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  #81  
Old 06-16-2012, 09:13 PM
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Default Re: ...for the jazz cats ...

Now I'm hungry for a steak. I usually grill them, especially on a hot summer day like today, but that skillet recipe sounds so good....
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  #82  
Old 06-16-2012, 09:25 PM
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Default Re: ...for the jazz cats ...

i like to move clockwise with my left hand and counterclock wise with my right. like stirring a soup :D
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  #83  
Old 06-16-2012, 09:57 PM
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Default Re: ...for the jazz cats ...

Quote:
Originally Posted by toddbishop View Post
Since this is a wide open jazz thread, I want to throw in that cymbals have been big on my mind lately-- I've been making a big change in direction in that department. In the last 7 or 8 years I had been increasingly going for thinner, softer cymbals, as I was refining my technique and ability to play quieter, setting up a kind of death spiral of way-too-delicate playing. It came to a head around the time of this gig, when I realized I wasn't being heard, and there was a weird distortion happening in the ensemble dynamics. After that I got a old 3200g 22" Paiste 602 dark ride-- a total monster by current standards-- which actually projects, and provides a nice cushion for bringing my sound back into a realistic zone. And when you crash on it, they hear it, by God. At the Ballard Jazz Festival recently the contrast was really stark-- I got to hear several drummers playing unmiked in the same long room, and none of the thinner K-type cymbals were cutting at all-- the performances were lost. From the playing position they sound like Tony on Four & More; out front, sadly, no...
Yes, I think this is the same issue as toms on rock/pop kits tuned so low that nothing
more than a dead and short sound is reaching the audience, but from the player's point
of view it sounds great. Drummers should think about the audience as much as about
their sound behind the kit.
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  #84  
Old 06-18-2012, 04:09 AM
Anthony Amodeo
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Default Re: ...for the jazz cats ...

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Originally Posted by Swiss Matthias View Post
Yes, I think this is the same issue as toms on rock/pop kits tuned so low that nothing
more than a dead and short sound is reaching the audience, but from the player's point
of view it sounds great. Drummers should think about the audience as much as about
their sound behind the kit.
exactly

Ive always found that toms cranked a bit high sound deeper to the audience then they do from behind the kit

a tighter drum will always project farther as well

mic'd up or not
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  #85  
Old 06-18-2012, 05:39 AM
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Default Re: ...for the jazz cats ...

For the jazz cats...have a look at this and see what you think.
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  #86  
Old 06-18-2012, 06:25 AM
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For the jazz cats...have a look at this and see what you think.
anyone who gets into playing music to make money needs their head examined to begin with

if you dont do if for the love........don't do it

I love jazz
I know where to finds people who want to hear jazz and love it as much as I do

one of the great things about playing the style is the underground roots style unadvertised gigs that only true followers know how to find ...and trust me they find it

another is the delusional mainstream who loves to believe no one wants to hear it

we love it that way

you see....jazz is a live music energy source , not really a record selling forum....the energy never fully translates on record...... the people who come to listen to jazz actually understand the music, understand the passion, understand the conversations we are having on the stage, and seek these events out because they love it......they also love the fact that it is a bit of an elite fraternity

not so much can be said for the sheep flocking to these hot selling tickets

that article tries too hard to pigeon hole things that are intangible........I guess to help people who have no clue understand? ...who knows

it also sounds like its written by a bitter failure who had delusions of grandeur

kinda funny to me

my phone is constantly ringing

Last edited by Anthony Amodeo; 06-18-2012 at 06:40 AM.
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  #87  
Old 06-18-2012, 06:47 AM
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Default Re: ...for the jazz cats ...

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Originally Posted by Gvdadrummasum View Post

it also sounds like its written by a bitter failure who had delusions of grandeur
Trust me, you'd love to be doing as well as Bill Anschell is. So would I for that matter.
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  #88  
Old 06-18-2012, 04:18 PM
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Default Re: ...for the jazz cats ...

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Trust me, you'd love to be doing as well as Bill Anschell is. So would I for that matter.
Im aware Anschell wrote the article

not a big fan of his work
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  #89  
Old 06-18-2012, 04:57 PM
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Default Re: ...for the jazz cats ...

Bill is kind of following Charlie Chaplin's creed that "comedy is brutality" there. I think he would find it hilarious that anyone would envy his career-- he's scuffling along with the rest of us right now. He's not mocking from on high, as a lot of people seem to feel on reading that piece. That he's a great pianist and arranger is not really questionable.
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  #90  
Old 06-18-2012, 04:58 PM
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Default Re: ...for the jazz cats ...

