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With that kind of flair for the groove, I'd say he was definitely gifted big time... That's NOT to say he was not working hard either... On the contrary, shall we say... Workaholic?
Quick question...
When playing Live (with TOTO for example), was Jeff always faithful to his own signature fills? Or was he rather known to change things on the spot?
<font color="#a62a2a" size="1">[ January 23, 2004 09:56 AM: Message edited by: beat Hit ]</font>
Gosh, I can't say about Jeff.
On pop music, you are onto it, when
you talk about the form. Each section
has a character that you must be true
to - the groove to be laid out first,
with the kicks second.
Your first A usually is at a lower
dynamic level than your second and
then the B section should be distinct,
though still grooving. It may be a
slightly different feeling here and
you'll have to be sensitive but it's
not going to be far from you.
You last A will be at the highest
dynamic level, likely.
I play totally by ear and I have done
my share of sessions, mostly without
charts, though I do feel much better
having the form of the tune on my note
pad, if necessary.
It's about separating the parts of the
tune, giving each one of them identity
and revisiting these, when the music
calls for it.
That's my take.
[img]cool.gif[/img]
<font color="#a62a2a" size="1">[ January 21, 2004 01:23 AM: Message edited by: peter c ]</font>
Pocket,
When given a ton of tunes to learn, it's usually in the form of audio recordings without charts. You could lock yourself in your practice room for weeks to memorize all that stuff...but who's got the time for that?
I picked up a shorthand method of transcribing drum charts where every bar is a forward slash. If there's a figure that needs to be nailed I'll write it between the appropriate slashes. Phrases are delineated with a double bar line. All verses are labeled at the beginning with a circled "V", choruses - a circle "C", and the bridge a "B". If there's a signature groove, I'll write it out long hand (a bar or two) at the bottom of the page.
I use this system with an old tape transciption machine with a range of speeds and a stop and reverse pedal. This has allowed me to crank out several charts a night. I keep a notebook of the charts in my trap case. It's really been helpfull, because I don't have the time to committ everything to memory and I really want to do a good job and nail the part.
Best,
Andy
When Jeff played live, he stayed pretty true to the signature fills or small variations, but consistant.
A good example is with Africa. Live, he added some spice for the 3rd drum fill break. He didn't play the standard triplet "bla bla bla" fill down the toms. He added two sixes as 16th triplets starting on one, then did the "bla bla bla" tom fill.
Just a little wink for the drummers! That's so Jeff. But he did this consistantly live. So did Gregg Bissonette when he filled in for Simon. Gregg stayed VERY true to Jeff's parts, which is a bit more than can be said for Simon...
Danny
<font color="#a62a2a" size="1">[ January 21, 2004 05:04 AM: Message edited by: ladanny ]</font>
Actually, Jeff could read but he played down his reading chops. Anton Fig does the samething but yet Anton can read.
Jeff would walk into a session and listen to a demo of the song and write out or it was already written a cheat sheet of the songs form. I have a video of Jeff on one his last sessions doing this and it gives great insight to how Jeff came up with parts and played for the song. Danny has seen this.
Jeff was also born with a huge amount of talent and a big set of ears which to be a studio rat is something you have to have, big ears. You need to have the instinct to hear where the tune is going, not everyone has this but you can train yourself to learn.
When I was at MI, a guy by the name of Charlie Fector(sp) taught ear training for music, not ear traiing for guitar which is a whole different subject, but similar.
I was getting info for someone on Jeff Porcaro and went over his sessions. Unreal! This guy lived in the studio between 1976-79.
My questions:
1. Was Jeff blessed with both a great hear and memory being he stated he didn't read well?
2. Some bands write songs for an album for over six months allowing the band drummer a long time to craft parts.
When Jeff walked into a session at 10AM and another by 2PM, how did he know the tune well enough to hit all the dynamics?
On his video, he discusses going through various pulses before settling on something that feels good. This was when he went through the Steely Dan session on "FM" He started playing a 16th note groove and than stuck with an 8th note groove accenting the dynamics.
Any ideas on nailing the structure of the classic AABA or ABBA format for pop tunes?
