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Over this past Labor Day week-end, my wife wanted us to shampoo our bedroom carpet.  That meant moving out all of the furniture from the bedroom.   It was the Sunday before Labor Day and there were no friends or neighbors around to help. 

 

So the lifting and moving was a one-man chore.  The next morning (Labor Day) I felt substantial aches and pains, especially in my right shoulder.  I thought that it was either sore or strained muscles.

 

However, when I didn’t get over it in a reasonable amount of time I went to the doctor for an examination.  An MRI revealed that I had torn three or the four tendons that connected to my right rotator cuff…..and  …only surgery could repair the damage.

 

I had the surgery on Thursday, October 8^th.  Upon release from the hospital, I was placed in a sling/wedge device to immobilize my right arm and shoulder movement.  I was also scheduled for physical therapy to make sure my recovery was controlled, but successful. 

 

I let the physical therapist know that I was a drummer and that both my reach and a full range of motion was essential for that.  From the very start I have been playing with sticks on a practice pad, as well as, using the sticks for wrist and arm exercises.  I progressed quickly to snare drum, bass drum and hi hats playing…. constantly pushing my limits within the realm of progress without re-injury. 

 

It’s going to be several more weeks before I’ll be able to report on the final outcome of the surgery and the physical therapy.  However, I will share something I’ve learned.

 

If you want a professional drummer….hire me.

If you want a professional mover…..hire someone else.

 

I figure this clean carpet has cost me about $40,000 so far. 

 

Learn from my mistake!  Be careful with your arms, legs, back, and feet.  You need them to work as well as your drums and equipment!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tags: Injury

Drummers who play a lot spend a fair amount of money on sticks.  One question I have posed to me a lot is “how do I find the right stick for me?”.

 

I believe that choosing sticks is perhaps the most personal choice drummers make…..and today….more than ever before……. there is a plethora of  brands, sizes, materials, diameters, tapers, tips, and weights.  Choosing what your favorite drummer uses; or what is advertised as the current rage may not result in finding a stick that “does it” best for you.

 

Here are my basic recommendations for choosing some sticks that will work best for your playing situations.

 

1.    The stick must be comfortable for your grip.  This will be a combination of the diameter, length, and the resulting balance….and it will be unique to the physical characteristics of your hands.  If it just doesn’t feel right to YOU, then it probably isn’t.

2.    The stick must be controllable for the volume level ranges needed for your playing….and neither too light nor too heavy for your individual feel preferences.  This is one reason there are so many models out there.

3.    The taper and tip should produce the sound textures you want to get from your drums and cymbals.  Depending on the design it may be bright, dark, or somewhere in-between?

4.    Realize that is normal for professional drummers to use different model sticks for playing different styles of music.

 

 

Here is a nice short and easy-to-comprehend summary of the way different drum stick designs suit different aspects of a drummer’s performance needs.  Perhaps it will help you better understand how to find a stick with the right combination of design features for your performance needs.

 

http://www.vater.com/stickselect/stickselect.cfm

 

 

 

 

Tags: Sticks

 

A young and aspiring drummer recently told me that he was going to be a professional Death Metal drummer.

 

I told him that was a fine goal, but I would not limit myself to ONE genre that could change or even decline in popularity, and thus....also decline in work opportunities.

 

Why not be a well-versed professional drummer who could always find work and a good paycheck for his skills.

 

For example:  Look at just a hand full of the opportunities in the drumming world.

 

Live performance drummer…..rock, alternative, pop, country, jazz, big band, R&B, reggae, Latin, Afro-Cuban?  Session drummer?

 

If you are serious about being a professional drummer, then why place any limits on your drumming capabilities?  That would be like a house painter saying, "Yes I am a great house painter, BUT I will only paint houses BLUE because that’s my favorite color.

 

Learn as many styles as you can.  Learn to read.  Practice regularly with a metronome and master the ability to play solid at various tempos. If you want to be a competitive professional in a world with ever changing demands, then expand your abilities as far as you possibly can.

 

Styles?  Be willing to play less, or to play more…..or whatever the engagement leader wants.  Steve Gadd may be the best role model for this professional philosophy.  Basically, he can play anything but he will always respond to the expectations of the people who hire him.

 

Changes are always happening in the music world.  Be prepared to be ahead of the trends.

 

Tags: Drumming Skills

I have observed that many drummers playing in small to medium venues locally do not have a microphone on the bass drum.  In the small clubs and the low volume clubs, where customers want to be able to converse without shouting, drums are typically not miked.

 

Now, it is also typical for many drummers to cut a hole in the resonant side bass drum head.  The purpose is to facilitate easy placement of a microphone and to make is easy to adjust any muffling material placed inside the bass drum. 

 

Hence the question….. Should a bass drum played in an acoustic setting be ported or not?

 

In my personal experience, a ported bass drum head does, indeed, facilitate easy placement of a microphone.  If the drum is tensioned for use with a microphone the sound results can be outstanding.   I’ve also found that for me, without using a microphone on a bass drum tensioned the same way……the bass drum just doesn’t sound full and solid.  Sometimes, in certain rooms….it can even sound bad.  That’s because I set the head much looser for miked situations. 

 

That’s why I have both ported and non-ported front heads for my bass drums.  When I am miked I can set the bass drum up for that kind of tensioning and the desired miked sound.

 

When I am not miked, I use a non-ported front head to add musical tone, and depth to the sound of my bass drum. 

 

You may prefer the sound of a ported bass drum, whether it is miked or not.  Likewise, you may prefer the sound of a non-ported bass drum whether it is miked or not.  Some of you may…… like me……. find that to obtain the best of both worlds……you have to switch the resonant side bass drum head to fit the miked or not-miked situations.

 

It’s a personal choice, but the point of this piece is that you aren’t limited to any ONE way.   Do what rocks YOUR world.

Tags: Bass Drum

Another tip from an “Old Dog”.

 

 

Whenever you change a drum head, or have some other occasion to have one head off of the drum, it is also a good time to do some simple maintenance checks.

 

Are any of the lug screws or fasteners on the inside loose from playing?  Then tighten them up. 

 

Are bearing edges still smooth and free of dents and dings?  If not then get a professional to make the necessary repairs.

 

Are the counter hoops still flat and even?  Lay them down on a level surface and make sure they aren’t warped.  If so, you need to replace them or else you WILL have problems with tensioning and tuning.

 

If you have strainers, snare butts, mounts, spurs, or other hardware mounted onto your drum; make sure that the bushings, springs, etc. are working correctly.

Are the snare wires themselves worn out?  Then it is time for new ones. 

 

Any stripped tension rods or missing washers?  Then replace them.

 

It only takes a few minutes to check these things, and since our drums do take a bit of a beating they also deserve a little TLC on occasion.

 

Tags: Maintenance

There seems to be some controversy regarding drum machines, triggers, Pro-Tools, electronics, and many other sorts of drum-related gear that is available today.  Let’s be clear about the reality of all this.  It exists.  It sells.  People use it.  You may or may not like to use it, but that doesn’t mean that someone else can’t have a rationale that is different than yours.

 

It is very obvious that some folks find some of these items very useful for a variety of valid reasons.  However, there are other folks who truly and passionately believe it takes away from the artistry of their drumming.  That too, is just as valid  a reason for their choice NOT to use such devices .

 

It is not a right or wrong issue……it’s simply a matter of personal choice  It's one you make for yourself, and you should not deliberately seek to offend anyone else just because they have a different view.

 

My advice simple.  Just do whatever works for YOU and let other folks do what works for THEM.  It's not like someone out there has a “lock” on the ultimate decisions for what devices drummers can use  to create rhythms. 

 

If you want to use outboard gear, then by all means use it.  If you choose to stay with more traditional gear, then do that.

What's wrong with that logic?  Do whatever rocks YOUR world.

 

Folks, there may be strong personal opinions about this topic, but in my view there should be NO disrespect towards anyone regardless of their personal choices. 