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For the jazz cats...have a look at this and see what you think.
Well, I took the piece as somewhat tongue-in-cheek. I think there's a lot of truth in there, but I also inferred that the author was sort of having a laugh at the collective expense of those to whom it applies, himself included.

Of course, you could write the same piece about any number of other professional pursuits. It's sort of like an Office Space for professional jazz musicians.
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  #91  
Old 06-18-2012, 05:55 PM
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Default Re: ...for the jazz cats ...

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Originally Posted by 8Mile View Post
Well, I took the piece as somewhat tongue-in-cheek. I think there's a lot of truth in there, but I also inferred that the author was sort of having a laugh at the collective expense of those to whom it applies, himself included.

Of course, you could write the same piece about any number of other professional pursuits. It's sort of like an Office Space for professional jazz musicians.
after re reading it not half awake and in a better mood I completely see the tongue in cheek qualities in the piece ......whoosh ...right over my head last night

a much nicer read today

....not sure why I often come off as an old man telling kids to get off his lawn in my posts.......sorry guys

:)

Last edited by Anthony Amodeo; 06-18-2012 at 07:20 PM.
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  #92  
Old 06-18-2012, 06:25 PM
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Default Re: ...for the jazz cats ...

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For the jazz cats...have a look at this and see what you think.
This trend began when Jazz started being taught as "a craft" in the colleges.

I am very lucky in that I am a full time jazz musician....this came after decades of working full time jobs and playing weekends....over 40 years worth! I live in a community that supports
the arts and usually play about 2-3 times a week. I can only support myself these days doing this because of all the years of solid employment. God Bless the drummers that have
succeeded in full time musical careers! Everytime I read of someone on this site that has put his daughter through college playing drums etc...it makes me very happy!
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  #93  
Old 06-18-2012, 07:58 PM
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Default Re: ...for the jazz cats ...

Really funny article

"Post-Chromatic Stress Disorder in the Neo Lydian Landscape."

Great stuff :D
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  #94  
Old 06-18-2012, 10:05 PM
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Default Re: ...for the jazz cats ...

Always loved that article - too many funny bits to quote. Brilliant for cold early morning insomniac reading. You find very similar types in rock and pop too.


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Originally Posted by Gvdadrummasum View Post
....not sure why I often come off as an old man telling kids to get off his lawn in my posts
haha - it reminds me of a few years ago when I was on the forum and someone gave me crap. So I started writing some caustic reply that was going to throw oil on the flames.

Partway through writing the post I figured I'd enjoy some legal "relaxing herb" from a shop that sold stuff like that. Then I went back and re-read what I'd written so far ...I thought "Awww, what a grump", deleted the flame and replaced it with something light and friendly.

The flame war ended there. Until then I didn't think the herb had any effect. Needless to say, a couple of years later it was outlawed ... you don't want people being nice to each other, eh?
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  #95  
Old 06-18-2012, 10:43 PM
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Default Re: ...for the jazz cats ...

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Originally Posted by Anon La Ply View Post
Always loved that article - too many funny bits to quote. Brilliant for cold early morning insomniac reading. You find very similar types in rock and pop too.




haha - it reminds me of a few years ago when I was on the forum and someone gave me crap. So I started writing some caustic reply that was going to throw oil on the flames.

Partway through writing the post I figured I'd enjoy some legal "relaxing herb" from a shop that sold stuff like that. Then I went back and re-read what I'd written so far ...I thought "Awww, what a grump", deleted the flame and replaced it with something light and friendly.

The flame war ended there. Until then I didn't think the herb had any effect. Needless to say, a couple of years later it was outlawed ... you don't want people being nice to each other, eh?

haha.....funny stuff Grea

Im going to try to do the same.....just with an herb that is not legal (in most places)

Im a bit too defensive sometimes......Ill get it under control one of these years....

:)
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  #96  
Old 06-18-2012, 11:35 PM
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Default Re: ...for the jazz cats ...

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Originally Posted by groove1 View Post
This trend began when Jazz started being taught as "a craft" in the colleges.