If you had to learn a variety of tunes, how would you go about it?
Lastly, what makes a great drummer in a cover band? Do you look for the signature fills all the time? LA Danny and I had a good time watching Steve Ferrone play "Runnin' On Empty" waiting for that classic fill...and he playing it differently on both sets. I couldn't believe he wouldn't play the fill the way Kunkle played it and we've heard on the radio a zillion times. Another was a guy playing Journey's "Seperate Ways" We all know what fill I'm referring to. And he didn't play it!!!
Gracias!
Hey Andy:
Your charting method is EXACTLY the way i make my charts if i need to,coincidence or conspiricy!?
I dont play in a cover band,but if i did i would use said chart method,and id prob. download all the songs during that course of time and memorize them,since i like pop music because it makes me angry,if that makes sense.
If i was an Anton Fig situation id do the same thing.
If i was playing from the real book or more jazz standards id probably spend more time playing along to the original recordings and making charts,as most standards are easy to chart.
all my best...............beats
Cool Beats...drummers will find a way to make it happen!
It really is a helpful way to transcribe all that stuff while keeping your sanity! It's especially helpful when the song writer is putting in those wonderfully counter-intuitive 7, 11, 13 and 21 bar phrases.
Thanks guys...obviously that Porcaro studio video would be awesome to view. I'm just really interested right now in the idea of developing musical ears. I will be the first to admit, my ears are developed for playing drums, but I think I need to grow substantially in playing musically. One reason I like Jeff so much is how he laid in the pocket with so much confidence. I use to tape myself playing to TOTO I and was amazed at how busy I was. There's a Christian recording Jeff did, Sandi Patti's Another Time, Another Place and several of the endings are very complicated, with many syncopated hits. Did he write all that stuff out? Did he read a chart? I know he read, and knowing Jeff from stories and through print, he would always down play his skills.
All that said, I'd love to hear more about sessions you guys have done--how you approached the music and got to know the "inside" of the song, or as Randy said, "ear training for music" leading to more musical playing.
As for pop drummers, who are your favorite musical drummers so to speak?
Steve is the pop king, in my book.
I'm sure that I can't hold a candle
to Randy and these other cats here
that have done a lot of studio work
but as the limited work I have done
was all by ear, I thought I'd share
again a little of my view.
I remember Steve downplaying reading
charts and emphasizing how important
it was to section out the tune, find-
ing the A's, the B's and C's and mak-
ing sure to "map" this out and with
the groove FIRST. Again, each section
has to be given identities that have
to be re-validated later on. Make
them distinct and clearly dependable
by the other members of the band,
solid in the groove first.
On grooving, you have to work at just
playing time and being content with it.
Drummers can be fickle. Sometimes, they
need to be doing something interesting.
Well, work on making that something
that is more simple, more interesting.
It can be done and it does not have to
be something terribly audible. Think
subtle thoughts.
Prepare your fills. Pop is formula. I
suggest applying formula. Make sure
your fills are with the pulse and
groove and you will be called back.
My little contribution...
[img]cool.gif[/img]
<font color="#a62a2a" size="1">[ January 21, 2004 10:08 PM: Message edited by: peter c ]</font>
Make it simple. John Robinson is the king of making simple fills sound huge. Jeff could with ease take chances by adding a 6lick and not blink and it sounded like it was meant to be there.
I watched at NAMM Peter Erskine lay it down and funky, with such simple fills and it was great.
As to Jeff and syncopated licks, I'm sure it was worked out a few times before tracking.
For me in the studio, every time I walk into the studio it's different. I just did tracks for a guy whom was horrible and I will never let this see the light of day....We had a very hard time trying to write charts to his stuff let alone play, he could not play to a click so he went and laid his guitar part and vocal all at once, we were then given the stuff to learn, bars of 2 1/2....what si that?
A bar of 5 then a bar of like almost 3 but not quite plus the tempo was all over the map. Made for a real challenge, some tunes were easier then others.