 

IBJAMN IN NASHVILLE

KEN SANDERS

Tags: Outboard Drum Gear

You know, a great many of us drummers spend hours doing lots of things to improve our drum sounds and our drumming abilities.

 

We spend hours figuring out how to make set-up adjustments to place the various components of our kits in the best position for our playing techniques. 

 

 

To get our toms positioned in the best heights and angles for our own reach. 

 

 

To get the cymbals placed in the best spots and at the best tilt angles. 

 

To get the heads tensioned for the best sounds, and to pick out the sticks that have the right feel. 

 

 

All of that is good and necessary……. to get your kit ready to perform the best it can for you.

 

But what are you doing to make sure your practice sessions produce progress and the desired results?

 

Well, one size doesn’t fit all, when it comes to practice routines.  Plus.....only YOU can identify your weaknesses and develop a realistic plan to work them out.

 

To maximize your results I suggest that you:

 

Record (or video) yourself playing the problem rhythm, beat, or section of a tune.

 

Listen to it with honest and critical ears.

 

Determine what the problem or problems are.

 

Break the problems down into sections, and work on them one at a time.  (bass drum, hats, snare, etc.)

 

Do that because you have to be able to play the individual pieces before you can put them all together with total confidence.

 

It may take time to master the problematic parts, so be determined and patient. Don’t give up or stop short of success.  Stay focused on your plan.

 

It's basically a walk before you try to run kind of approach. 

Maybe ithese thought s will help you get your playing to the next level.

 

Tags: Pratice

 I went out to hear a band recently.  It was a ten piece band with horns, rhythm, and singers.  That’s a lot of sounds to fit together tightly and still have a groove.  The horns, keys, and guitar stayed out of each others way for fills and solos.  They really supported each other in an impressive polished way.

 

What killed the groove was their drummer.  He felt compelled to play something in every space or place his could.  This really killed their groove big time.      

 

Even on the ballads when the singer needed space for some subtle voice inflections, the drummer was playing cymbal flourishes and splashes, sometimes floor tom rolls.  It was quite out of context for the mood, and the soulfulness of the singer’s voice inflections were literally covered up with useless drum clutter. 

 

Now “what” the drummer played was technically good…..it was the time that he chose to play those things that was not good.   To be tasty and to add colors in just the right places, a drummer must be judicious with his playing.   This drummer was simply playing "way to too much" for the music.

 

Now, I’ve written previously about the drummers who play CRASH 2, 3, 4, 1, 2, 3, 4, CRASH 2, 3, 4, 1, 2, 3, 4, etc. on upbeat tunes; which I find pretty monotonous.   However, overplaying all night long is a far greater “sin” for drummers…..at least in my opinion. 

 

Here are some recommendations for drummers, playing music WITH the band.

 

Rule One:   Groove……lay down a groove so deep you can fall into it.

Rule Two:   Keep the groove happening.

Rule Three:  Whenever you do play a fill, DO NO LOOSE the groove.

Rule Four:   Cymbal crashes should make a statement with the music.  Constant random cymbal crashes detract from the groove.

 

If you do get a drum solo, play an interesting and entertaining solo, which can include showing some of your technical ability. 

 

However, if you can't make a good band groove, then you need to work on your basic skills.  The GROOVE is the foundation.

 

KEN

 

 

Tags: GROOVE

I have written about Louie Bellson on this website.  I’ve discussed meeting him via Larrie Londin, and about some of the tips he shared about using double bass drums, and also about just how “far ahead of his time” he was with his drum set-up.

 

 It is sad, that on February 14, 2009; at the age of 84, that he left us.  He was not only a great drummer and bandleader; he was also a great teacher and musical educator.   Here is the link to the official Louie Bellson website.     

 

http://www.louiebellson.info/home.html

Tags: Louie Bellson

 

Working drummers, according to their home city music scene; often have opportunities to do work other than recording, tours, and large venue performances.  The supper club, night club, jazz club, hotel lounge, cocktail party, and generally “quieter” type engagements can be a very good paying market.  However, it requires an understanding of what the client wants, and actually “expects” for the musicians to do. 

 

For some clients…..say in an upscale dinner club…..it may be light music for listening and dancing.  Typically, this is providing an ambiance of elegance for the patrons who want to be able to talk at their table without having to shout over the music.  The “being able to talk at your table factor” is a very common requirement in venues, such as those described in the first paragraph of this blog.

 

 

I got a telephone call during the holidays.  Caller:  “Ken, I was hired to fill in at a supper club last night for a friend.  I accepted the gig, but the band leader complained all night long about me being too loud and too busy with tom fills.”

 

So I asked what drums and cymbals did you use?   His answer…”well, I took my new kit, which really sounds great!  It’s an 18” x 22” kick, 4 toms, deep snare, 14” Rock hi hats, 16” and 18” Rock Crashes, a really cool 20” China and a 22” Metal Ride…..but I played them with these little 5A sticks and sometimes brushes.  But no matter what the bandleader kept telling me to play softer.”

 

 

There are several aspects to the drummer’s dilemma here.  The supper club gig was not the appropriate venue to debut his truly cool kit, that was actually designed and set up for louder playing.  He should have talked to the band leader before the gig and got some “ground rules” for what the band leader needed for him to do.  Finally, if he was not really willing to make the adjustments needed to play the gig, he should have told his friend that he was not interested. 

 

It is hard to play soft volumes in a small venue, when your drums are set up to project a big full sound in a large venue environment.  It also takes a slightly different playing technique and some restraint from playing roundhouse tom fills.

 

 

 

These kinds of “quiet venue” engagements may not be the most enjoyable for a drummer to work, but for other professional musicians; they do provide an income stream to supplement income from other kinds of engagements. 

 

The best advice I can give any drummer getting into this market is to use smaller drums, smaller sticks, and lower volume cymbals.  That solves a lot of trouble from the “git-go”.  After all, small venues have small stages and small venues don’t require a lot of volume from the musicians.  It’s simply a different situation from the high energy dance gigs, or the large venue show gigs. 

 

Now on the revenue side of the situation, if you make the clients happy and if these happy clients produce profits that make the manager happy….. then you can perhaps land a regular week-night gig that you can count on for a long time. 

 

Now, I certainly realize know that some drummers are not interested in these kinds of gigs at all……some consider them lame…..or dull…..or whatever.  That’s cool.  I’ve been at that place too. 

 

 

However, there are some drummers who can benefit from another source of performance income.  For those drummers who can play the styles and volume levels desired by their clients, it is worth looking into. 

 

The rule of thumb to keep in mind for ALL performance situations is to be committed to playing what the person who hired you wants.  If you can’t or won’t do that, then stick with the performance situations where you can and will.

 

Until Next Time,

Cheers!

 

Ken Sanders

Tags: Small Venues

This blog is intended to help beginning drummers with a logical and systematic method for finding their OWN IDEAL positioning for the components of their drum kit.  The emphasis is on comfort and easy playablity and NOT "cool" looks. 

 

 

Lots of beginning drummers know where the  various components are usually located when the drums are set up.  If you DO need a quick familiarization of drum terms, then here a really GOOD one that Rob (Little Drummer Boy) has created:

http://www.drumsoloartist.com/live/drumforum/index.php/topic,334.0.html

 

 

Therefore, I will talk about specifc adjustments and will not deal with definitions of various drum set components.

 

We can easily see that the drum set mounts and stands are adjustable for different heights and angles.  The bass drum pedal and hi hat pedal are also adjustable.   This allows the drummer to get every component adjusted to their own personal preference.

That's one of the unique situations about your drum set....... you have the ability to position the components so they are comfortable for your playing.  Everyone has different heights, arm lengths, and leg lengths…..so everyone has slightly different placements that feel better for them as individuals.

