Waywood Music Blog: Creativity in Drumming & Life

This blog has moved

2010-04-16T21:30:00.001+01:00

This blog is now located at http://waywoodmusic.blogspot.com/.
You will be automatically redirected in 30 seconds or you may click here.

For feed subscribers, please update your feed subscriptions to
http://waywoodmusic.blogspot.com/feeds/posts/default.

Lessons from Buena Vista Orchestra

2009-10-22T22:35:00.002+01:00

Last night was one of the most amazing experiences I've enjoyed for a very long time. Eight months after buying the tickets, I witnessed the phenomenon that is the Buena Vista Orchestra (also known as Orquestra Buena Vista & Buena Vista Social Club).

Many of the original stars from that special night in Carnegie Hall in 1998 have since passed on, but what remains is still a testament to the skill, passion and fun of Cuban musicians, many of whom have been formative in the creation of what we now know as Latin music.

Reflecting on why they were so special, I came up with several things that set them apart from other concerts and bands I have seen (and enjoyed):

A sense of history - Many of these people have helped to create the music synonymous with Cuba, the platform on which today's musicians build. Age is no issue; it's a strength and a valuable commodity. Experience is something we often overlook as we clamber to be new and different; often too insecure to learn from those who've gone before.

A sense of value and heritage - These people are firmly connected to their music and cultural roots. It's not a problem; it's a bonus. They are not afraid of their culture, nor to share that culture and history with their audience, most of whom have little or no connection to it (apart from music). It's not about preaching; it's about showing and sharing; inviting others on board ... and judging by the response of the 2500 people at the concert, they were successful.

They connected with their audience - Many of us could learn a great deal from the members of Buena Vista Orchestra. They brought something that can be difficult to connect with if you're not a part of that culture ... and enabled us to connect with it. Even musicians often fail to connect with the complex rhythms, how the pieces fit together, how the melodies interweave. Others can't handle the fluidity and movement in the music, music that doesn't sit comfortably with a click track yet is devilishly tight. Yet, this wasn't a problem for the audience as these masters of their art communicated with people's hearts and souls, calling them on board to experience something new, even if they didn't understand it. They felt it, were drawn in by it and stoked the fire for more ... which they got!

They promoted each other - The musicians were clearly 'old school' in their playing, but that is what made it so great. There were no stars on stage; they were all stars and they created a platform for their colleagues to shine. Their playing was an expression of themselves but was for each other and the audience, not self-indulgent and about themselves ... a lesson many of us could learn.

They exuded joy - Music wasn't just something technical to be played; it wasn't just an exercise in playing the correct notes; being safe or cerebral. The music they played was part of them; it was their soul; their passion; something to express who they are; from their hearts. It was something to enjoy and that enjoyment spurred each other on and fired the audience. Their enthusiasm and passion was infectious, drawing others in.

They were themselves - As we passed the stage door after the gig (and there was no-one else around ... how rare is that?) the band emerged and were no different to how they were on stage; smiling, laughing and very willing to give time for a brief chat and sign tickets.

It took me a long time to fall asleep last night. I was full of the gig and my mind raced over and over through the tunes and why I'd enjoyed the evening so much.

Now all I need to do is apply some of what I've learnt and hopefully those I meet will benefit.

Thank you Orquestra Buena Vista. Long may you continue to inspire those who have the privilege and pleasure of witnessing your concerts (and your music).

Keeping Up Appearances

2009-10-13T10:11:00.004+01:00

The aesthetics of a kit are not essential to its sound and performance, but they make a big difference for visual impact and even making us want to play it. If the kit looks great, we feel inspired to play!

One problem with we humans is that we have greasy fingers, even if we've not been eating burgers or fish and chips and this grease is transferred onto everything we touch. Shiny surfaces like chrome, lacquered drums and cymbals will reveal where we've been touching them better than Hercule Poirot! Our fingers also secrete acids which can make a real mess of cymbals if they etch the surface. Non-brilliant cymbals and especially Zildjian K series for some reason seem to suffer badly in this area and the marks are very difficult to remove.

So to cleaning!

DRUMS

Drum shells can be kept clean simply by using a moist cloth and wiping over the shell, taking care not to get any grit under the cloth as you will leave scratches. Proprietary cleaners such as those made for guitars (especially electric guitars which themselves have a lacquered finish) work well on lacquered drums but should be avoided on satin or matt-finish kits as they will change their finish into a shiny one!