Many times I am given a file with maybe some suggestions on a seperate track and I will just ease into it, maybe do a few passes and turn it in. Many guys are doing it this way now, I heard from Denny Fongheiser that he has not set foot in an actual recording studio in about a year, he has been doing his tracks from home.
Mna this is long...........I don't really get "into" a song, I listen for the sections and any distinctive hits that maybe a piano or guitar are playing, maybe try to play with them or even around them but staying in the contect of the tune, again thinking JR.
The more you listen to musical people like Jeff, Erskine, Carlos, Gadd..........in a pop context or even a jazz context for they are very similar, you are playing for the music. At some point it just becomes natural to WANT to play like that and not to overplay. I guess in some ways it's about growing up musically and maturing.
Mickey Curry is so about playing for the tune and just laying it down.
2 great records to play to and just absorb what it's all about are "Start The Car" by Jude Cole, and Peter Frampton self titled "black cover". JR, Jeff, Denny
Thanx Peter & Randy.
This is an important topic because we often discuss technique and allude to musicality when discussing other great drummers...(Peter's Gadd stories, etc) but we don't often talk about the subtleties of musicality when playing for someone. One reason funk drumming has appealed to me so much the past two years is the the concept of playing groove and making a feel busy without sounding busy. Randy's insights to JR's fills and Jeff's nuances are great! Let's hear more examples that come to mind here! At the Smith clinic recently, Steve discussed all the various sound you can make on the snare drum. I immediately thought about the hi-hats and the combinations just on that one sound source. Billy Ward is really into hats and his playing reflects this.
PP,
I don't know anyone who can do more with an HH and snare than Gadd. NO ONE.
The triplets that he's constantly employing are very subtle but there and this is something you should focus on, I think. You can't listen to him enough. Too many players gloss over what he did. Don't be guilty of that. He IS Gadd Almighty!
When you watch him, do you notice how close his doubles are to the head? This keeps the volume WAY DOWN on them and allows for their use, without interfering with the groove.
8th-notes on the HH, the 1/4's accented. Kick on 1 and 3. Left-hand supporting the 8th-notes with triplets, CLOSE TO THE HEAD and QUIET.
Make that a part of your routine. Let your left-hand become "Casper, the friendly ghost", like Steve's. "Quiet" is the by-word.
[img]cool.gif[/img]
<font color="#a62a2a" size="1">[ January 22, 2004 01:53 AM: Message edited by: peter c ]</font>
<font size="2" face="Verdana, Helvetica, sans-serif">Randy, is this the one from Tommy Denander's soon to be released "Making of Radioactive"? I'm just guessing/hoping.Quote:
I have a video of Jeff on one his last sessions doing this and it gives great insight to how Jeff came up with parts and played for the song. -Randy
Please give us some more info. on this?
Thanks
Eagle
<font size="2" face="Verdana, Helvetica, sans-serif">Yep, and let's not forget Harvey mason, steve jordan, david garibaldi, all masters of the delicate touch and left hand casper the ghost, especially harvey [img]tongue.gif[/img]Quote:
Originally posted by peter c:
PP,
I don't know anyone who can do more with an HH and snare than Gadd. NO ONE.
When you watch him, do you notice how close his doubles are to the head? This keeps the volume WAY DOWN on them and allows for their use, without interfering with the groove.
<font color="#a62a2a"><font size="1">[ January 22, 2004 01:53 AM: Message edited by: peter c ]</font></font>
Eagle, yes it is.
I can't wait to see the FULL DVD of Radioactive. Should be pretty incredible. Everything we've seen so far has been great, and I'm sure we haven't seen all the footage.
No doubt, the Radioactive DVD will be a must have.
Danny
Interesting topic. I've found that in my experience when I do sessions I have be given anything, from a complete drum chart with all the grooves written out, the form all the hits and so on. Then it's just a case of reading it down. Other times producers will give you a drum 'guide.' This may be a bar chart or chord sheet (useful!) with the the form or sections of a tune written out and nothing else. Then you will have to discusss the groove with him and the bass player to try and find something that fits together and compliments the track. I have also been faced with absolutely nothing! No joke, I recorded some incidental music for a tv series and the composer would play me his demo and I would clock it and try to replicate it. He would then say 'ok, lets try this with brushes now' or 'lets try a tom pattern' or 'can you make it more funky?' To be honest at first I felt a bit put out, as if I was doing a lot of the work for him, but at the end of the day it is simply another way of working.
