Sunday, March 24, 2019

Daily best music in the world: Tamba Trio

Here are a couple of albums by Tamba Trio, a Brazilian group primarily active in the 60s-80s— the pianist I have used on my last couple of records, Jasnam Daya Singh (née Weber Drummond) was actually the last pianist in this group. There are a number of hip Brazilian piano trios from this period doing a similar thing, with all three members singing as well as doing heavy stuff instrumentally. Quarteto Novo, Jongo Trio, Bossa Trio, for example.

A lot of drummers understand nothing but more intensity, and this music is so light it could sound insipid to them. It's not insipid. It's deep light.

Here is Tamba, from 1974:

And Samba Blim from 1968, with an altered lineup called Tamba 4:

Friday, March 22, 2019

Groove o' the day: Billy Higgins - Una Muy Bonita

Some variations on a groove Billy Higgins plays on the Ornette Coleman tune Una Muy Bonita, on Bobby Hutcherson's album Stick-Up!. It's a New Orleans type thing, reminiscent of parts of Poinciana, as played by Vernel Fournier. Higgins plays hip stuff all the way through this tune, some of it related to some other things we're working on— I'll have to transcribe a longer portion of it soon.

Play with the snares off. You can play the bass drum lightly on beats 1 and 3 throughout. Check out Higgins's legato feel on the cymbal— he plays it a little straighter than most people. Much of the time he doesn't play repetitively, but these patterns happen at least a couple of times in a row at different points in the track.

This happens on the intro:

This variation occurs frequently:

During the solos he sometimes plays this variation, with a bass drum accent at the end:

Thursday, March 21, 2019

Anything at all, with energy

Why do they always look surprised.
Today there is two big pieces in The Atlantic about social media advancing some very dark ideas, and about trolling and fascism, so maybe it's a good day to post a long-form rant about a somewhat related, relatively minor irritant, which has been kicking around my drafts folder for a couple of weeks.

We've been seeing a new ilk of drumming video lately, that is the hyperactive bastard offspring of the famously terrible old “Expert Village” videos, mated with that crummy, lazy clickbait you see on Fxcebook:

“9 out of 10 can't name the capitals of three states.” 
“PERSONALITY TEST: What kind of omelette are you?” 
Answer: DENVER

That kind of blather. The drumming videos follow a similar formula, that is extremely simple:

1. Think of a dippy, urgent-sounding title.
2. Babble about nothing on video for 5-12 minutes.
3. Cut in footage of you acting funny. Edit out every microsecond of dead air. Plaster the video with text. Make a title card showing you looking surprised.
4. Make a couple of hundred of those.
5. Beg for follows and likes.
6. PROFIT$$$

Titles and concepts can be anything you can think of in one second:


The idea is to monetize people's intolerance for uncertainty, their fear of doing something wrong, and their unwillingness to trust themselves to figure anything out; so play up the consequences of screwing up:

There is frequently a subtext is juvenile insecurity. Play on these kinds of emotions:

But it is most important that you do not try. The “answers” you provide don't have to be good. You have only to offer a dim hope that you will address the thing you have triggered the target to care about, which he feels powerless to solve without the aid of a *kof* smart phone.

I'm serious: any crap idea at all that sounds like a drumming problem— take it and GO! Now! Run! Make the video. There is no such thing as being too inane. Don't try to improve it or make it good or valuable in any way. Every second you waste thinking about that nonsense, you are being denied the money and attention that are rightfully yours.

You can't worry that you are in any way unqualified to be making instructional videos, or that you lack any kind of talent as a media personality. This is about seizing attention, not about giving anything of value. Just be willing to say anything at all, with energy.

It doesn't hurt if you have a face that looks like an undisturbed plate of milk.

I hate to link to these people, but look at this once. You lose nothing by jumping ahead frequently.