 

I’ve often seen beginnings drummers want to set their drums up to visually emulate the drum set-up of a favorite drummer.  That may or may not work best for them because of their physical characteristics.  So where do you start to get the best set-up for you?  I’m going to use an illustration with a five piece drum kit, two crash cymbals, a ride cymbal, and hi hats.  I realize that not every beginning drummer has THIS particular configuration, but it will work fine for the explanations I’m going to provide.

 

Where do you start first? 

 

Drum Throne (stool)

 

Although this is often the least considered piece of hardware, it is the very foundation of your balance…..your stability……your comfort……and it should be suitable for anchoring your body for long periods of time at the drum kit.  The seat should feel “good” to sit on.  Most of the really cheap thrones actually DON’T feel that good to sit on…..much less for long periods of time.  So, do yourself a favor at the very beginning and spend a few more bucks for a good, solid drum throne. 

 

It should be sturdy enough, so the upper tube won't slip from your body weight sitting on the seat.  A memory lock for the vertical tube is a really good feature, since it helps to lock the position in place.

 

You should adjust you throne so that the seat does not cramp or bind at the place where your underside thighs hang off of it.  For those who play “heel” down it is usually best that your legs make basically a ninety degree angle to the floor.  For those who play “heel up” or maybe even BOTH “heel up” and “heel down”;  I recommend elevating the height of the throne just a bit more…. so that even though you heel touches the pedal, it isn’t supporting the weight of your legs on the floor.

 

Bass Drum and Hi Hat

 

Place the bass drum and the hi hat at distances so that your feet are comfortably positioned above and on the pedals.  This is why the height of the throne IS SO IMPORTANT.  Unless your foundation is solid and comfortable, you will fatigue easily and never get the control you need to master the feel of these components.

 

Play some patterns with just these components.  You may find that you will need to alter the height of your throne, or the distance of the hi hats and bass drum to get these positioned for your own ideal feel.  

 

 

 

Snare Drum and Hi Hat Height

 

Next, set up your snare drum stand and snare drum.  Depending upon your seated height and arm reach, this positioning will also be unique according to your own body characteristics.  Some drummers play the snare drum where the drum head angle is tilted.  Some prefer the snare drum set perfectly flat.  The most typical angle today, seems to be with the head tilted slightly toward your crotch. HOWEVER, position it WHATEVER WAY is easier for you to play on it.  The trick is to adjust the height and angle so that you can play with you wrists and arms relaxed.  You should be able to comfortably play a stroke or a roll, as well as a rim shot, at the angle that best suits you. 

 

Next you want to raise or lower your hi hat height so that the top cymbal is comfortable to play on……and so you don’t accidently smack your snare drum hand while playing a hi hat cymbal pattern.   Most drummers seem to have the hi hat height a bit higher (to significantly higher) than the snare drum height.  Again, it is a matter of finding the most comfortable playing position.

 

Rack Toms

 

You may have one rack tom…..you may have three, but for the sake of this example I am assuming two.   Today’s modern tom mounts permit quite a bit of flexibility, so it is worth it for you to spend some time finding out exactly where your ideal playing positions will be.  Some drummers mount two rack toms on a floor stand with the snare drum almost against both of them.  This has become a popular way to position them over the years.  Other drummers mount the rack toms onto the bass drum with one tom almost touching the snare and the other tom to the right of it (in a right handed set-up).

The typical tilt is slightly toward you to facilitate a solid stick impact position.  Extreme angles, though sometimes used, do tend to make the stick impact position harder on the wrists for some players.

 

One again, the key element is to find a comfortable position where you can move from your snare drum to the rack toms in an easy flowing movement.  You don’t want to have to move your arms and wrists too far because you sacrifice comfort, speed, and control.

 

Floor Tom

 

At this point, you have found the most comfortable playing positions for your throne; your bass drum; your hi hat; your snare drum; and your rack toms. It is now time to position your floor tom.  If you have your rack toms on a floor stand, you need to simply find a comfortable position for your floor tom beside your right leg (in a right-handed set-up).

 

If you have your rack toms mounted on the bass drum, you can place your floor tom close to your right leg (in a right-handed set-up) and almost against the shell of your second rack tom.

 

The height and head angle of the floor tom (as with everything else) depends on what is most comfortable for you.   Some drummers prefer the floor tom slightly lower than their snare drum.  Some drummers like it tilting toward them while others prefer it flat.  It’s completely a matter of whatever position that allows you to move from your snare drum or rack toms in a smooth flowing motion. 

 

Cymbals

 

The ride cymbal is typically played with the right hand in a right-handed set-up.  Many drummers prefer it set fairly low to the side of the second rack tom and  the floor tom.  This allows you to comfortably play on different places on the surface and bell of the ride cymbal.  Drummers who prefer this position usually do so because they find it tiring to have to raise their arm to play the ride cymbal in a higher position.  If you do tire from having your arm raised when playing the ride cymbal you can loose control of both tempo and feel.

 

Now there are many drummers that DO play the ride cymbal in a higher position.  Some folks think that having the ride cymbal set up high looks very cool, but once again, you need to place it in a position and tilt angle that is most comfortable for you to play it.  If that preferred position IS HIGHER and you CAN COMFORTABLY play it that way, there is no rule that states that you can’t do it that way.

 

The crash cymbals to the left and to the right are the final components to place.  In this sequence of finding the IDEAL spot for each component, these cymbals should be placed where you can play them without having to overreach.  The left crash is often seen placed between the hi hat and the first rack tom; tilted so that you can easily crash the edge but also play the bell if you want to.  The right crash is typically placed to the right side of the ride cymbal at a height that is easy to play off of either the ride cymbal or the floor tom.

 

That’s it.  This systematic approaching to positioning all the components of your drum kit is based on finding the IDEAL placement for your physical characteristics.  There is no reason to pretend that a placement is comfortable when it really isn’t.  Your playing will suffer if you elect to go for “look” instead of playing comfort.

 

Now that you have found YOUR personal set-up preferences, here are another blog that may help mark them.

 

 

 http://www.drumsoloartist.com/live/blog/view/id_170/title_beginning-drummers-setting-up-your-kit/

 

If you are a beginning drummer with trouble getting everything in a comfortable playing position, then maybe some of these pointers have helped.

 

 

Cheers!

KEN SANDERS

IBJAMN in Nashville

Tags: Beginning Drummers

Tags: Paiste Traditionals

On my own page of the Drum Solo Artist website, I list Buddy Harman as one of my mentors.  He was a true pioneer for prominently using drums in the Nashville recording industry and he was definitely part of the famed “Nashville Sound” that developed in the sixties.

 

He was a legend in the music world.  I can say that every studio I went into during the sixties and seventies had one of Buddy’s left-handed Gretsch sets already stored there, rather that using cartage companies.  He was that busy with his recording dates!  

 

Buddy Harman was a fine gentleman with a quick humor and an always positive outlook on the situation.  I feel honored to have known him and to have benefited from his advice, wisdom, and his thorough knowledge of recording drums.  Here are just a few of the links that honor his passing and attempt to describe his incredible career.

 

 

http://www.cmt.com/news/news-in-brief/1593381/famed-session-drummer-buddy-harman-dies.jhtml

 

http://www.newschannel5.com/Global/story.asp?S=8886691&nav=menu374_1

 

http://www.nytimes.com/2008/08/23/arts/music/23harman.html?_r=1&oref=slogin

 

http://www.wsmv.com/entertainment/17267656/detail.html?rss=nash&psp=news

 

http://www.tennessean.com/apps/pbcs.dll/article?AID=2008808220413

 

 

Tags: Buddy Harman

I talked to Nashville session drummer, Craig Kampf at Fork’s a few days ago.  Although, like me, he is a “senior” now , he is still rocking…..still writing…..still producing….and still playing drums.  He had just played a show with the famous L. A. studio greats, the “Wrecking Crew” the week before.  He was excited because Hal Blaine had asked him to join in and play percussion with them at the show.  Craig considered it a very special honor!