We must remember that reading music is an aid to memory and a very quick and easy way of getting a musician to play exactly what you want, first time. When we hear players such as Dennis talk about pop sessions that they've done (when they don't profess to being able to read) I would imagine that it is the same for them: Either they've received a demo of the song in advance or they sit sown with the producer/composer and work out the groove and form of the track before doing a take.
I have learnt that people work in different ways and as long as I/we can make the vibe of a track feel comfortable, musical and groove then we have done our job, no matter what the process undertaken.
<font size="2" face="Verdana, Helvetica, sans-serif">Absolutely.Quote:
Originally posted by Dazzler:
I have learnt that people work in different ways and as long as I/we can make the vibe of a track feel comfortable, musical and groove then we have done our job, no matter what the process undertaken.
I've been fortunate enough to work with pretty much the same guys for sessions. We're all familiar with each others playing so there is already that trust that is really important. I've gone through the same thing Randy described....Painful! It's one thing to work with someone who has no concept of charting/arranging....it's another when they pretend they do. I personally don't like to sit around in the studio because it really starts to wear on you. I enjoy the charting because I'm doing SOMETHING! It's just frustrating when you come prepared and then you sit around while everyone else is figuring out the changes,etc...
I agree, dead time in the studio is tough. As is trying to decipher a song or some sort of music and it's structure.
As to the Radioactive stuff, basically it's Tommy and his girlfriend filming on a handheld camera the ongoing sessions. Jeff and his brother Mike listening to the demos and making cheat sheets. Then Jeff in the drum room and Mike and Tommy in the other tracking the tunes, then showing them listening to the play backs. Also has footage of David Paich at his place doing key overdubs with Steve Porcaro engineering.
This stuff way kewl, total insight to how Jeff worked, he even flubs a few times and they have to resatrt but it's during a time when they are working out a intricate lick either in the middle of the tune or the ending.
Trust me, when this finally hits streets you need to buy it.
Sounds great Randy, how long is this in total? Any chance of giving us a 'heads up' when it's released?! [img]wink.gif[/img]
Andy, your approach [& Beats' [img]wink.gif[/img] ] sounds exaclty like the "shorthand" method that i use, AW...I will also place a slash & the # of bars to repeat, depending...& i too use "C, V, B, I [intro], RI ["re-intro"] or DC; O [outro]" instead of A, B, C, etc, even tho i'm still thinking "A, B, C"...& placing hits or licks figures in accordingly...
In the last band i was in [a "showband/variety/comedy" act], i had to learn, like, 80-90 tunes [img]eek.gif[/img] ...there was NO set-list; the frontman would get locked into using about 25 of em normally, but i had to know them ALL in case one was called [off the cuff]...i already knew vaguely only recalled memory parts of MAYBE 5 of em...so i used "Andy/Beat's/Fuse's Shorthand Guide to Drum Charts" [img]wink.gif[/img] , getting most all of them on ONE page [each]...a lot of the songs were not diffucult [by no means Zappa or Chick]; mostly contempo country, 50's & 60's RnR, & certain several popular staple showtune standards in 4 AWA some 3, 6, & 12 [aka lots of #'d repeat signs/DS's/DC's!], but it was a LOT of material to learn from scratch...i had like 2 wks to get it all down, not knowing 98% of it, & then 4-5 days of rehearsals...& the frontman/comedian would stop the song at any time to do a joke, or routine on an audience member; starting back again either where we left off, or from the cap, or from any bar [off the cuff] in the tune...& sometimes he'd go WAY out to the back of the audience w his wireless, causing that "similar-to-but-not-quite-'Doppler' effect" [severe delay between his vox & the band music; not a pitch-bend], & i had to ignore him & keep new band members in sync[another [img]eek.gif[/img] ], AWA myself, sane...& sometimes he would be clowning around w the audience & get off the beat by usually an 8th or 1/4, sometimes 16th [u know what i mean], & we [band] would have to catch this & turn the beat around [the TRUE meaning to the Estefan/MiamiSM song], usually starting w me, & the others conformg to me [on a DIME]...it was the "Frank Zappa Improv Training of Pop/Country/Showtunes" boot camp, 4 shore...