On lacquered and plastic wrap finishes, a household wax polish can be used to great effect but always read the label as some are not recommended for use on plastics. If in doubt, find a small area that cannot be seen and try a bit. Do not leave the polish/cleaner in contact with the material for longer than say 10 seconds and always wipe off quickly. Remember, the aim is to remove the greasy fingerprints and dirt. One advantage of a wax-based polish is that it will also provide a protective layer on the drums. I have used spray-on wax polish and original furniture wax and beeswax polishes on my Yamaha natural wood finish drums for years with no problems .

CHROME

Proprietary chrome cleaners work well if there is evidence of pitting or firmly attached dirt, and can be used on drum rims, chrome hardware and stands. However, a good lint-free cloth can be used to remove most surface fingerprints and grease marks. The advantage of a cleaner is that it usually has a mild solvent or detergent base of some sort which really does remove the grease.

Once you've wiped the chrome with your cloth, plus or minus cleaner, give it a good wipe down and buff with a soft clean cloth or duster. This also works well for chrome-plated snare drums.

If there is evidence of pitting or flaking or corrosion, a small piece of steel wool can be used to remove the problem. However, always be careful to rub only in the area of corrosion as it can produce very fine scratches which are okay when limited to a small area but are much more visible over a larger area. Once the pitting or corrosion has been removed, you can use the chrome cleaner to bring up the shine. A useful product I have found for removing mild corrosion, dirt and fingerprints is T-Cut a proprietary cleaner used to restore car paintwork and chrome work. You can apply it with a damp cloth, leave it to dry to a mist and then buff it off to a brilliant shine. But beware, it also has a very fine grinding paste in the formulation so should be used with care near lacquered surfaces to avoid scratching.

CYMBALS

By far the greatest area of discussion and disagreement is the cleaning of cymbals.

My personal view is that I avoid any abrasive cleaners, even those supplied by the cymbal manufacturers themselves. My main reason is that I have found the use of warm, soapy water to do the same job as long as you dry the cymbal thoroughly after cleaning; I use a cloth followed by a warm, but not hot, hairdryer.

Wipe the damp cloth in the direction of the tone grooves i.e., around the cymbal parallel to the edge not from bell to edge. Rinse with clean warm water and then dry. This will not remove all of the finger marks which are likely to be etched into the metal and will require abrasion to remove which I am not comfortable with. When I first started playing in the 1970's I did use cymbal cleaners on non-brilliant finishes such as with A-Zildjian and found that they caused the cymbals to become more shiny, but also they seemed to become dirty and tarnished much more quickly afterwards. By using warm soapy water I have had none of these problems.

So there you have it; a few tips on how to keep your equipment looking good for maximum visual impact and for personal inspiration and motivation.

Until next time ...

Controlling Tom Resonance - Less Obvious Influences

2009-10-10T06:08:00.000+01:00

The tuning of all drums is pretty subjective: each of us has our favourite sound (although I am always amazed at just how few drummers have any idea how to make their kit sound good ... which is a bit like a guitarist not understanding what those strange tuning pegs do at the end of their guitar neck).

However, the subject of this short entry isn't to do with choice of heads etc; it's to cover one or two other less well-known or less obvious influences on the resonance of your toms.

I'm assuming that the drums are already tuned properly in order for the following to be really noticed.

Tom Mountings: Different manufacturers have different style of mounting brackets for attaching toms to tom-holders. It is a generally accepted principle that anything protruding inside the drum will make a significant impact on the movement of soundwaves and hence, on the sound of the drum. This is why the RIMS^TM mounting system was originally developed; to increase the resonance of toms whose mounting hardware protruded into the drum. The effect was immense, with the toms sounding much bigger, deeper and overall just 'better' when the RIMS hardware was used. It's still used today as standard by a number of the top-end manufacturers. Anyway, if you have an older kit manufactured by Yamaha, or one made by Pearl or any number of generic look-alike kits from the Far East, the chances are that the tom holders protrude into your drums to one degree or another. This will have a range of effects depending on how big the hardware is and far it protrudes into the drum. The overall net effect is reduced resonance or even a stifling of resonance and a reduced quality (and even volume) of drum sound. Try mounting the drum on the holder so that it doesn't protrude inside and listen for the difference. I have to admit that on a number of Pearl kits I found it hard to notice a significant difference in sound which surprised me. However, with my Yamaha 9000 kit the effect was significant. No protrusion inside = Much better sound. If it works for you, consider either buying tom holders with shorter extension arms or shorten the arms on your existing tom holders (I never recommend the latter as the first line of attack because you can guarantee that at some stage in future you'll want a tom holder with a long arm ... which you won't have any more if you cut it!). Even with tom arms that don't protrude inside the shell, drum resonance can be influenced by length along the arm. Again, experiment to find the optimum and then put a permanent ink mark where you find the best position so that you can mount the drum in that position next time you set your kit up.