 

Now some of you may not recognize the name Craig Kampf, but he has played on over 200 albums, including 60 "Top 40" hits, plus many movie and TV soundtracks, with over 60 Gold & Platinum awards.  He has drummed and played percussion on several Grammy winning and nominated songs and albums.  He also writes.  For example he co-wrote "Oh Sherrie" with Steve Perry.  That kind of song can keep those royalty checks coming in!

 

Here is a sampling of some of the artists he has worked with:

 

Leon Russell

Steve Perry (of Journey Fame)

Alice Cooper

Kim Carnes

Melissa Ethridge

Dolly Parton

Nick Glider

Flo and Eddie (the Turtles)

The Motels (Martha Davis)

Patty Loveless

Tanya Tucker

Alabama

 

I asked about his drum stash from his long-standing relationship with Camco Drums and later with Rogers Drums.  He had only a few, and really regretted not keeping so many others.  Some of his very favorites had also been stolen over the years, including some that had been on some very historic recordings.  He commented "We all need to learn to watch our gear when we are storing it, don't we?"

 

 

As far as endorsements, he laughed and said yes, if you want to shut down a successful drum company just sign me on as an endorser.  He mentioned that, however, those days were like living a dream.  Craig did many ads for the products he endorsed and was even on the cover of a catalog for Rogers Drums. He is quoted as saying "I used to see Gene Krupa on the covers of those old Slingerland catalogs and dream---and now, here I was on the cover of the Rogers catalog. Dreams really can come true."

 

And speaking of dreams, Craig's pursuit of performing music is always characterized by drumming that is full of heart and passion. Robyn Flans perhaps said it best in her Modern Drummer article: "The energy Craig transmitted as an 18-year-old is no different from what you see now. More than 25 years have passed and with that has come a lot of experience, but the spirit remains the same."

 

“Craig is known for playing with abandon.  He is the perfect combination of raw and polished: perfect in his time and all the necessary recording techniques, but with the heart, guts and soul of an 18-year-old rock'n'roller." 

 

"This desire for making music that is full of passion and heart can be evidenced in all three areas of the music industry that Craig has established himself in---as a musician, a songwriter and as a producer.”

 

Craig is a great example of not only playing for the song, but also for coming up with original ideas.  He said that main goal was to make the song feel great.  Craig also mentioned that he had always tried to go that extra mile for the people he worked for.  You can feel the enthusiasm when to speak to Craig, and his career accomplishments certainly are proof of the impact of that enthusiasm.

 

I must also point out that Craig has performed pop, rock, jazz, country, and the “mixture of everything” required for TV and movie scores.  certainly He is certainly NOT a one-trick pony.

 

For young and aspiring drummers, these are certainly some good things to ponder.

 

Well, until next time………

 

CHEERS!

Ken Sanders

IBJAMN in Nashville, TN

Tags: Session Drummers

TUNING FOR “THAT” SOUND

Okay….granted….this will be a “duh” statement…..but tuning drums is  a personal thing. Some other drummers can graciously share how they achieve the sounds made by their drum kits.   It may be exactly the tip you needed to create that very exact sound with your drums…..if that’s what you need for your performances.

 

I have heard many drum sets that sounded amazing with music being performed, and I was certainly impressed.  One drummer can have a great sounding kit that works great for his/her situation, but it may not necessarily work for  YOUR situation(s).  Maybe another way of expressing the concept is that: not everyone chooses the same “flavor of ice cream”….although they ALL may be really good!

 

I really like the fact that…with drums…. there are many, many variations that they all can sound very cool within their own unique musical contexts.  Plus some drummers have their very own “signature sound” and don’t want to sound like the other drummers.

 

Just think about it a moment.  A great many (if not all of us) will agree that snare drum tuning possibilities seem endless and that bass drum sounds go way beyond just whether you have a hole in your front head or not.

 

MY PERSONAL SITUATIONS

For my work, it is quite possible for a drum kit to have a killer sound in one performance situation and then be very out-of-context for another kind of performance situation.  For example, I know when I use that deep pitch-bend rock-style tom sound that it takes a heavier stroke than the acoustic jazz tunings for producing a rich full sound using a lighter stroke.  Those are the opposite ends of the drum sound continuum for me.

 

 It may not apply to your work, but I perform a lot of different styles, so one drum sound just doesn’t cover it all for me.  My sound combinations are affected by the musical genre I will be performing.  So, I use different sized drums; different kinds of heads; different pitches and relational tunings depending on the style of music I’m being paid to do.  My jazz set; my big band set, my pop/rock/country set and my funk/fusion sets…..all…. have distinctively different sounds. The jazz set has to sound full and rich in low and medium volumes.  The big band set has to go from soft  up to powerfully kicking an 18 piece band shout chorus (with anywhere from “no sound reinforcement” to “just bass drum and overhead” microphones).  The other sets are close mic’d and those weird harmonics and overtones have to be minimized.

 

 So basically for me, anyway…the different venues…..and different genres affect the way the kit is set up for sound and functionality.

 

Now there are, indeed, some really good tips on this site, and perhaps on the web;  for seating new heads, sequential tensioning, and even selecting the heads with the sound characteristics that best suit your needs…..but the drum sound you tune for always comes down your own preferences.

 

Obviously there are so many things affect the sound of drums other than the sizes and the drum shell material.  That can include the combination of batter and resonant heads (same thickness?…different thickness?…coated?….clear?…..muffling/overtone control  head  designs?, etc) the tension/pitch relationships of the top and bottom heads, as well as, the size sticks you use and the way you play your stokes.  

 

My point is there are many, many variables…..and although there are some “wrongs” (i.e. uneven tension that can warp the hoops and stress the drum shell….) ….there are multiple “rights”.

 

 IT JUST ALL DEPENDS ON THE KIND OF SOUND YOU WANT!

 

Well, until the next time….

 

CHEERS!

KEN SANDERS

IBJAMN in Nashville

 

 

 

 

 

Tags: Tuning

The 2008 Summer NAMM (National Association of Music Merchants) exhibition has been here in Nashville this past week.  That event made way for all sorts of parties and special musical performances every night. For me the very coolest was a surprise special performance by Hammond Organ endorser/artist, Tony Monaco.  The show was at a small intimate Nashville jazz venue last night (Saturday).  Tony played selections from his recordings, and was accompanied by guitarist, Jack Pearson and Nashville jazz drummer, Jim White.

 

I want to discuss Jim White and his performance last night because it bears real examples several comments I have made in some of my other blogs on this website about drummers and jazz playing.

 

First, a little background about Jim White.  He is already well on his way to being a major league jazz player.  Though Nashville is now home for Jim since 1995, he is originally from Atlanta, Georgia.  He holds a Bachelor of Music degree from the University of North Texas and a Master of Arts degree in Jazz Studies/Composition from Middle Tennessee State University.   These are impressive credentials in my opinion.

 

 

Jim has performed with many top jazz artists including Maynard Ferguson, Rufus Reid, Joey Defrancesco, Bela Fleck, Jeff Coffin, Rich Perry, George Kirk Whalum, Annie Sellick, Charlie Peacock, Kevin Mahogany, Steve Wilson, Art Lande, Bob Sheppard, Benny Golson, Jim McNeely, the North German Radio (N.D.R.) Big Band, Eric Alexander and many others.  He is also an active educator, performing clinics at many universities and jazz festivals throughout the country. In 2005, he joined the faculty at the University of Northern Colorado, where he is currently Assistant Professor of Jazz Studies.  I think we can all be equally impressed with these career accomplishments he has already. 

 

Last night Jim performed on a very cool four-piece set of old 1980’s  era “Series 9000” Yamaha drums……14x18, 8x12, 14x14, 5x14 sizes and his selection of Bosphorus cymbals for the gig.  His technique was amazing.  His time was firm but with room for Tony's emotion and mood interpretation.  His solos were blazing with intensity, and his subtle brush work flowed so perfect. He used no microphones.  The room was very old with hardwood floors and a high ceiling that let the sound fill the room with a very natural…unprocessed feeling. 