...[Altho i "digress" somewhat] - For chart readg, GBiss has 1 or 2 good instructional vids out for beginning to intermediate-&-beyond...the 1 i had was his "Playing, Reading, & Soloing with a Band"...Will Kennedy has a vid/play-along CD pkg called "Be A Drumhead" [w Bob Gatzen]... Weckl's "Ultimate Play-Along" series has some cool basic tips, & i've heard "Contempo. Drummer + 1" is happenin'...
PS - ANYTHING Gadd [that mp3 with EGomez some1 posted a while back was simply AWESOME - the intro groove was classic-fantastic SG], Jeff, Mickey, JR, Kunkel, Marottas, Newmark, Mason, Vega, Erskine, Weckl, Keltner, Fig, Stv Schaeffer, Fongheiser, etc etc, is GOSPEL on this subject matter...i also liked Chris Blackwell & Chris Hughes that Robert Plant used...Tris Imboden, too...& John Keane, who's on Rich Marx's 1st solo, 4 1...
...Harvey Mason, in clinic back in the 80's, used to be able to play/practiced w the click set on anywhere's from 16th's, 8ths, 1/4's, 1/2's, to wholes, & "double-wholes" [leave that 1 alone, 5! ;=p ], to improve his sense of time/pocket [Yowza] ...
Sash..."It's just frustrating when you come prepared and then you sit around while everyone else is figuring out the changes,etc... "
...SO TRUE. [This can give new meaning to the term "wanting to administer a 'hot coffee & barbed-wire dildo enema'" to some folks...sorry about the crassness, guys :=p]
Good topic...
<font color="#a62a2a" size="1">[ January 22, 2004 04:11 PM: Message edited by: FuseU1 ]</font>
I recently e-mailed Tommy about the Radioactive dvd and he said that it will be available at the end of february.
Keep an eye on http://www.tommy-denander.com/news.html
[img]wink.gif[/img]
The version I have is only 30 minutes, but Tommy says there is much more. Well over 90 minutes worth.
Mine is Jeff in the studio and then switches to Mike driving Tommy to david Paichs house and them listening to the bed tracks fro Kingdom of Desire. This is the key of knowing it was Jeff's next to last session, for he died just after "KOD" was completed and what there are listening to is minus lead vocals. All the main tracks and background vocals are completed, unfortunetly during this portion of the video it gets a tad crappy so when we put it to DVD we skipped over that. "or I should Say Danny :-)"
What exactly was JP's last session? It wasnt the Les Dudek album, was it?
No, the Les Dudek was in the same year but not he last session. The Tommy Denander has to come very close to being the last session to see the light of day Jeff did. Like I said before, it was recorded in the same time period as Kingdom of Desire and then just days before it's release Jeff died. The proof of this is on the video and if Tommy stays to his word this time, everyone will see this. 1 session to note that was done around the same time period is "Indian Summer" by GO WEST. Jeff played on 1 track titled "Sun and the Moon", killer 6/8 groove.
<font color="#a62a2a" size="1">[ January 22, 2004 08:08 PM: Message edited by: Randy Walker ]</font>
Some of Jeff's last sessions...
1992
Goodrum, Randy / 1 track
Touch (previously appeared on An Exhibition, 1992)
Nakajima, Fumiaki / Girl Like You (Hoshizora, 1992) 2 tracks
Shepard, Vonda / The Radical Light (Reprise, 1992) 3 tracks
Searchin' my soul - 100 tears away - Wake up the house
Silveira, Ricardo / Small world (Verve, 1992) 2 tracks
Small world - Haven't we met
Sing Like Talking / Reunion (Fun House, 1992) 1 track
Stay gold (live)
Orbison, Roy / King of Hearts (Virgin, 1992) 1 track
We'll take the night
Soundtrack (film) / Glengarry Glen Ross (Elektra, 1992) 6 tracks
Main title - You met my wife - The plot - In the car - Don't sell to doctors - The Nyborgs
Soundtrack (film) / Grand Canyon (RCA, 1992)
Soundtrack (film) / Hudson Hawk (Varese Saraband, 1992) 2 tracks
Hudson Hawk theme - Hawk swing?