Resonant Heads: We (nearly) all change the top (batter heads) when they get worn out or sound pretty dead. However, the bottom (resonant) heads can also become 'tired' with age. We may not be hitting them directly but they do take a battering from the air movements within the drum and all the sympathetic vibrations. A tired head with reduced resonance will affect the overall sound of the drum. If your new batter heads don't sound quite as good as you remember them doing at the last change, consider replacing the resonant heads. A good 'rule-of-thumb' is to replace your resonants about once for every three changes of batter heads.

Floor Toms: Although stand-mounted larger diameter toms have replaced floor toms in some cases, there are still many drummers who prefer to have a floor tom mounted on legs. Vibrations from the skin pass to the shell and ultimately to the floor via the legs. If you want to increase the resonance of your floor to, try standing the legs on small circles (about the size of a saucer) or the high-density foam used to make exercise floor mats. This simple trick can change the sound of your floor tom dramatically. One trick used by conga players who put their drums directly on the floor is to stand them on a piece of plywood or a wooden floor tile when they're playing on a carpeted area, as this prevents damping by the carpet. If you're playing on a carpeted area, try placing a piece of plywood under your tom to reflect more of the sound. It may just work!

Hope this helps and let me know how you go on ...

Changing Drum Heads Regularly Improves Sound

2009-10-09T16:48:00.003+01:00

When was the last time you changed your drum heads?

We sometimes get so focused on our technique and gig schedule that we forget about the sound of our drums.

Changing heads regularly will make a world of difference. The frequency with which we need to change heads will vary depending on how often we play the drums and how hard we hit them. The more regular the gigs and the harder we hit our drums means the more often we will need to change our drum heads.

Obvious, but not always obvious.

Look out for tomorrow's entry which is all about getting maximum resonance and best sound from, your toms.

Until tomorrow ...

Reducing Unwanted Snare Buzz

2009-10-08T07:25:00.002+01:00

One of the most common problems I come across is drummers who hear a bit of sympathetic buzz from their snare when they hit a tom and panic, tightening the snare to extremes (I have recently seen a broken strainer wire through extreme tension to stop buzz).

The reality is, you will never stop snare buzz; it's a function of the drum.

We aim to produce snare drums of exquisite sensitivity ...

'... this snare drum was so sensitive you could blow on the top head and hear the snares buzz' wrote one reviewer in a drum magazine.

Well, if the gentle movement of air from our lips causes snares to buzz, won't the wall of air hitting the snare drum when we hit a tom or bass drum do the same? Yes! Of course it will.

The trick is to MINIMISE excessive buzz.

We want to achieve this with little or no interference with the natural properties of the drum; why spend hundreds of pounds/dollars on a great drum, only to choke it up? So, away with the Gaffa^TM tape and excessive tightening of the snares; away with taping the snares to the resonant (bottom) head.

The best place to start is with drum head tension.

A snare drum has two heads; top (batter) and lower (resonant). How these are tuned relative to each other, and within themselves will make a huge difference to the sound and response of the drum. We want the heads to work with each other and with the shell to produce a full resonant sound, whilst tensioning the snares to give great response without excessive buzz.

So here are a few tips that may help you to achieve this:

First tune the batter and resonant heads to mid-tension - excessive tensioning can cause problems with uncontrolled sympathetic snare buzz
Make sure both heads are evenly tensioned around the whole head using the opposites method (see here and here)
Make sure the batter and resonant heads are tuned to each other (a good start is the resonant about a quarter to half turn per tension bolt tighter). You will hear a nice resonant sound from the drum when these are tuned to each other (they will also be working with the shell)
Now check to make sure that the snare strainer wires are not bent or damaged. If the are damaged, replace the snare strainer with a good quality snare trainer (such as those made by Puresound, which are quite expensive but really do make a difference to the sound of the drum).
When you have obtained a good drum and snare sound with mid tuning, try adjusting the tension of the batter and resonant heads together, by the same amount and see how the re-tuning influences the amount of snare buzz when you play other drums.