I am very lucky in that I am a full time jazz musician....this came after decades of working full time jobs and playing weekends....over 40 years worth! I live in a community that supports
the arts and usually play about 2-3 times a week. I can only support myself these days doing this because of all the years of solid employment. God Bless the drummers that have
succeeded in full time musical careers! Everytime I read of someone on this site that has put his daughter through college playing drums etc...it makes me very happy!
I'm with you there. When I started out in the late sixties it was in the nightclubs, four sets a night six nights a week, and you'd stay in one place for a good stretch, month after month if the conract was renewed. It really got my playing together and the money was great. Before too long one was a seasoned pro with a headful of jazz standards and, unfortunately, a lot of less appealing music. Still, all that on-the-job sink-or-swim playing experience was priceless.

When the clubs started going the way of the dinosaur, most of us drifted over to studio work and other sorts of sub-contracting, which we could do because we'd established ourselves in the city as pros. I don't know how the young guys do it today. It's got to be pretty damned daunting, particularly when we're talking about jazz, with as limited an audience as there is for that genre.
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  #97  
Old 06-19-2012, 12:38 AM
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I'm with you there. When I started out in the late sixties it was in the nightclubs, four sets a night six nights a week, and you'd stay in one place for a good stretch, month after month if the conract was renewed. It really got my playing together and the money was great. Before too long one was a seasoned pro with a headful of jazz standards and, unfortunately, a lot of less appealing music. Still, all that on-the-job sink-or-swim playing experience was priceless.

When the clubs started going the way of the dinosaur, most of us drifted over to studio work and other sorts of sub-contracting, which we could do because we'd established ourselves in the city as pros. I don't know how the young guys do it today. It's got to be pretty damned daunting, particularly when we're talking about jazz, with as limited an audience as there is for that genre.
did you notice a considerable change in the tunes being called as years went on ..... 70s and on ..... or was it pretty much the same standard tunes ?

as far as jazz gigs I mean
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  #98  
Old 06-19-2012, 01:08 AM
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Default Re: ...for the jazz cats ...

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did you notice a considerable change in the tunes being called as years went on ..... 70s and on ..... or was it pretty much the same standard tunes ?

as far as jazz gigs I mean
Yep, sure did. One guy I worked for had tweaked his "act" to include Stevie Wonder, Earth WInd and FIre, that sort of thing. At the same time he started bringing in the hokiest top forty rubbish you could imagine. You should have seen those rehearsals, they were hilarious.

It was when he started telling jokes and playing the banjo that I walked. Back then, see, I had options.

But it's amazing. Those standards prevail to this very day. I could sit down and play any of them in my sleep, only please don't make me do that.
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  #99  
Old 06-19-2012, 07:06 AM
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Default Re: ...for the jazz cats ...

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Im going to try to do the same.....just with an herb that is not legal (in most places)

Im a bit too defensive sometimes......Ill get it under control one of these years....
I know what you mean. For a while I felt defensive myself, feeling that people considered me a bit of a lightweight. Then, after some cones of legal herbiage I thought, "Okay, I'm a bit of a lightweight. No drama," and everything flowed from there.

That's one area where I totally related to what Kenny Werner talked about in Effortless Mastery - get your ego well away from your music. The moment your feelings of self worth get wrapped up in your drumming you've created a barrier between you and the music. I'm still working on that one.


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Those standards prevail to this very day. I could sit down and play any of them in my sleep, only please don't make me do that.
Bugger when it comes to that - where pros without the luxury of artistic control are in a situation not miles from the average office shmuck (of which I was one for many years) - paying the bills by doing things that don't interest you for someone who you don't much like or respect.
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  #100  
Old 06-19-2012, 08:38 AM
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Default Re: ...for the jazz cats ...

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For the jazz cats...have a look at this and see what you think.
Good GOD! That was brilliant! Funny because I related to almost ALL of it!
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  #101  
Old 06-19-2012, 05:45 PM
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Default Re: ...for the jazz cats ...