Soundtrack (film) / Love Potion No. 9 (1992)
Springsteen, Bruce / Human Touch (Columbia, 1992) 12 tracks
Human touch - Soul drive - 57 channels (and nothin' on) - Cross my heart - Gloria's eyes - Roll of the dice - Real world - All or nothin' at all - Man's job - I wish I were blind - The long goodbye - Real man
10cc / Meanwhile (Polydor, 1992) 10 tracks
Woman in love - Wonderland - Fill her up - Something special - Welcome to paradise - The stars didn't show - Green eyed monster - Charity begins at home - Shine a light in the dark - Don't break the promises
Toto / Kingdom of Desire (Relativity, 1992) 12 tracks
Gypsy train - Don't chain my heart - Never enough - How many times - 2 hearts - Wings of time - She knows the devil - The other side - Only you - Kick down the walls - Kingdom of desire - Jake to the bone
Watanabe, Misato / Hello Lovers (Sony, 1992) 2 tracks
Lovin' you - Japanese title
Waters, Roger / Amused To Death (Columbia, 1992) 1 track
It's a miracle
Frampton, Peter / Shine On: A Collection (A&M, 1992)
Crowell, Rodney / Live Is Messy (Columbia, 1992) 1 track
It's not for me to judge
Goodrum, Randy / An Exhibition (Polydor, 1992) 4 tracks
Kawauchi, Junichi / Juice (Fun House, 1992) 9 tracks
Kimi no ude ni dakaretai - Save our love - Virgin smile no kimi - White venus - You're the only one - Rainy weekend - Studio-A no yuujin - Todokanu omoi (Lovesick blues) - Murderess
Matsuda, Hiroyuki / Two Of Us (Tokuma, 1992) 2 tracks
Mendes, Sergio / Brasileiro (Elektra, 1992) 5 tracks
Indiado - Lua Soberana - Senhoras do Amazonas (perc) - Kalimba - Barabare
Go West / Indian Summer (EMI, 1992) 2 tracks
Faithful - The Sun and the moon
B-52s / Good Stuff (A&M, 1992) 3 tracks
Hot pants explosion - Breezin' - Bad influence --
Beck, Robin / Human Instinct (DSB, 1992) 4 tracks
Love yourself - Every little thing - Bad on love - Changing with the years
Cole, Jude / Start the Car (Reprise, 1992) 2 tracks
Open road - Tell the truth
Other relaesed after his passing;
1993
Charles, Ray / My World (Warner, 1993) 2 tracks
If I could - Still crazy after all these years
Cavaliere, Felix / Dreams in Motion (Karambolage, 1994) 3 tracks
Stay in love - Me for you - Youngblood
Crosby, David / Thousand Roads (Atlantic, 1993) 2 tracks
Through your hand - Helpless heart
Steely Dan / Citizen Steely Dan (MCA, 1993)
Scialfa, Patti / Rumble doll (Columbia, 1993) 2 tracks
Come tomorrow - Talk to me like the rain
Moore, Patsy / Regarding the Human Condition (Warner, 1993) 6 tracks
These loving eyes /- A city on a hill - Lies (that I have known) - Shooting the breeze - With regard - The pilgrim song
Hill, Warren / Devotion (RCA, 1993) 1 track
Another goodbye
Young, Paul / The Crossing (Columbia, 1993) 6 tracks
Hope in a hopeless world - Won't look back - Only game in town - Love has no pride - Half a step away - Follow on
Dr. John / Mos' Scocious: The Dr. John Anthology (Rhino, 1993)
Anri / 16th Summer Breeze (1994) 1 track
1994
Cummings, Burton / The Burton Cummings Collection (Rhino, 1994)
Dudek, Les / Deeper Shades of Blue (Geosynchronous, 1994) 9 tracks
Leavin' my blues behind - Love with you - Strange love - Assault and battery - Your love - Maybe forever - Come back to me - Moulin Rouge - You make me ill
Kleinow, "Sneaky Pete" / The Legend & the Legacy (Shiloh, 1994) 2 tracks
Louisiana - Silverbird
Marx, Richard / Paid Vacation (Capitol, 1994) 1 track
Patti, Sandi / Find It On The Wings (1994) 1 track
1995
Clark, Gene / This Bird Has Flown (1995) 1 track
Denander, Tommy / Less Is More Part one (Local Dealer, 1995) 1 track
Denander, Tommy / Limited Access (Noble House, 1997) 2 track
The first title appeared previously on Less Is More Part One (1995)
5492 - Remember my conscience
Elliman, Yvonne / Best of Yvonne Elliman (Polydor, 1995)
Anri / Opus 21 (1995) 1 track
1996
Hawkins, George Jr. / Every Dog Has It's Day (1996) 1 track
Every dog [sample]
Humperdinck, Engelbert / 16 Most Requested Songs (Columbia, 1996) 3 tracks?