This process can be slow and quite laborious at first but as you get to know your drum it will be quicker with time.

Please note that different setting-up positions can influence the sound and amount of buzz significantly. For example, if you're set up in a corner or with your back to a wall, probably the favourite location for the drummer :), the amount of reflected sound will be much greater and therefore, the amount of snare buzz will be greater. So, wherever possible, keep out of corners and aways from walls!

and now ...

A couple of hints to improve the overall sound of your snare drum

Do not over-tighten the snare basket as this can compress the hoops and distort them,putting uneven pressure across the snare head and leading to problems with tuning, muffling and the drum generally not sounding at its best

Be aware that different snares (number of strands, material, tension and alignment on the resonant head) make a big difference to the snare drum sound; some may be drier in sound, others fuller in sound, others brighter, others darker. Do your research and choose according to what you want.

...and it goes without saying that ...

Different heads (batter and resonant) influence the sound of your drum, along with the combination of heads you use!

If your snare drum sounds rubbish, check the above in the order they're presented as that will potentially save you a lot of time, effort and money.

I hope this helps. I'm always happy to hear your feedback and what works/doesn't work for you.

Please keep in touch ...

Tutors & Teachers

2009-10-07T06:45:00.001+01:00

I come across many inspiring drummers who are self-taught. However, I come across many more who are great because they've learnt from others.

It's no big shame to admit that someone else helped us get to where we are, because whatever we do in life, someone else, whether we like it or not, has helped us there: by advice, support, assistance, direct or indirect input.

So when it comes to drumming we're no different. We may be self-taught but that cannot be in isolation. At some stage we have heard someone play, been inspired by seeing a band live, listened to music, watched television, known a friend, known the friend of a friend ... etc.

For a number of years I worked away on my own, trying to learn new rhythms, refining my style of playing, tuning my drums, even setting up my kit. I looked at photos and listened to music, even occasionally watched TV and all I did was get more confused ... because everyone seemed to do things differently.

Then I had the opportunity to get a few drum and percussion lessons ... and that revolutionised my playing. A few lessons did more for my development and knowledge than months, even years of trying to do it alone. Sure, we all want to develop our own style (hopefully!) but we can learn so much from others, and if we don't like it we don't have to take it any further ... but if we don't have anything in the first place, we can't make that decision.

I haven't always had easy access to a personal drum or percussion tutor/teacher, but the advent of DVDs has been a great help and source of inspiration. I'm not talking so much about the DVDs which are simply an excuse for a well known drummer to blind us with their skill and showcase their thing but have little educational value, I'm talking about DVDs which are made by drummers and educators who want their audience to actually learn something from what they offer. About a year-and-a-half ago I came across a drummer called Jared Falk who was starting to put together teaching DVDs and workbooks which really broke everything down into easy-to-digest pieces and used multiple angle, close-up photography with added slow motion footage so that I could really see what was happening. I would recommend that you check out their now wide (and ever-increasing) range of DVDs, play-along CDs/DVDs and workbooks which are some of the most reasonably priced products for what you get, on the market. See what you think and take a look here.

Until next time ...

Buena Vista Social Club (Orquestra Buena Vista)

2009-10-06T14:36:00.005+01:00

I first came across the Buena Vista Orchestra when I saw an advert on Amazon for an album called Buena Vista Social Club at Carnegie Hall. And there started a musical journey which has introduced me to some truly great musicians, many of whom were living in obscurity (even within their own country) following the Castro revolution.

These musicians were not only great players, they were legends; instrumental in creating the musical fabric of Cuba and wider Latin music. The album was recorded in 1998 and by the time it was released in 2008, many of the stars who made it had died, but not before their dreams had been exceeded with many enjoying international fame, travelling and celebrity status; a fitting epitaph to those concerned. Their popularity continues and some of the remaining members still tour today in Orquestra Buena Vista ... which brings me to the title: I will see them live for the first time in 15 days.