Now, if you watched that and thought “Did I just give up nine minutes of my life for him to tell me to move my hand over here a little bit? Is that what just happened” you are not the target audience of that video. Your attitude is all wrong. You need to just be mesmerized by the screen for a few hours, letting the wash of drum-sounding nonsense cascade over you. Let the algorithm take you, and stop being so me focused— what can learn, blah blah blah. Sit there and be monetized.

It's pointless to criticize the substance of the videos, because that is absolutely not the point. The only point is attention. If you are interacting with them in any way— even to hate them, as we are doing here— you are serving their purpose. If you know or care anything about the subject, the videos are actually a form of monetized trolling.

This guy has made half a dozen versions of this same video:

Watching that, anyone who knows anything will observe:

1. What the hell was the point of that? What's the “lesson”? 
2. What he's doing doesn't even work. Playing an AC-DC beat badly along with a recording of Take 5... what???

The fundamental dynamic of this kind of trolling is that knowledgeable people will attempt to make an ordered statement out of nonsense, and correct it on its merits, while the troll just wants to prolong the argument and get more views. If knowledgeable people engage them and try to figure out what the hell they are talking about, and correct them, so much the better. Gives their followers someone to fight with.

Normally when I criticize drumming videos I feel a little bit bad about it. I care about the quality of the information, so I'm going to make my criticism, but often the videos are made by well-intentioned people just overstepping what they know. I usually hope they don't see my responses.

Not so with these exploiters. I want them to know. I want them to know that I want them to know. This puts me in the category of being a “hater.”

Now: you never hear ethical people calling others haters. It's always people doing something indefensible, basically running a scam, and they can't be fielding criticisms on their merits. They have turn it into these people are jealous of my youth, good looks, and success. There's also a primitive amoral egoism at work, that says I am me so I am good so what I do is right, and people against me are bad.

Happily, you can only run a business on vapor for so long. YouTube is rigorously managed by very clever people who are rabidly jealous of every cent they have to pay out to people making the actual videos. They frequently burns video makers by changing the rules on monetizing, collapsing their businesses overnight. I don't begrudge anyone a living, but if you're going to pretend to teach people about the drums, make an effort not to suck, and don't be a scumbag.

Wednesday, March 20, 2019

Page o' coordination: Cinquillo

Here's an easy page o' coordination based on a basic bell rhythm, known in Latin music circles as “cinquillo”— which basically means quintuplet. It's not a quintuplet, it's the indicated 5-note rhythm, but that's what the word means. It's a good rhythm for a variety of Latin feels, or pseudo-Latin feels, especially for bright tempos, R&B situations, show music situations, or situations where the other players aren't real sophisticated, and get thrown off by more complex bell patterns.

Learn all the patterns with your hands only, then add the right and left foot parts, one at a time. Then you can combine the different feet parts. You can move your left hand between the snare (rim click) and high tom for most of these. If you want to get deeper into it, you can do the stock moves I always do with these POCs, and vary your articulations and dynamics— rim shots, dead strokes, buzzes, whatever. Play the right hand on a cowbell, cymbal bell, hihat, or the rim/shell of the floor tom. Play it as rim shots on the snare drum (snares off) for a pseudo-calypso feel.

Get the pdf

Tuesday, March 19, 2019

Tune list for sessions

This is the tune list for a weekly session I play. We go through a lot of material, most of it kind of unusual, and many things that are rather challenging. I shlep this big pile of paper to every rehearsal.

There's really nothing here you would be expected to walk onto a gig and definitely already know. I have starred the things most likely to come up, either in conversation or on an actual gig. Lead sheets for most of these can be found online through a variety of sources if you want to play them. 

