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There’s probably gonna be a lot of youtube videos in the blog post content this summer.  I’ve got a bunch of traveling and other busy-ness happening, but that doesn’t make Jack DeJohnette any less inspiring…

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Now, I’m talking JAZZ here, but, in that category, my all time favs are:

5) Brian Blade, 4) Jack Dejohnette, 3) Jeff Watts, 2) Elvin Jones… and…

my number one:  Tony Williams

I’ve posted about Tony before, and I’m sure I will again. In my opinion, there has never been a drummer with a more perfect combination of energy, creativity, technical ability, and discipline. I’m thinking about Tony again tonight because I just came across some footage of a clinic he did, filmed at a Zildjian Day in the 80’s…

It’s a six-part series of videos, and it covers quite a few topics. To be honest, I think clinics in general (even with great drummers like Tony), are always somewhat hit and miss, but this footage alone makes the clips worth watching.

HT: Matt Schiebe


Mike Portnoy… maybe compensating for something? #yeahIsaidit

When I was young I had a cymbal set-up with hats, 2 rides, 4 crashes, 2 splashes, a bell dome, and 2 chinas. I thought I was the bomb… and I had a ton of fun experimenting with all those different sounds. Now, however, I run hats with a ride and 1 crash… sometimes 2 if the situation requires it. I think the main difference is that over the last ten years I’ve been able to refine my understanding of the role of a cymbal.

The biggest issue is knowing when to NOT play. For instance, listen to “One Headlight” from the Wallflower’s first record Bringing Down The Horse. Notice anything? Matt Chamberlain doesn’t hit ANY crashes… or ride for that matter. It’s hats and hats only for the entire track… and the cool thing is that most people (even drummers) don’t notice the lack of crashes until someone else points it out. Just listening to that tune is a great lesson on knowing the role of a crash.

I started exploring this idea in high school when I would intentionally take parts of my kit away and try to play with the limited set-up that remained. Maybe just kick/snare/hats… or just kick/toms/ride… or whatever. I enjoyed the creativity that came from forcing myself to play a stripped-down kit… and I began to discover how many different sounds could be pulled from only one cymbal or drum.

Don’t get me wrong… I’m not trying to say that having a lot of cymbals is automatically bad. The only real problem with it is temptation. Honestly, how often does a bell dome REALLY fit in a song? Answer: not very often… maybe once in your band’s entire show. But for most drummers, simply having the bell dome set up on the kit makes you want to hit it. You’re trucking along on the tune and you notice the bell dome sitting there and you think “oh… I haven’t hit that in a while…” and then you force the issue and play it in a spot where it doesn’t belong.

Again, there’s nothing wrong with a bell dome. You just have to know when to show some restraint and NOT hit it. An example of this would be Jack DeJohnette in the Keith Jarrett Trio. His set-up is almost unforgivably excessive for a jazz context, but you would never know it from just listening. He’s not hitting anything that doesn’t need to be hit, and the discipline and musicality he shows in having all those cymbals and not hitting them is incredible. He just uses what he needs and it rules.

SUMMARY: Put as many cymbals in your set-up as you want… but prioritize knowing when to NOT play them.

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