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Originally Posted by Gvdadrummasum View Post
did you notice a considerable change in the tunes being called as years went on ..... 70s and on ..... or was it pretty much the same standard tunes ?

as far as jazz gigs I mean
There was a big change in what was being requested. A lot of the younger audience members got interested in jazz because of live rock music and wanting more out of the solos. In those days (pre all this digital stuff and interconnectedness) music and the arts
were part of the larger social fabric. It seemed like everyone went out for live music, sports
or something. As the younger audience began learning the names of jazz standards they
liked, those were what was requested a lot. By the 80's (my experience only here) the
tunes being requested had broadened out again including many more of the standards.
Locally, the play list used by the local jazz musicians includes about 400 tunes. There
is a local jazz pianist who played in NYC and LA in the 50's and 60's who knows so many thousands of tunes it is ridiculous! He can play each one in any key, any style at the drop of a pin. The other night when he was playing a solo gig some young girl walked up to him
and asked him if he knew any "Hall and Oates"...well, he was nice about it.
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  #102  
Old 06-19-2012, 07:01 PM
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The other night when he was playing a solo gig some young girl walked up to him
and asked him if he knew any "Hall and Oates"...well, he was nice about it.
....naturally he started playing a swing version of "your kiss is on my list" right?

hahahaha

I kid I kid
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  #103  
Old 06-30-2012, 03:31 AM
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Default Re: ...for the jazz cats ...

Hey jazz cats, I've been working on my brush playing recently, I would love to hear some feedback from you guys --> http://dl.dropbox.com/u/68704262/Autumn%20Leaves.mp3
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  #104  
Old 06-30-2012, 04:45 AM
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Default Re: ...for the jazz cats ...

It sounds like you're working your stuff out, because you're playing kind of busy-- it's not a bad thing, but feel free to take a lot more time between your big statements/comments. The way you play during the bass solo is a pretty good level of density for most of the tune. Don't feel obligated to put the stuff you're practicing into your playing if you're not actually hearing it-- some of the hihat stuff sounds a little forced-in. I like what you're doing on the fours-- I don't now why so many non-drummers have trouble keeping it together through them...

A few things you might try:

- Those ruffs you play on the 1 or 3 will sound hipper if you move them over to the 2 or the 4.
- It sounds like you're playing your triplets alternating-- they might swing a little more if you play them rrL-- with a little accent on the LH.
- Try making some punctuations with your left on the & of 3 or the & of 1.

But nice job, man-- just keep listening and especially playing and everything will sort itself out.
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  #105  
Old 06-30-2012, 04:50 AM
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Default Re: ...for the jazz cats ...

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It sounds like you're working your stuff out, because you're playing kind of busy-- it's not a bad thing, but feel free to take a lot more time between your big statements/comments. The way you play during the bass solo is a pretty good level of density for most of the tune. Don't feel obligated to put the stuff you're practicing into your playing if you're not actually hearing it-- some of the hihat stuff sounds a little forced-in. I like what you're doing on the fours-- I don't now why so many non-drummers have trouble keeping it together through them...

A few things you might try:

- Those ruffs you play on the 1 or 3 will sound hipper if you move them over to the 2 or the 4.
- It sounds like you're playing your triplets alternating-- they might swing a little more if you play them rrL-- with a little accent on the LH.
- Try making some punctuations with your left on the & of 3 or the & of 1.

But nice job, man-- just keep listening and especially playing and everything will sort itself out.
hey Todd

I would love to hear what a great player like yourself thinks of the audition video I did for Pete Sims
check it out in the "Your Playing" section when you get a sec
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  #106  
Old 06-30-2012, 05:33 AM
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Default Re: ...for the jazz cats ...

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Hey jazz cats, I've been working on my brush playing recently, I would love to hear some feedback from you guys --> http://dl.dropbox.com/u/68704262/Autumn%20Leaves.mp3
Lots of great stuff going on, it seems like you are making excellent progress!

It may just be the lousy speakers on my computer, but I am having a hard time hearing your LH sweeping. Not that I think it should be overpowering, but everything feels a little too staccato for my taste. Who are you checking out for brushes?

I know I may have brought this up before, but the person I learned the most on brushes from is Kenny Washington. Check out his medium brush sound like this:

http://www.youtube.com/watch?v=iX1-xxY4VJk

Obviously this recording is much higher quality but do you hear how beautifully smooth his brush sound is? Not that the RH isn't articulated, it is just perfectly balanced. Try spending some time just trying to smooth out your LH sweeping would be my advice.

I agree with Todd that you may be overplaying/overthinking a bit. I also agree with him that your trading sounded great. Keep up the great work!
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Old 06-30-2012, 05:34 AM
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Default Re: ...for the jazz cats ...