 

When playing the funk/blues/jazz style drums in an organ trio, the drummer must keep pulse and feel moving without a bass player.  Since the organ player is  doing both chord structures and playing the bass lines…the drummer must hold the time firm, yet still allow some very slight wiggle room for the organist to express himself.  That’s a fine line skill that comes from experience and careful listening.   Jim handled all of that so well last night.

 

To tell you the truth, it is that slight time variance that gives the music some genuine human emotions that can be experienced by the listner.  Maybe, you haven't thought about it, but you have most likely seen symphonic conductors do this in a much more obvious way.  So, in an organ trio, the organist might be analogous to the conductor, as far a setting the musical moods.  That's something for you to think about as you listen to some of the famous artists in their small ensemble jazz recordings.

 

As I have written in another blog, jazz, and especially jazz organ trios, place the drummer in a unique “sound mix” situation too.  Drums that are not tuned (pitched) to handle this musical genre can get lost in the organ’s complex multi-layered wall of sound.  In an intimate jazz setting, you don't slam the drums into the mix with muscle.  No, you tune the drums to have tones that are distinct at all dynamc levels.  It's not only tempo and dynamics, it is also about tones...textures....and sound colors.

 

Jim was hip to all of this.  He had his drums tuned up higher than he would normally use for contemporary pop/rock pitches, aided by the fact that he used a smaller diameter bass drum.  That works to assure his “drum voices” are not lost in the overall mix.  He was therefore, able to play his drums at volumes that allowed their beautiful tones to layer into the music. 

 

On each tune, Jim displayed his amazing chops and his mastery of this style of drumming to everyone there last night.  You could hear the expected historic influences in Jim’s playing, yet his own definite bluesy funk groove was right there when the music needed it. To my ear, Jim’s powerful passages had the energetic passion of drummers like Tony Williams and Elvin Jones, although in a more bluesy context (in keeping with Tony Monaco's music).  But his ability to also play those delicate passages with such finesse stirred memories of Jo Jones and Max Roach.  Add to that Jim’s own very cool stylings, and maybe you can start to understand just what a remarkable drummer he is.  Seriously....very cool.

 

In other blogs, I've discussed the importance of having a well-rounded knowledge of all kinds of music.  Jim was well prepared to perform these styles needed last night from a combination of his objective study of music; his focused listening skills; and certainly his ability to practice and master the techniques.   Then the real acid test…..using his talent and taste; as well as, his confidence to bring out the ideas stored away in his mind’s drumming arsenal….to immediately and effortlessly translate them to his hands and feet to produce “just the right” drum/cymbal sounds in “just the right” places in the music.  That takes all of the skills to which you add your own impressions and reactions.

 

Jim's performance, in my opinion, was a great example of the real beauty of this American musical art form we call jazz.  The creation of improvisational music……interacting with the other musicians…….performing original variations of tunes…..and it is all created right before your eyes and ears.  That to me is very magical……and I thank all the wonderful musicians who spend a lifetime preparing to make those special moments happen……and make them feel so good.

 

Keep the name Jim White in mind.  You will certainly hear his name again and again in the future. 

 

Well, until the next time.....CHEERS!

 

Ken Sanders

IBJAMN in Nashville

Tags: Jazz Drummer Jim White

SOME IDEAS ABOUT CREATING A MORE MULTI-FUNCTIONAL DRUM KIT

 

 

Many working drummers play several styles of music and work several kinds of venues to broaden, not only their performance experiences, but their income earning potential as well.  Some....like me..... enjoy the variety of a club gig one night; a big band gig on another night; a pop/rock date still another night; and maybe show band and/or pit work.  Drummers, who do work in several genres, know that sometimes you need a different drum and cymbal set-up.

 

FIRST LET’S TALK ABOUT THE DRUMS

 

Seasoned professionals realize that some engagements require them to modify their “regular” kit configuration.  For example Steve Jordan might perform on a six piece kit with a 24” bass drum and 18”  hi hat cymbals……or he may need to perform on his famous “Club Jordan” cocktail type kit.  Rick Marrotta is another drummer who may opt for his “Hip Gig” kit rather than his larger kit.  Other drummers like Keith Carlock and even Billy Cobham might also make kit modifications/size reductions for smaller venues.

 

Well, not everyone can afford several drum kits, so maybe this blog will stimulate some ideas that will be useful to you.  Obviously, the ability to “strip” your current kit down to a four-piece kit is simple enough.  If that does it for your needs then you already understand one of the concepts I am discussing……a versatile kit.  If that still doesn’t allow you to have what you really need then here are some more ideas.

 

Let’s create a scenario:  You are called to play acoustic jazz at a small supper club on Monday, Tuesday, and Wednesday nights for a four-week run with a piano trio.  You can still rock with your week-end cover band, but this opportunity pays great and gives you an opportunity to break into another genre.  

 

However, say your “rock the house” kit has a 24” bass drum; 16” and 18” floor toms,  10”, 12”, and 14” rack toms, and a killer 7” x 14” snare drum?  Just the look of that set-up might scare the jazz club manager.  So….what if you used a “bass drum lift” and used the 18” floor tom as a smaller and quieter bass drum?  What if you clamped the 10” tom and the 14” to cymbal stands?  What if you used a smaller and more sensitive snare drum?  Maybe you already have a smaller “side snare”.  I know that you can buy new auxiliary type snare drums pretty cheap today on-line.  And maybe there are some used bargains at the drum shop too. Anyway, by doing something similar to what I described above, you can create a smaller four-piece kit.

 

MIX AND MATCH

Modern Drummer Editor Rick Van Horn does something that a lot of professional drummers do.  He buys drums with the same finish so he can mix and match a lot of different configurations.  Now before someone says it…..I know all the drum finishes don’t have to match in order to sound good.    But I still think it’s still a really cool idea for guys who work in several musical genres.

 

If you buy a kit with ….say a 22” bass drum; 10” 12”, 14” 16” toms, then you have your base configuration.  Add in the snare drums you prefer and add on an 18” bass drum......okay...now with all of those drums in your stash, you should be able to pick and choose to create suitable configurations for most gigs.  The kinds of drum heads and sticks you use also affects the sound of the drums, but these can be modified quickly. 

 

Now as far as bargain ideas….here’s one for you.  Lot’s of times you can find an odd drum cheap.  Sometimes at a pawn shop or maybe a garage sale…whatever, but the point is that you can buy it cheap because it’s an odd piece they want to get rid of.  I have friends who have bought such drums just for spare parts!  Anyway, some patience and some time checking out the right places can result in acquiring some mismatched drums in the sizes you want.

 

EXAMPLE:   I have a friend who bought and old 18” Gretstch bass drum; then a 12” Slingerland rack tom; and finally an old 10” x 14” Ludwig marching tenor drum.   He found them all at garage sales and had a grand total of $55 invested.  He removed the wrap covering and finished them in a walnut stain.  Then he put new heads on them and guess what?........they look and sound great for his low volume gigs……and as his practice kit. 

 

Another friend wanted a second bass drum for his “drum stash”.  He had purchased an old drum that had been in an automobile accident with lugs like the ones on his kit.  The shell and the rims were trashed, but all of the other hardware was fine.  He gave the guy $10 for the trashed drum.  He then ordered a pre-drilled drum shell with the edges already done; covering to match his other drums and some new drum heads.  For less than $300, he put together a great looking bass drum and saved himself about $500.  How cool is that? 

 

Well, there are other examples and ideas…..but I think if you are this far into this blog that you now have some ideas of your own.

 

CYMBALS

 

Cymbals are what they are, but they too may be multi-functional.  That 18” Rock crash that you use for high volume gigs might be cool as a ride for a quieter gig when played with a smaller stick.   That 14” medium-thin crash you use for a fast crash on certain tunes may be useful as a main crash for a jazz gig.  As you experiment with such alternatives you’ll find that smaller sticks can often bring out other possible uses for your current cymbals.

