Hi Phil,
Allow me to jump in for a second.
When it comes to the topic of the swing feel desired for the Wilcoxon solos, I believe everyone is taking that too literally. The solos already have swing built into them. You don't need to force these to have a triplet feel...
Ummm....hate to burst your bubble...but...two things...
1) If they were still with us, I would be sure to pass your evaluation and views on to Ron Gould of the NY City Ballet Orchestra and Buster Bailey of the NY Philharmonic (I was trained as an orchestral percussionist). They were the ones who advocated to me about adding more swing to the solos...which brings me to...
2) Swing is
NOT only based upon triplet feel. I direct you to Gene Krupa's playing on "Sing Sing Sing" (well actually the famous tom part is the second part of that: "Christopher Columbus"). He
clearly is not playing triplet-based rhythms, but rather playing extremely loosely.
That's what makes it swing.
Remember...this book is
NOT the 1940's version of DCI. I quote from Wilcoxon's Preface: "...to enable the modern Drummer to understand more clearly the far reaching possibilities of the Twenty-six Rudiments..." Also...he mentions a "touch of swing was added". Is that to say that more can not and/or should not be added?
The best example of what I mean would be comparing Wilcoxon solos to Delecluse or Cirone solos. For the latter, concert-style, compositions, those are written and interpreted to stand up straight and be very evenly and precisely executed. It's challenging to, if not impossible, to interpret a concert, stylistic mentality over the Wilcoxon solos using Wilcoxon's stickings and stylistic interpretations (forte for non-accents and FF for accents, tempo indications between 95 and 120, etc.).
Why even bring up Cirone and/or Delecluse? My dog can tell that they are stylistically different. Also...where do you come up with the tempo markings and dynamics? Unless you have a copy not available to the rest of the world,
THERE ARE NO tempo markings. As far as dynamics, they can (and should) be played at multiple dynamics. You would, therefore, be horrified at the way I play them. I insert crescendos and diminuendos throughout. It's called shaping/phrasing....you know...interpretation...making music.
Something that might cement these concepts for you would be to play a Wilcoxon solo for an orchestral drummer. They would CLEARLY hear the Wilcoxon solos as swinging.
The
LAST people I would demonstrate Wilcoxon to would be today's orchestral drummer. I don't know what happened, but, within the past 20 years orchestral players have lost all sense of shaping and phrasing. Everything sounds flat with zero articulation. Compare today's players with the aforementioned Ron Gould and Buster Bailey, along with Al Payson (Chicago Symphony Orchestra), Artie Press (Boston Symphony Orchestra), and Alan Abel (Philadelphia Orchestra). To my ears the only one today who comes close is Matt Howard (L.A. Philharmonic).
In closing...would it have hurt you to compliment 8 Mile's playing? He's worked really hard on this stuff. I, for one, appreciate his efforts, and really like what he's done.
I'm looking forward to your postings on your various platforms.