Originally Posted by Anon La Ply
Agree with all of that but I've not heard of The Bulletproof Musician. Thanks!
Huge challenge, eh? Doing lots of listening too. That's what I love about jazz ... everyone says "You must do more listening". It's like being advised by the doctor to up your chocolate intake :)
My approach has been to repeat rhythms (including unaccompanied spangalang, from Andrew's ride video) to a met, from very soft to punchy (but not that loud). I keep the met at low volume to keep things down.
Same problem here when I get excited. In rock you need to be up in the mix and driving, or everyone will think you're a wet dish rag. In other styles you embed and listen more. If I can't clearly hear the bass then I figure I'm getting carried away.
Thanks for the good advice, Andrew! At first I played the solo alone but it seemed a bit naff ...everyone dropping out for the "drum star" to strut her stuff. If I could play like you guys, okay ...
And yes, I've been afraid to leave more space, especially in the first half, which is where I think some stops would be to greatest advantage.
I'll tell the others I'll be trying something different beforehand or I'll scare the horses, which comes back to what Numberless said about interaction. I don't think I'll plan what I play ... just listen to the guitarist and try to pick stops that work with what he plays so he'll feel natural in filling the space (that's the theory, anyway :)
It's a fun challenge. We're mostly playing our singer's preferred genres and the band is playing catchup, but loving playing at a volume that doesn't hurt. I personally think drum and cymbal tones are more beautiful at low volume.
Sorry this is so long but this is the kind of thing I most want to learn ATM
You are too modest! I just did a short post about soloing over a vamp that has some relevant ideas:
The gist is that the source of tension/release in this type of drum solo comes from playing against the vamp (tension) or with the vamp (release). So finding the right balance between the two is the key to success in this kind of solo. I think based on what I heard in your solo that you could afford to get a little further from the vamp (and produce more tension), perhaps by leaving more space, or perhaps something entirely different. In any case, I hope this helps and I would love to hear some more recordings!