 

It never hurts to find some you extra cymbals either.  Like finding bargain drums, some patience and serious looking can often result finding in a cymbal bargain too.  Whether it’s hi hats or mounted cymbals there are some good used ones out there in the drum shops and pawn shops.  Additionally, some of the lower priced cymbals in the major manufacturer’s lines can be used in effectively low volume situations.   Lot’s of times you will find these available in drum shops as drummers “trade up” to other models. 

 

FINAL THOUGHTS

 

I did talk about sticks and drum heads a little bit, but your bass drum beaters, as well as the actual drum tunings have a big impact of the sound of your drums too. 

 

As I said, not everyone can afford to own several drum kits.  However, maybe these ideas will help you think of ways you can modify or augment the drums you have to give you greater versatility in your drumming work. 

 

Until next time…

 

Cheers,

KEN SANDERS

IBJAMN in Nashville

Tags: Drum Kits

 

Has that ever happened to you?  What did you do? Hmmmmm  

 

Unless you are part of a band doing “jam session” night at a casual club……or  maybe some kind of “open mic” night;  then  my opinion is that it is very bad manners for a stranger to come up and ask you if they can “sit in”.  Consider these genuine disasters that have happened to my friends who did let strangers sit in on their drum kit.

 

These are going to hurt!

 

• The stranger immediately began changing the drum tunings, hardware settings and the cymbal placements.

 

• Drum heads were dented from merciless whacks from butt end of the sticks.

 

• Drum kit was splattered with vomit.

 

• Cymbals were bent or cracked. 

 

• Microphone hit with a drum stick was trashed.

 

• Finish on Rack Tom was ruined by Snare Drum tuning rod smashing into it.

 

• The employer got angry (because it sounded awful and customers left) and he never hired the band again.

 

• People who walked in to hear the band for possible engagements, not knowing that someone was “sitting in”, thought the drummer sounded awful and left vowing never to use THAT band.

 

• Stranger stood up on throne and Floor Tom.  Legs on Floor Tom collapsed.  Stranger fell doing major damage to the drum kit and injuring the bass player.

 

• Stranger stole drummer’s wallet that was left in stick bag on stage.

 

• Stranger didn’t want to get off stage after allowing him to “sit in”.  When asked to please get off of the stage, he hit the singer in the face so hard that he went to the hospital.  Later legal complications took over two years to settle.

 

Well, I have a policy that prevents any of this.  I just don’t let anyone sit in and, seriously, real professionals can accept that.  When you and your band are contracted to provide a professional performance, it is just not the appropriate setting for a stranger to enter into.   Totally Not Cool!

 

I let the strangers know that it is not the right venue for “sitting in”.  They just have to accept that business decorum overrides their request.  Professionals can be cool with that and the band continues without delay.

 

But sometimes the Stranger becomes a total jerk……………….

 

Well, I too, have had a few total jerks to curse me because I wouldn’t let them play my kit at my engagement.  My first step is to tell them to chill out and act like an adult.  Usually they either do that or they just leave.

 

And if what if it gets even worse when you tell them “no”?

 

Well, this next situation has only happened to me twice, but if I am threatened any physical violence, then I call the police and the jerk is arrested.  Witnesses, of course, are no problem.  Besides, getting the person out of there ASAP is in your best interest, as well as of the employer and the guests.

 

Why be so intolerant to a stranger?

 

First, as mentioned above….the lack of professional courtesy…..and then the lack of common decency requires decisive action.  Why risk anything and everything for an out-of-control stranger making dangerous threats?  You don’t know them…… and you certainly don’t know what they are capable of doing.  Therefore, if they make a threat and it makes you fear for your safety; then they have “assaulted” you.

 

You really don’t know if the stranger just has a foul mouth and a hot temper; or if they are an escaped psycho-murderer.  It is completely reasonable to assume that you are only one spark away from being hurt by the  stranger who threatened you.

 

But they didn’t hit me…….yet

 

 

If they do throw something at you, strike you, block or restrain you from free movement to where you want to go, push you, or even touch you in a threatening manner; there would likely be the second (and even more severe) charge of “battery”.    Plus, anyone wacky enough to want to beat you up because “you wouldn’t let them play your drums” is not going to get any leniency from the judge. 

 

Do what is right for your own situation

 

Well, allowing stranger to “sit in” may or may not be of any mayor concern to you.  Part of that involves the kind of engagements you usually play.  I admit that it  very rarely comes up for me nowadays, but I can remember those days when it did.  There are some business and professional risks to consider.  In the end, you need to do what is best for your own situation.

 

Well, I’m sharing these thoughts with you because a young drummer asked me about it yesterday.  I  hope this blog gave you some things to think about. 

 

Cheers,

Ken Sanders

IBJAMN in Nashville

 

 

Tags: Strangers 'SITTING IN"

The Count Basie Orchestra performed in Nashville last night, and the Schermerhorn Symphony Hall was completely sold out.

Every single tune the Basie Band did was performed with the kind of passion that comes from really being “into” your music.  I could see it.....I could feel it.....the vibe was beyond comprehension. 
 
The arrangements, of course, were mesmerizing.  The tasty solos, and powerful shout choruses had everyone captured in the legacy being revealed right before them.  Drummer David F. Gibson was driving with the authority and confidence required to power the Basie Band.  From the whisper of a brush stroke to the blistering speed of his single stoke rolls, he was, absolutely awesome to watch.  He kicked butt!

 

These wonderful musicians, many 60+ years old, played with fire and energy that can’t be denied.  I feel fortunate to have been there last night and to have heard the magic of the timeless those Count Basie tunes.  The “magic” in my opinion was that the tunes were performed by the musicians who have stayed with the band even after William “Count” Basie’s passing.  What an absolute incredible performance.

 

Sometimes I enjoy music that is akin to a hamburger for dinner….simple and easy.  Last night was akin to a filet mignon with a bottle of fine Cabernet!  The artistry was (and I hate to use a cliché’ but that’s the only way describe it) breathtaking.

 

Tags: Drummer Dave Gibson

I’m back home from a two-night engagement at a supper club in the Cool Springs area of Metro Nashville. The total euphoria of the music we played has me wanting to keep on playing.  Ever have that feeling?


One of the very cool things about Nashville is that this city lives and breathes music.  And whether you are a performer or a listener, there is just a special interaction that is experienced in the small club performances.  Maybe I can explain that sensation a bit more.  

Although, I do get pumped for the “tight and powerful” style of playing involved with the very rehearsed show performances in large venues; it’s a very different kind of buzz for me to play with a smaller ensemble in an intimate jazz club.  It allows much more room for spontaneous creativity and it also places more emphasis on taste and the somewhat delicate kind of drumming finesse.

It’s just a different vibe from my other playing that stimulates that vital interaction with the other players.  The vocals are also more free for personal interpretation and you can reflect your own moods with the tune. 

That brings up another element that makes all of that possible.  I just need to stop right here and acknowledge how fortunate I am to work with some of Nashville’s finest musicians.


The Sanders-Nelson Jazz Odyssey features keyboard artist, Scott Nelson, who is such a joy work with because of his rich orchestrated style. He plays such wonderful keyboards and pedals and his passion for music flows out like a fountain.  Hubert “Captain Fender” Knight is another amazing musician, performing not only on Fender bass, but on saxophones and flute as well.  His thorough command of chord structure and melody are demonstrated with the clever bass lines and counter melodies he inserts in “just the right” places.  Together Scott and Hub are really a mini orchestra.

Add to that magic combination, the distinctivly jazzy vocals of Lynn Lewis and the very nice, and seriouly cool trumpet/flugelhorn work of her husband, Greg Lewis, and the results are two nights many magical musical moments.

Now factor in the excitement of a very enthusiastic and responsive audience and you can begin to understand why the musical chemistry was just incredible.  If none of this makes any sense to you,  then you’ll just have to take my word for it.  It’s the kind of thing that makes all of the sacrifices we make as live performance musicians…..well….worth it. 