Quote:
Originally Posted by Gvdadrummasum View Post
hey Todd

I would love to hear what a [...] player like yourself thinks of the audition video I did for Pete Sims

check it out in the "Your Playing" section when you get a sec
Fixed your text there. I love the way you play the bass drum on the first part-- obviously you don't play it that strong all the time, but it swings for real. Your 8s remind me of Art Taylor, for some reason-- very hard boppy. Those are great, functional, working drummer breaks you're playing-- I don't feel like I'm hearing you make a personal statement there, but maybe that's not what you're trying to demonstrate there. If it were me I'd probably play the unaccented notes softer, but that's a personal thing. Oh, I also like the super hip, super traditional setup you play at the beginning with the stick shot-- where did you get that?

It sounds like maybe the comping @ 140 thing is something LaRoca requested you play? There's a little bit of air between your cymbal and the comping part, even though you're playing both with authority-- the cymbal ends up getting the short end there, sounding a little weak. I think if I was going to turn that practice room piece into something I'd use in music I'd break it up substantially, bring the SD volume way down and find places to accent it, and always keep the focus on the cymbal-- I know you already know that. I personally hate playing multiples with the LH when playing that kind of thing-- I only want to play single notes and doubles-- I wrote up my method for that here-- I think you might dig it.

Thanks for asking me to listen to it, and congratulations on studying with LaRoca! What an incredible opportunity. I got to see him play in Portland around '99 or so-- I think his chops were down, but he was great-- like Elvin, but even looser. Soak up as much of that history as you can for the rest of us.
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  #108  
Old 06-30-2012, 05:55 AM
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Fixed your text there. I love the way you play the bass drum on the first part-- obviously you don't play it that strong all the time, but it swings for real. Your 8s remind me of Art Taylor, for some reason-- very hard boppy. Those are great, functional, working drummer breaks you're playing-- I don't feel like I'm hearing you make a personal statement there, but maybe that's not what you're trying to demonstrate there. If it were me I'd probably play the unaccented notes softer, but that's a personal thing. Oh, I also like the super hip, super traditional setup you play at the beginning with the stick shot-- where did you get that?

It sounds like maybe the comping @ 140 thing is something LaRoca requested you play? There's a little bit of air between your cymbal and the comping part, even though you're playing both with authority-- the cymbal ends up getting the short end there, sounding a little weak. I think if I was going to turn that practice room piece into something I'd use in music I'd break it up substantially, bring the SD volume way down and find places to accent it, and always keep the focus on the cymbal-- I know you already know that. I personally hate playing multiples with the LH when playing that kind of thing-- I only want to play single notes and doubles-- I wrote up my method for that here-- I think you might dig it.

Thanks for asking me to listen to it, and congratulations on studying with LaRoca! What an incredible opportunity. I got to see him play in Portland around '99 or so-- I think his chops were down, but he was great-- like Elvin, but even looser. Soak up as much of that history as you can for the rest of us.

thank you very much for the advice brother ....and for checking out the vid

I actually was feathering the bass drum but the mic I was using apparently loves the frequency of the kick ....sounds much louder in the recording than I was actually playing it

yeah my taps do need to come down......something I'm currently wrestling with ...they get away from me sometimes

to have Art Taylor mentioned in a conversation about my playing blows my mind ........the fact that his name came to your mind tells me there might just hope for a hack like me....hahaha

and that comp peice was something La Roca recommended ....you can tell I'm not completely comfortable with it and that I am reading it as well.......doesnt sound real natural....but it was just something for the audition

thanks again for checking it out and for your much appreciated constructive input

Last edited by Anthony Amodeo; 06-30-2012 at 06:28 AM.
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  #109  
Old 06-30-2012, 07:13 AM
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Default Re: ...for the jazz cats ...

Todd and hare, thanks for the awesome advice. That's exactly the type of feedback I love, I'll definitely keep working on it, I've been having a blast so far.

Can you guys recommend some records with good brush playing? It's something that's lacking in my collection at the moment.
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  #110  
Old 06-30-2012, 07:27 AM
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Todd and hare, thanks for the awesome advice. That's exactly the type of feedback I love, I'll definitely keep working on it, I've been having a blast so far.

Can you guys recommend some records with good brush playing? It's something that's lacking in my collection at the moment.
the McCoy Tyner record "Nights of Ballads& Blues" has such amazingly beautiful brush playing on it

pretty much the whole record is all flawless brush playing by Lex Humphries

check it out bro

such a kick ass record....perfection
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Old 06-30-2012, 11:40 AM
eddypierce eddypierce is offline
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Default Re: ...for the jazz cats ...