*A Felicidade - Antonio Carlos Jobim
Ambrosia - Kenny Barron
Ana Maria - Wayne Shorter 
Angeles Crest - Larry Koonse 
Aquarius - Joao Donato
Aunt Alice - Rob Thomas 
Backyard Groove - Kenny Garrett
Bananeira - Gilberto Gil/Joao Donato
Bicycle Ride - Toninho Horta 
Big Red - Tommy Turrentine
Black - Cedar Walton
Black Five - Gregory Fine
*Black Narcissus - Joe Henderson
Black Nile - Wayne Shorter 
Christina - Buster Williams
Compulsion - Harold Land
Con Brio - Jerry Bergonzi 
Dance Cadaverous - Wayne Shorter
*Dear Old Stockholm
Debonaire - George Colligan
Del Sasser - Sam Jones 
Desert Moonlight - Lee Morgan
Dhyana - Tina Brooks
Different Places Together - Jerry Bergonzi 
Dual Force - Buster Williams
East of the Village - Hank Mobley
Edda - Wayne Shorter 
Everybody's Song But My Own - Kenny Wheeler

Continued after the break:

Monday, March 18, 2019

Rudiments in 5/8

A page of snare drum rudiment practice phrases, written in 5/8, in a 3+2 phrasing. Keep this with your copy of Haskell Harr (book 2) or Rudimental Swing Solos.

These can all be played at normal rudimental tempos— quarter note = 105-126. You'll probably have to set your metronome to give you 8th notes at 210-252 bpm for that. Or you can set it to give you downbeats only, at 21-25 bpm. The closed 7 stroke rolls are played with a 16th note triplet pulsation; the other closed rolls are played with a 16th note pulsation.

Get the pdf

Sunday, March 17, 2019

Groove o' the day: Lex Humphries - Abana

Back to posting drum stuff after a shocking, depressing last week, with the massacre of a lot of innocent humans in New Zealand. Here's some music for anyone still struggling to find their equilibrium.

I was thinking about what the space alien said to the main character in Stardust Memories

“You're not the missionary type. You’d never last. And incidentally, you’re also not Superman; you’re a comedian. You want to do mankind a real service? Tell funnier jokes.”

So back to drum stuff. 

Here is Lex Humphries playing a very functional Latin groove on Abana, by Yusef Lateef, on the album Jazz 'Round The World. It's a modal jazz tune with a Latin flavor; the cymbal rhythm is a common one used in Cuban music. Only the hands are audible on the recording. Tempo is around half note = 125. 

To add some feet and make this into a full drum set groove, start by learning it with the hihat on beats 2 and 4. I've encountered Latin players who don't like this, but many jazz musicians will expect it.

These are some different things with the bass drum, ordered from “more functional in a jazz combo” to “more authentic”:

The bass drum on 1 and 3 way is very north American, but also more useful in a jazz setting than any of us want to admit. Play the bass drum very softly if you're going to do that.  

It looks like I chose something for which there is not a convenient link from the usual site. Looks like you'll have to buy the album if you don't already own it.  

Thursday, March 14, 2019

Daily best music in the world: Oval

You know what I'm tired of? Music that sounds like it was created with a free Android app. So here is one of my favorite albums in the late 90s: 94 Diskont by the German electronica group Oval. Created using some novel manipulations of digital media— marking up, damaging, and generally messing with CD surfaces, and remaking the resulting screwed up audio into music. A lot of electonica suffers from being made by people who never went through the discipline of learning to play an instrument, but these guys are real artists.

Wednesday, March 13, 2019

From the zone: brush things

A little item from Ted Warren, author of the excellent Trap'd blog, who is clearly not suffering from any kind of OCD, having written this upside down on some kind of assignment sheet. I post so much stuff on this site that it's easy to forget that most of what you actually play centers around relatively few basic ideas (actually, what I write also centers around relatively few basic ideas, in different contexts)... so when you get one or two things from a source like this, you should actually spend proportionally more time playing them, and experimenting with them. They're going to be very useful and/or fertile.

Ted gives some explanation of this here.

Definitely also see his series of brush videos— those, plus a lot of playing with people are all you need to learn to play the brushes.

Please send me (see the sidebar) any practice room artifacts you would like to be featured in a FROM THE ZONE post. Don't worry about it looking good, making sense, or being finished.