I wish all of you total enjoyment with the performances you are doing……it’s a great feeling!

 Cheers!
IB JAMN in Nashville, TN
 KEN SANDERS

Tags: Jazz Drums And Cymbals

Recently, I was asked  why the typical tunings used in “Acoustic Jazz”  for the bass drum and tom toms are higher than “Big Band” and “Fusion” tunings.    Well,  let’s talk about that a bit.  There are certainly no rules about how you must tune your drums, but there is some logic behind “why” some jazz drummers do use those "higher" tunings.

It’s basically a matter of being able to have a big full sound from the drums when played at lower volume levels. Let's expand on that.

 When performing acoustic jazz, the volume levels are typically much lower that Big Band, Fusion, or Rock music.  Therefore, using the higher pitches on the tom toms makes it easier to get a warm musical sound from them when playing at softer levels.

Compare that to deeper tunings for the tom toms (and often thicker drum heads) used in rock music.  It takes heavier strokes to produce the full deep tones.  It is usually impossible to play softly on toms with a loose “max depth” rock tuning and get a deep full tone out of them. 
 
So as you tune the toms drastically lower, it takes more force to set the head vibrations into motion.  The same pitch logic applies with the bass drum in acoustic jazz settings, but there is another factor to consider with the bass drum.

In acoustic jazz playing, the drummer typically does NOT want the bass drum sound to blend with the bass players’ low notes. If the bass drum tone leans more toward the upper middle end of the bass frequencies, then it is easy to distinguish it in the overall mix.

In acoustic jazz styles, the bass player is heavily involved in both the melodic foundation and the time keeping function, whereas the drummer provides colors and textures and keeps the pulse moving and also controls the dynamic levels. 

Therefore, it is equally important to have the bass player’s sound very clear in the mix.  Both the drummer and the bass player want a separate identity in the lower frequency ranges for solo sections as well.

For the reasons mentioned above, many jazz drummers choose smaller bass drums.  With the smaller bass drum, they can achieve a “full” and “musical” bass drum sound……… in the desired frequency range…… since that is where the smaller bass drums’ optimum tones reside. 

The drum kit sound of drummers like Bill Stewart, Peter Erskine, Mike Clark, and Jeff Hamilton are good examples of the “higher pitched” but “full” and “musical” sounding jazz drum tunings.


Now fusion music is typically performed at a louder volume level.  The use of electric melodic instruments and a heavier feel are obvious reasons for that.  So to get the desired tones the drum sizes are larger.  The bass drum and tom toms are tuned lower, perhaps with different drum heads.  After all, the style is a mesh of jazz, rock, and funk.
 
Today it is typical for drummers to use 22” bass drums and 14” and 16” floor toms when performing fusion music.   The drums are more likely to have deeper wet tunings.  These tunings produce more punch and pitch bend than the typical wide open and higher tunings used in Big Band music. 

The drum kit sounds of Dave Weckl and Vinnie Colaiuta are good examples.

 “Big Band” drum sizes are often larger.  For example, many famous big band drummers use 24” bass drums, and often 16’ and 18” floor toms.  The tuning of these larger drums is similar to the logic used in acoustic jazz.  However, the larger drums do yield lower optimum pitches and provides increased projection to drive a 12 to 18 piece band.

Drummers like Butch Miles, Louie Bellson, and Ed Shaughnessy are good examples who use this kind of kit and tunings.

Think of the differences in drum sizes and tunings with the same kind of logic you might apply to cymbal choices. 

Smaller, and easier to control cymbals for jazz. 

Larger but still controllable cymbals for big band and bolder cymbals with more definition for fusion playing.

Think a 20" Rock Power Crash cymbal would sound right for a jazz performance?  

Think a 22"  Extra Thin Ride cymbal would carry in a Metal Music performance?  

 A COUPLE OF ADDITIONAL EXAMPLES OF BASS DRUM CHOICES


I remember hearing the sound of Buddy Rich’s bass drum sitting only 8 feet away from him.  He was playing a 14” x 24” bass drum with a felt strip on both the front head and the batter head.  The drum was not tuned all the way down near the point of head wrinkle.  Quite the opposite, it was tuned more medium to an optimum tone (or tension as Buddy would insist).  But when the band played that bass drum’s presence was huge.  I don’t mean a sharp cutting sound.  It was a musical sound that felt deep and full in his music’s context…..the perfect big band bass drum sound.  

Now when I heard Jeff Hamilton perform his 18" bass drum had the same characteristic.  It was a musical sound that felt deep and full…..perfect for his acoustic trio and that musical context. 

Well, I’ll close by saying that many times drummers must set up their drum kit to handle a wide array of styles.  Although there are some trade offs to achieve that “general purpose” sound it is doable.  Good examples are the drum kit sound of Anton Fig, Harvey Mason, and Greg Field.  This "general purpose" set-up may be a topic for another blog. 

If you have comments on this blog topic, I hope you’ll post them here and share them with all of us DSA readers. 

Cheers, 
Ken Sanders
IBJAMN in Nashville

 

Tags: Drum Pitches Jazz Drums

Although much of this discussion may be boring to some readers, I am writing this blog because I have seen too many nice cymbals being trashed just because the owners didn’t understand how to properly care for them.   

So, I’m going to share a few simple and practical tips about taking proper care of those expensive musical instruments we call cymbals. 

 First, a cosmetic stage tip....IF YOU LIKE THEM SHINY

You can avoid getting fingerprints all over your shiny cymbals if you will use both hands and hold them with just the pad of your palms at the edge when handling and placing them.

Many Drum Technicians for touring drummer wear cloth gloves when handling cymbals.  You can do that too, and those cloth gloves can be easily placed into your cymbal bag and be ready for set-up or tear-down duty.   See....ta-dah!.....no more fingerprints made easy.   

Now some drummers like the sound of aged and “dirty” cymbals.  It's a matter of taste and I think that’s cool but the following is applicable whether you like them clean or dirty.

 TRANSPORT AND SET-UP

I recommend that you lay you cymbal bag or case flat on the floor when you set up.  Just take them out of their “protected environment” one at a time to set them up.  Taking all the cymbals out first and then standing them on their edges is an unnecessary risk..It  can result in dents and scratches....and worse. 

Why put your cymbals in danger?  If your cymbals fall or drop onto concrete, or against some hard metal object, it could even crack them.  I have seen it happen many times……a cymbal falls from the drum riser, or the drum throne, or off of an amplifier….bang, boom, crash, crack, dent.  Treat them like the expensive musical instruments they are. 

You probably already know that you always need the nylon sleeves and felts on your cymbals mounts.  Constant metal-to-metal contact while playing your cymbals not only produces an undesirable sound, it will also eat into the cymbal's bell hole and ultimately damage to the soft bronze metal. Why risk that?  Carry extra replacement sleeves and felts!

LOOSE NOT TIGHT!
 
In other bogs I have already spoken about securing your cymbals onto your mounts loose enough so that they move when they are played.  If cymbals are tightened down to where they can not move freely, then do not be shocked when repeated direct hits result in cracking them! 


Your cymbals will sound better when they are not tightened down "to the max" because they can vibrate freely and, therefore,  produce their full overtone series.  If cymbals are mounted too tightly it simply kills their natural tone and volume qualities.  Plus, it is a major reason for cracking them. 


DANGER....POSSIBLE DAMAGE.....
All cymbals DO HAVE a MAXIMUM VOLUME THRESHOLD.

This simply means that there is a point with every single cymbal where hitting it even harder will not result in more volume......or more importantly....useable tone.   HOWEVER....IT WILL BREAK THE CYMBAL. 

In all seriousness......if you need more volume than your current cymbals can produce, then you need to get some larger and thicker models.  If the larger and thicker cymbals STILL do not provide enough for volume for you...... then two things I promise you:

One:  You are in the volume range where your band is playing so loud that it will make you pee blood and pop out your eyeballs 

Two:  You are damaging your hearing.  And seriously......musicians need their hearing in order to play their best......so why would you want to do that to yourself?