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Todd and hare, thanks for the awesome advice. That's exactly the type of feedback I love, I'll definitely keep working on it, I've been having a blast so far.

Can you guys recommend some records with good brush playing? It's something that's lacking in my collection at the moment.
I'm not Todd or Andrew, but here are some that I particularly like:

Tommy Flanagan - Overseas (Elvin Jones)
John Coltrane - Ballads (Elvin Jones)
Jo Jones - Essential Jo Jones (Jo Jones)
Jo Jones - the Everest Years (Jo Jones)
Bill Evans - Empathy/Simple Matter of Conviction (Shelly Manne)
Bill Evans - Complete Village Vanguard Recordings 1961 (Paul Motian)
Bud Powell - Time Waits (Philly Joe Jones)
Bill Charlap - Written in the Stars (Kenny Washington)

All of those guys were/are stellar brush players, and anything you can find with them playing brushes will be good (the records about have a high percentage of brush playing on them). But all of the classic jazz drummers got great brush sounds.

Ed
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  #112  
Old 06-30-2012, 11:43 AM
eddypierce eddypierce is offline
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Default Re: ...for the jazz cats ...

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the McCoy Tyner record "Nights of Ballads& Blues" has such amazingly beautiful brush playing on it

pretty much the whole record is all flawless brush playing by Lex Humphries

check it out bro

such a kick ass record....perfection
I think I heard a track from that album on Portland's jazz station a few years back, and I was so knocked out by the smooth brush playing that I looked up the album on allmusic.com to find out who the drummer was (Lex Humphries, as you point out).
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  #113  
Old 06-30-2012, 04:19 PM
Anthony Amodeo
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Default Re: ...for the jazz cats ...

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I think I heard a track from that album on Portland's jazz station a few years back, and I was so knocked out by the smooth brush playing that I looked up the album on allmusic.com to find out who the drummer was (Lex Humphries, as you point out).

"Knocked out" is the perfect way to put it

I've always loved brush playing and admire so many players brush technique

but Humphries playing on that record absolutely knocks me out
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  #114  
Old 06-30-2012, 05:09 PM
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haredrums haredrums is offline
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Default Re: ...for the jazz cats ...

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Originally Posted by eddypierce View Post
I'm not Todd or Andrew, but here are some that I particularly like:

Tommy Flanagan - Overseas (Elvin Jones)
John Coltrane - Ballads (Elvin Jones)
Jo Jones - Essential Jo Jones (Jo Jones)
Jo Jones - the Everest Years (Jo Jones)
Bill Evans - Empathy/Simple Matter of Conviction (Shelly Manne)
Bill Evans - Complete Village Vanguard Recordings 1961 (Paul Motian)
Bud Powell - Time Waits (Philly Joe Jones)
Bill Charlap - Written in the Stars (Kenny Washington)

All of those guys were/are stellar brush players, and anything you can find with them playing brushes will be good (the records about have a high percentage of brush playing on them). But all of the classic jazz drummers got great brush sounds.

Ed
I really can't add anything to this list, and trying to absorb more than this would be impossible anyways! Thanks for the great recommendations Ed, some of these I need to check out myself.

I will say that the reason I really appreciated KWash's brush playing (and playing in general) when I was learning the genre was that everything he plays is SO CLEAR. Because of this clarity I found it much easier to hear and understand what he was doing.
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Old 06-30-2012, 05:58 PM
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Default Re: ...for the jazz cats ...

Hey Guys,

I just put up a new post on a simple but effective technique to use when trading 4's, passing ideas:

http://haredrums.blogspot.com/2012/0...ing-ideas.html

Passing ideas between soloists is a really simple thing to do, but I have found that if used tastefully everybody seems to be blown away by it. Is this something you guys do when trading? Do you love/hate it when people do this? What are some of your favorite examples of drummers doing this?
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Old 06-30-2012, 06:11 PM
Anthony Amodeo
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Default Re: ...for the jazz cats ...

