gig. Is Vinnie unmusical because he plays blushda's and can play in 19? Was Tony unmusical when he played all those flams? Is Dave Dicenso a fool for developing his ability to metrically modulate with ease? Is a child with a mallet saying something as musically valid as Jim Kilpatrick playing a snare solo?

People have different tastes. Some like simple players, some like complex. I like both. Unless someone just wants to play ideas at the level of say Keith Moon or Charlie Watts practicing is the only tool for developing your skills to a higher level. Musical vocabulary, mature phrasing, odd time skills, dynamic control can all be developed through practice. Technical deveolpment, rudiments, polyrhythmic development all add to one's ease of playing and skill at executing their musical ideas. Developing the technique to play musical ideas fluidly is what this is all getting at.

People practice different things. If you're a techniphobe play along with CD's. If you don't want to play anything more challenging than what you already can, then don't practice anything. Fine. It works for lots of players. But for those of us who want to develop new abilities and find new ways to be musical, we just may practice an Egg Beater now and again. Speaking of which, I think I'll have an egg nog. Happy holidays, all.

Brad

[quitou]

I don't necessarily think there is a right or wrong way to do things....everybody is different...obviously a guy like Gadd focussed alot more on being a supportive musician and just playing with a lot of feel, while a guy like Virgil obviously spent an insane amount of time practicing technique....these guys are very different players, yet both are incredibly successful and very well respected....it is equally possible to be a successful musician using either approach, it just depends on what you want....I think trying to be a crazy technical player takes a lot of time and commitment and it is very frustrating at times trying to develop all that amazing facility.....I think the coolest thing is when you have a guy who has amazing technique, yet knows how to play with a lot of feel and be supportive to the needs of the tune (like Vinnie)....but aswell, look at a guy like Grant Collins. He is basically a solo drum music player (kinda like Bozzio), and he's very successful at it....he has got amazing technique, especially with his feet...the guy can play crazy hard rudimental snare solos with his feet....it's pretty crazy.....I think it just kinda depends on what your calling is....but no matter how much facility you have, you have to know when to shut it off and just be supportive to the musical situation....

[beat Hit]

[img]eek.gif[/img]

Bottomline in sharing in Posts is respect no matter what your view/opinion may be...

I sense a burst of frustration here... I kinda understand the steep angle of Dazzler's post. It's rooted in the far too common trend amongst drummers... Not shutting up while backing up Artists. It's been talked about often on HOD... It's good to get back to these talks once-in-a-while.

It is true that the contexts you'll be able to use blushda-like licks are limited. All those tricks won't be useful in most musical styles.

However what is wrong in wanting to boost up your technical skills for your own pleasure?? NOTHING!! You just may never use it as often as you'd like, that's all...

One skill that most drummers forget to mention in sharing their admiration of some of the bests is.... S-E-L-F C-O-N-T-R-O-L

The more you have Virgil-like technique, the more self-control you'll need if you want to gig in ALL musical styles. That's why guys like Vinnie have to play at the Baked Potato now and again, the get their "fix".

Same thing when listening to music... At times I need my Vinnie Fix... Then a Gadd Groove Fix... Today on the radio I heard Omar Hakim backing up Anita Baker... I said wow!! What a classic example of a drummer that's got technic but foremost, great taste for the GROOVE!!

When I attend Clinics... The musical drummers are always the ones that enable me to go home satisfied. As I write this, one in particular comes to mind. That clinic was featuring the then brand new line Yamaha Maple Custom (year?). Let me tell you... Tom Brechtlein sang so well on the kit that day!! One thing he said always stayed with me. It was something like (I am sure I won't do him justice), "try to see the whole band as one big saxophone, the guitar is this key over here, the bass is over here and the drummer over here. The band's gotta be sounding harmoniously as ONE sax player blowing. So know what and when to play". I also remember Tom saying that if he could go back in time, he'd spend more time in perfecting his groove than his technic. On a live Chick Corea gig (maybe his first with Chick), he was blowing like crazy... Big smile on his face, "yeah I got technic... Chick must love me..." Then he noticed Chick was looking at him with big eyes, shouting at him "GROOVE TOM!!! You gotta GROOVE!!!"

BTW.... Peter, I admire your response, done with respect and very well written.

Merry Christmas and Happy New Year everyone!!

[Dazzler]

Right.....! First let me say that my rant was written at 4.30 in the morning after copious christmas beers. If it's any consolation to you (and I know it won't be!) my head is now banging like a sh*t house door in the wind and I've run out of Ibuprofen!!
Peter and Brad, I obviously hear what you are saying and yes, I have to hold up my hand and say that I obviously do get the horn when I listen to Vinnie, Dicenso or whoever. They are phoenominal musicians who have it goes without saying spent years perfecting their ridiculous technique. I'd be lying if I said that I didn't enjoy their playing.
Obviously I'm not against technique or facility as it is utterly necessary in order to execute your ideas. Even the drummers who we would say groove the most and play the least such as Gadd or Porcaro have a fantastic facility on the drums. I guess the root of my drunken outburst lies in hearing drummers get too drumnastic. Don't get me wrong, I'm not against speed/chops etc, but I would rather get with a musician, be it piano, bass, sax, violin, egg wisk or whatever and create something. The ability to listen and interpret is key. One of my favourite drummers is Paul Motion, his technique couldn't touch Vinnie or Weckl and yet he is arguably one of the main voices in contemporary jazz drumming.
When I'm teaching Moeller to my students I always point out that this bit of technique is a means to an end and should be used to give you facility and the ability to execute ideas in a musical sense and with taste.
Places like Drumtech here in London, where you can go and study with a whole room full of other drummers going RLRR LRLL on practice pads should be torched as they only help to breed drummers that all sound and look the same and are soley interested in technique and chops. Get to a MUSIC college and learn about scales, keys, II V I's HARMONY. This will make you a better musician and will endear you to your fellow players far more than blistering singles round the toms!
So in summary, I have to [img]redface.gif[/img] apologise for coming back after a Christmas booze up and ranting on here - sorry!! But in the cold light of day and with a stinking hangover I will maintain that I will still be working on technical things this year, but only as a musicial means to an end. To re-iterate what I said: I know that all the flash chops in the world won't get me a gig and that's the truth. Being a sensitive musician and making my fellow band members feel comfortable WILL.
Have a very happy christmas everyone and a peacful new year.... Peter, once again you are a gentleman! We are both musicians and that's what I respect about you. You cleary have a deep understanding and respect for the music that you play and I wasn't really aiming my initial post at you mate, more to the the type of people that spend 2 hours in a drum shop talking about free floating whatsits, die cast thingies and creaming over Akira bloody Jumbo vids!!!


[img]redface.gif[/img] [img]biggrin.gif[/img] [img]wink.gif[/img]