COLD TEMPERATURES

If you have your brought cymbals in from the cold, allow them to get to room temperature before playing them.  Very cold bronze becomes brittle and it needs a few minutes to recover. If they are still a bit cold when to touch them then they are still NOT READY to play.

AVOID CYMBAL-TO-CYMBAL RUBBING IN TRANSPORT

To adequately protect your cymbals you should carry them in a bag or case designed for cymbals transport.  Additionally, you need to make sure there is no metal-to-metal, or cymbal-to-cymbal, contact or rubbing while they are in transport.

Some cymbal bags and cases have partitions or non-abrasive separators to do that.  However, you can get also excellent protection with old drum head cardboard boxes.  Just use scissors to round the shape and size them for your cymbal sizes.  Then just place them into your bag or case.  It’s a very easy way to keep your cymbals from rubbing against one another.

POLISHING NO-NO’S

I’ve also discussed cleaning and polishing in other DSA posts, but NEVER use abrasive cleaners like Brasso, Comet, or strong solvents to clean your cymbals.  It will eventually ruin them.  NEVER use a buffing wheel or other powered device to shine your cymbals.  The heat generated ns a big risk for ruining them or making a weak spot on them. 

The best method is the appropriate commercial brand cymbal cleaner for your model cymbals and a soft cotton cloth such as an old tee shirt.  Always rub in the direction of the cymbal’s grooves when cleaning or polishing your cymbals.


FOR AGED CYMBAL FANS

Drummers who like them "dirty" may still need to wipe them down with an old tee-shirt after some gigs.  That's for those situations where they believe there is excess moisture, dew, etc. on the cymbals and they do not want to pack them away with that on them.  A light wipe down with a soft tee-shirt does not disturb the natural aging properties of the cymbals' molecular structure.

The major cymbal makers have specific cleaners for the various types of finishes that their cymbals may have, and you can’t go wrong using them.


If you have some good cymbals that produce the sounds you want, then you have a fairly sizeable investment in them.  If you care for them properly they will provide you years of playing satisfaction.


I have heard some immature drummers basically brag about being such “hard hitters” that they break cymbals like they were glass.  I suppose that may impress some folks……..but it really doesn’t impress professional drummers who cherish their cymbal collection.

After all, drumming is a combination of finese, power, dynamic contrasts, and percussive artisty.   The"'demolision derby" mentality doesn't appeal to serious musicians at all. 

Well, if you have gotten this far, I hope this was worth reading.  If you have comments, please add them here.

If you're a drummer who likes cracking cymbals and it really pissed you off......great!


Until next time,


Cheers!
KEN SANDERS
IBJAMN in Nashville

Tags: Cymbals

Below I have a list of twenty living Jazz drummers that I feel represent some of the of the cool directions of today’s Jazz music.  Each drum artist has a distinctive style.  Some play in an almost understated way, while others burn with an undeniable presence. If you'll listen to some of their recordings, you'll hear their own trademark sounds.  I think that is very cool.

Here's my list:

• Carl Allen
• Joey Baron
• Louis Bellson
• Brian Blade
• Clayton Cameron
• Terri-Lynn Carrington
• Billy Cobham
• Jack DeJohnnette
• Peter Erskine
• Al Foster
• Roy Haynes
• Harvey Mason
• Stanton Moore
• Joe Morello
• Adam Nauesbaum
• Antonio Sanchez
• Bill Stewart
• Jeff "Tain" Watts
• Dave Weckl
• Paul Wertico

Notice that some are older artists and some are younger, but to me...... these drummers do demonstrate that Jazz music has an endless array of possibilities.  There are no barriers of age,  their drum and cymbal choices, or the techniques they choose to utilize.  There is only the quest to express their musical statements in their own  refreshing way.  That is one of the appeals of Jazz drumming for me.

Well, just sharing some today's musical thoughts with you all...

Cheers!
KEN SANDERS
IBJAMN in Nashville

  

Tags: Jazz Drummers

Playing for the Song

Although this is the DRUM SOLO ARTIST website, this blog is not about drum solos.  It's almost the opposite, because "playing for the song" is about being a part within the song and putting the focus on the singer. 

Lots of the recording artists and their producers often say they are looking for a drummer who can do this.  But what does “playing for the song” really mean?  Well, I’m been told that I do this very well, so I will share what it means to me.  Maybe you can relate to what I’ll share.........maybe not…….but, at any rate, here’s my thoughts for you.

It’s All About (gulp) THE SINGERS

Now regardless of whatever chops I may have, or whatever hot licks and or cool solos I might think I can do….. this song is not to showcase me.  To the contrary, this song is to allow the vocalist to present their most emotionally charged rendition.  I am here to support the singer and to do whatever is needed to make that happen.

So….does this song need to drive hard or flow gently?  What cymbals and snare sound are going to fit best?   How do I figure that out?

Humility and an Open Mind

I believe it begins with your mindset.  Now, sometimes drummers who are used to the “take charge, kick ass and drive this band” role; have to back away from that a little and realize the task is now a slightly different.   Granted, some songs need a powerful full throttle drum part to make it rock!  But some songs need very restrained drum parts.  And then there are songs that are in between those ends of the continuum.  So I need to find out what this song is all about.
BINGO….now, I’m ready to “figure out what they need me to do to make this singer's song sound great”. 


Here’s My Approach

First, I want listen to the piano (or less often, but sometimes guitar) run through the tune while I read the lyrics and get an understanding of both the melody and the “story” of the song.  There is a typically a mood to be conveyed in most songs.  So….is it happy, sad, mysterious, lonesome, lamenting, celebrating, praising something, honoring something, condemning something, lampooning something…selling something?  How are the dynamics going to frame this story and color this mood?  Where is the climax or high point of the vocal?  Where will any instrumental solos or counter-melodies be?   Now, if I can add some cool things for energizing an appropriate part of the song I want to do that too, but the main thing I do……. is to think through the lyrics while I ask myself….”if I were singing this song with a band behind me, where would want space and where would I want drums?”

So, I structure my ideas for the drum parts and chart them out with the lyrics……IN PENCIL……because things may very well change. 

First Pass at the Song

I hear some places for fills or cymbal crashes, and I try them.  But, things may change as other ideas start to merge.  I cooperate and try the ideas.  Sometimes we go back to what I initially felt….sometimes we don’t.    But in the end, if I give up a really cool place to do a fill because it would overshadow a long note being held out….. or clutter up the space that’s needed for the emotion to build…..then that’s what I do.


So, "playing for the song" involves making unselfish musical contributions within the context of the style the singer wants.  You still need to make the song groove, but in the way that allows the singer to shine. 

Sometimes You End Up Just Taking It Very Easy

Now, I play piano, guitar, and sing and write songs in addition to my drumming.  So perhaps it is sometimes easier for me to put myself into the mindset of a singer while I’m listening to a song.  However, I wanted to share the elements of how I do that……with any of you who were interested in reading this.

Sometimes we do have to let the song breathe instead of driving nails.  After all, sometimes taking it easy....isn't always easy for us drummers to do.  But, as I have suggested…… when you mentally put yourself into the singer's role it does help.

 In Summary

·        Have a Mindset to Make the Song and Singer Sound Great

·        Listen to the Melody and the Lyrics before you Begin Framing a Drum Part

·        Think Through the Song as if YOU were the Singer

·        Be Open to Trying Variations of Your Initial Concept

   

Well, that’s my attempt to explain my approach to “playing for the song”.  If this was helpful, then I’m glad.  If it wasn’t then maybe it didn’t damage your brain beyond rapid recovery.    But you know what?  If it did then you won't even realize it. 

Until the next time,

Cheers!
KEN SANDERS
IBJAMN in Nashville  

 

Tags: Backing Up Singers

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