Richie, Lionel / Louder Than Words (Motown, 1996) 1 track
Climbing
Williams, Joseph / I Am Alive (Kitty (J), 1996) 1 track
I am alive
1998
Berlin, Jeff / Crossroads (Denon, 1998) 1 track?
DUDE...... 1st off, the Frampton "Shine On" is a collection and the track Jeff did dates back to 1980 or so, a record that has never been released on cd "breaking all of the rules".
Next, I stated last session in the way that it was his last session before passing away. He did allot of stuff in that year and you noted very well Pocket, kudos.
But many of what you listed although was released in 92 or after was not neccesarily recorded before his passing, take for instance the Springsteen stuff, that was recorded in 91 actually at the same time as Lucky Town which featured Gary Mallaber.
The Richard Marx track on Paid Vacation was recorded during a session in late 90 early 91 for the Rush Street disc.
Again, I noted the Tommy Denander as last session because of what's on the video and can be timelined to the fact. I mentioned Go West because it was tracked in 92 and released shortly after his death and they even dedicated the track Sun and the Moon to him.
<font color="#a62a2a" size="1">[ January 23, 2004 09:20 AM: Message edited by: Randy Walker ]</font>
[img]biggrin.gif[/img] Yo Randy...
Not trying to compete here...just offering some of Jeff's last stuff for those who might be interested..that's all.
The timing of the last recording(s) is heart felt for me as a fan because it was the last moments of breath for the man. My interest lies here.
I'm still not sure why Jeff touched me so deeply...I really am not. I've heard hundreds of drummers, but why has Jeff hit me so deeply? I really don't know, or at least can't articulate it. Life is deep at times, and this reminds me of that truth.
Your detailed knowledge of the "biz" reminds me a lot of Robyn Flans' stuff. For guys like me, I can't get enough!
Keep on Keepin'
no competition P.......it's all good [img]wink.gif[/img]
U 2 rok the schizz...
PP - sans the obvious [his attn. to GROOVE/POCKET/ACCOMPANIMENT], maybe it's because Jeff played on SO many tunes that really moved so many people emotionally in major ways, at memorable periods of times in their lives...& not just blazing drum licks...He [his playg] had an aura...& his HEFTY resume is another factor [img]eek.gif[/img] ...he played w EVERY1...& every1 wanted to play w HIM...started w Sonny & Cher 4 Pete's sake...OK, gotta quit now; startin' to get a little melancholy...
Found some cool "new"(?) Porcaro links.
Check out: http://jeffporcaro.hartford-jive.com
Click on 'Articles' (1982-2003) for some great reading!
also found this site: http://clik.to/jeffporcaro
Audio:
http://drmohr.tripod.com/sitebuilder...assionwalk.mp3
http://drmohr.tripod.com/sitebuilder...andthemoon.mp3
[img]graemlins/music.gif[/img]
[img]graemlins/party.gif[/img]