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Originally Posted by haredrums View Post
Hey Guys,

I just put up a new post on a simple but effective technique to use when trading 4's, passing ideas:

http://haredrums.blogspot.com/2012/0...ing-ideas.html

Passing ideas between soloists is a really simple thing to do, but I have found that if used tastefully everybody seems to be blown away by it. Is this something you guys do when trading? Do you love/hate it when people do this? What are some of your favorite examples of drummers doing this?
fantastic as always Andrew

absolutely love your 4s ideas
your playing is so tasty

I use this method often......I love to pic up on a little phrase or run that one of the musicians plays
sometimes I'll use it verbatim and repeat it over and over voiced around the kit......this usually brings a little smile thrown my way from the guy who played it and we have a little laugh .....then he may throw something I did back at me
...and sometimes I'll just use it as a spring board or portal to other ideas

great stuff brother .....always love your blogs
such useful practical stuff
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  #117  
Old 06-30-2012, 06:23 PM
toddbishop toddbishop is offline
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Default Re: ...for the jazz cats ...

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Originally Posted by Gvdadrummasum View Post
thank you very much for the advice brother ....and for checking out the vid

I actually was feathering the bass drum but the mic I was using apparently loves the frequency of the kick ....sounds much louder in the recording than I was actually playing it

yeah my taps do need to come down......something I'm currently wrestling with ...they get away from me sometimes

to have Art Taylor mentioned in a conversation about my playing blows my mind ........the fact that his name came to your mind tells me there might just hope for a hack like me....hahaha

and that comp peice was something La Roca recommended ....you can tell I'm not completely comfortable with it and that I am reading it as well.......doesnt sound real natural....but it was just something for the audition

thanks again for checking it out and for your much appreciated constructive input

No problem, I hope that's what you were after... it's all pretty nitpicky/personal taste because what you're doing is fundamentally really strong. The BD sounds great even overrecorded like that-- makes me want to learn to play it like that for real...

Now I have to go listen to NOB&B-- I never got real deep into that record because I just wanted crushing McCoy stuff, and kind of put it away forever...
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  #118  
Old 06-30-2012, 06:36 PM
Anthony Amodeo
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Default Re: ...for the jazz cats ...

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No problem, I hope that's what you were after... it's all pretty nitpicky/personal taste because what you're doing is fundamentally really strong. The BD sounds great even overrecorded like that-- makes me want to learn to play it like that for real...

Now I have to go listen to NOB&B-- I never got real deep into that record because I just wanted crushing McCoy stuff, and kind of put it away forever...
thats exactly what I was looking for my man......the fact that I can come here and have a player like you listen to and evaluate my playing ..then present constructive criticisms is highly highly productive to me

I absorb that stuff and absolutely process it.

....and yeah.... definitely break that McCoy record back out......amazingly beautiful record
and the drumming is just flawless
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  #119  
Old 06-30-2012, 07:07 PM
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haredrums haredrums is offline
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Default Re: ...for the jazz cats ...

Quote:
Originally Posted by Gvdadrummasum View Post
fantastic as always Andrew

absolutely love your 4s ideas
your playing is so tasty

I use this method often......I love to pic up on a little phrase or run that one of the musicians plays
sometimes I'll use it verbatim and repeat it over and over voiced around the kit......this usually brings a little smile thrown my way from the guy who played it and we have a little laugh .....then he may throw something I did back at me
...and sometimes I'll just use it as a spring board or portal to other ideas

great stuff brother .....always love your blogs
such useful practical stuff
Yeah!

Thanks Tony, you bring up a good point. The big disclaimer on this technique is that it requires the cooperation of everyone involved. If only you are trying to do this it really doesn't work. Also, as you said, the phrase can be repeated verbatim or interpreted much more loosely, so there is actually a great deal of flexibility inside of this.
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  #120  
Old 07-01-2012, 02:47 AM
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8Mile 8Mile is offline
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Default Re: ...for the jazz cats ...

Quote:
Originally Posted by haredrums View Post
Hey Guys,

I just put up a new post on a simple but effective technique to use when trading 4's, passing ideas:

http://haredrums.blogspot.com/2012/0...ing-ideas.html

Passing ideas between soloists is a really simple thing to do, but I have found that if used tastefully everybody seems to be blown away by it. Is this something you guys do when trading? Do you love/hate it when people do this? What are some of your favorite examples of drummers doing this?
Another terrific piece. Andrew, you're the man.

Yes, I do this a lot when trading. I love it, as long as it's not overused, and as long as your "Yes, And" rule is followed.

Here's a favorite example, from the incredible Sonny Rollins record, A Night at the Village Vanguard. Elvin Jones on drums. Check out the phrase Sonny plays at 5:47 and then hear Elvin's response. http://youtu.be/Txlt6-TjxOE

By the way: Terrific playing on that clip from your blog. You sound great, man.
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