"Pocket"

Apparently I have big "pocket" - this is the greatest compliment anyone can pay me.  As I have mentioned before, being able to accomplish a complicated rudiment, or flashy fill has never really caught my attention.  I DO practice certain rudiments, and work out new ways to play tom fills, but for me, the feel, the groove is paramount.

When I was in my teens I did try to practice a few incendiary drum fills (possibly to impress the girls), but even then my motivation was more about playing with the rest of the musicians in the band. After all, unless you're always at drum clinics, the people you are going to interact with are not going to be drummers!  While some bands have more than one guitarist (even more than one keyboard player)  MOST bands only have one drummer (The Doobie Brothers, Lynyrd Skynyrd & The Allmans being the exception to that rule)!

So, for a drummer to truly hone his craft, it is imperative that he learn how to play WITH those other musicians.  Listen, watch, feel..... use your intuition, develop your 6th Sense..... unless you simply want to do drum clinics your entire life (and there are quite a few drummers out there doing that).

Dave Weckl once said something that really stuck with me.  He had just been given a glowing introduction onto the stage at the Sabian Bash (during one NAMM show in Anaheim).  Basically, Dom Famularo had introduced him as "the greatest, ever...."

Before getting behind the kit,  Dave walked up to a microphone at the front and said: "Thank you, Dom, but I'd just like to add something: each of us has a unique way of expressing ourselves, and all those ways are equally valid.  We all have something to say. Let's not forget that."

Feel vs Technique

The age-old argument.
I'll start by acknowledging the incredible discipline & skill it takes to practice rudiments endlessly until you've perfected them almost in your sleep.  But, for me, pure technique for no reason leaves me empty, uninspired.

I am, and always will be, a "feel" player.  This doesn't mean I don't have technique, but the majority of my "practice" involves playing with other musicians, first & foremost.  I do warm up before a show, and I do practice rudiments, (although, truth be known, not as much or often as I probably should).

You could call me lazy.  One of my key concepts is to get the message across using the minimum number of strokes.  But I think there are drummers like that throughout Rock Music.  Bonham, for one.....  Nigel Olsson is another.  Even Steve Gadd (whose undeniable technique has been displayed on many occasions) is economical with his approach to a song.

Ringo Starr is, of course, the prime example of someone who was all about the song, and certainly not about showing off.  Were it not for that approach The Beatles would have sounded totally different.

So, I rest my case.  Keep it simple, stupid!

NAMM show 2012

Now the dust has settled on this year's NAMM show, I thought it was about time to write about my experience.

As usual, the background noise level was incredible.  One friend of mine was playing guitar through an amp and the "Noise Police" arrived with a decibel meter.  They told him he would have to turn down because his volume was 80db.  So he asked them to take a second reading, during which time he didn't play a note!  Guess what?  Still 80db! DOH!

I was on the NATAL drum stand for most of the show, which was incorporated with Marshall this year.  2012 being Jim Marshall's 50th anniversary of being in the Biz, this was quite a big deal.  In fact Natal had made a 50th Anniversary (limited edition of 50) drum kit, comprising the Marshall black Tolex covering and gold hardware.  It was a focal point on the booth.  I must say, from a personal point of view, I am loving these drums! I have a maple kit and I am continually amazed at its versatility and great sound, not to mention the hardware. The snare stand is the most versatile I have ever encountered. The hi-hat stands are responsive and adjustable, and the cymbal stands are solid & well finished.

I was put to work conducting interviews with various publications (both on line and printed). Music Radar just uploaded their NAMM report. All in all, Natal created quite a stir at the show.

One of the busiest stands in the drums & percussion section was that of my old friends Big Bang Distribution. Apart from the Ahead sticks (which I have been playing for some time, and love), the new Ahead Armor cymbal bag range (very exciting), their low-cost (and yet great sounding) Kasza cymbal line, they have a huge variety of great accessories for drummers.  But the most exciting new product was a collapsable cajon!  This full-size cajon, made in Barcelona, Spain, fits into a flat bag that is easily carryable, and yet sounds as good as any of the best cajons on the market!  Watch their web site for updates.

Brady drums were present with their usual selection of high-end, no compromise drums.  I managed to spend a few minutes chatting with Kelly Brady.

I was also able to visit with Axis Percussion's founder and innovator: Darell Johnson. He and I go back a way, and he was in his usual high spirits when I arrived at the stand.  I love his endless enthusiasm and keen mind.  He is truly one of the great engineering innovators of new drum ideas. Check out what they have to offer:  again, drum engineering without compromise or equal. I am still using a set of Axis pedals (double kick and hihat) from the early 1990's!

On Saturday afternoon I managed to meet with my old friend John Steven, who is with Behringer. He was very interested in what I thought of their latest foray into the drumming world: their electronic drum kit: the XD70 (and their entry level XD60LE).  I played the kit for a while, and found the response to be extremely "realistic."  They have separate drum & cymbal pads, each with their own unique feel. The controller is very logically laid out and sounds are easy to access.  The best part is it all packs away into an extremely compact space, making it easy to store, or (for my needs) transport to a gig.

Behringer are also about to announce a new range of high-end consoles, which include the ability to interface & record live shows direct from the console itself.  I'm very excited to see these when they become available.

I'll post more reviews as my brain gets to digest the enormous amount of data from the show.

Practice makes perfect?

OK, so many people ask me about practicing.
I have to admit I have never practiced as much as I think I should (especially when I was on the road: I always figured that sound check followed by a gig was enough practice).  But in the studio, I always take the time to warm up a little before.  This mostly involves stretches (using my sticks: more details at a later date), and some basic rudiments on a pad.

For me, though, the single most useful method of practice has been to play along with some favourite songs.  These days, I set iTunes to random play and hit the button.  Then I try to keep up (this can be somewhat arbitrary: in the case of Gino Vanelli's "Brother to Brother" album, for instance!).

I'm always really interested in new grooves,  feels, rhythm techniques.  For some reason I've never really been into blindingly fast drum fills and mind-blowing technical doo-dads!  But I've always been known as a "groove" player anyway.  That's where I'm happiest: in the middle of the groove, holding it down for the band.  So practicing to my iTunes really appeals to me.  Sometimes I create a play list of some new tunes I want to master.  But most of the time, I simply put it on random and try to stay in the pocket.  After all,  if you really can't keep up (or the muse is not there) you can simply hit the "forward" button and scroll on to the next song!


Mel Bay Complete Funk Drumming Book
The New Method for Afro-Cuban Drumming Book with Audio CD (Percussion)
Getting Started on Drums Featuring Tommy Igoe DVD - Setting Up / Start Playing
John Riley: The Master Drummer - How to Practice, Play and Think Like a Pro (DVD)