I had the privilege of seeing Eliades Ochoa, custodian of the Buena Vista Social Club anthem, Chan Chan play live at the Liverpool Philharmonic Hall earlier this year. No drummer, just a congero who also happened to play cowbells and bongos at the same time with impeccable taste and skill. Add a pianist, a guiro player, a tres/guitarist, bass player and two trumpeters and you have a blistering set-up that had even the super-conservative Brits on their feet.

Their CDs are rarely off my hi-fi or iPod. If want something to broaden your musical experience, challenge your sense of time and move you forward then I recommend that you check out Buena Vista Social Club.

Here are a few albums and DVDs that will introduce you to their music ... and introduce them to your heart!

Buena Vista Social Club CDs

Buena Vista Social Club

Buena Vista Social Club at Carnegie Hall

Buena Vista Social Club DVDs

Buena Vista Social Club [1999] [DVD]

Buena Vista Social Club [DVD] [1999]

Tuning Drums - Free PDF Download

2009-10-06T11:07:00.003+01:00

I recently received a great little PDF file on tuning drums.

It covers drums with different numbers of lugs and the tensioning sequence. The author, Dave Atkinson, calls it a Drum Tuning Map I guess because it draws out for you how to tune your drums.

I have also read a couple of other articles recently and it seems that different people have their own particular preference for the order in which we should tension the tuning rods. WHAT WE NEED TO REMEMBER IS that the main objective of any tuning sequence or operation is to get the drum head tuned evenly all around. The 'opposites' method is used with thinner synthetic heads on drums (but cannot be used with thick, natural skin/rawhide conga heads as these exert so much pressure that they could distort the shell if tuned in this way ... they are tuned around the head ... see conga-tuning article on this web site).

I have recently seen a couple of really excellent DVDs on drum tuning. These are

Both DVDs take you step by step through tuning the different drums and show close-ups with full explanation of all techniques used. these are two different individuals who have their own sound and method (and both guys are humble enough to point out that their's is not the only way) BUT they will both give you a great resource for helping your kit sound at its best.

Anyway, here's the link to the tuning map that I promised.

Let me know how you get on ... I'm always really pleased to hear your feedback.

Until next time ...

How Drum Hoops/Rims Affect Drum Sound

2009-10-03T07:07:00.000+01:00

With the ever increasing range of drums available, understanding what we're buying is more important than ever.

By understanding a few basics of drum design and construction we can better understand why our drums sound like they do (and how we can influence or change them if necessary).

This short article looks at the influence of the drum counterhoops or rims on drum sound.

Metal Rims

Pressed steel hoops (those which have been shaped from a ring of steel) increase the overtones and resonance of the head, leading to a bigger, more 'open' sound, producing a stronger fundamental (basic note) tone. Great for toms.

Die-Cast hoops are thick, much more rigid hoops made by casting metal (these were the mainstay of the original Premier drums). Diecast hoops reduce overtones and resonance, producing a drier (less ring) tone with more attack (top end when your stick hits the head). They work well on snare drums and where less ring and resonance is desired.

Wooden Rims

Some drum companies such as Ayotte and Yamaha make wooden hoops as an option on some of their drums. Wooden hoops are a step up in resonance from pressed steel hoops, producing a much more resonant and bigger sound overall. However, they do sit much higher on the head so the 'rim' produced is much deeper, which takes some adaptation when playing and is not everyone's preference.

Hope this helps.

Until next time ...

Replacing Drum Heads - The Basics - Preparation

2009-10-02T07:00:00.001+01:00

Many of us replace our drum heads quite rarely, and when we do we're in a hurry to get the new heads on. However, a bit of time spent preparing the drums for their new heads will pay dividends in terms of sound and longevity.
So here are a few tips:

Remove the old heads and all tension rods.
Wipe the rims down with a clean cloth (remove any corrosion or evidence of dirt that is stuck on with a cleaner such as T-Cut (or equivalent), being careful not to damage or distort the hoop whilst you're doing this.
Wipe the bearing edges of the drum (top and bottom) with a clean damp cloth to remove dirt and then dry off.
Make sure the shell is clean and that all fluff, lint or debris is removed.
Check the tension rods for signs of wear and if necessary, apply a little Lug Lube^TM or petroleum jelly to the thread. This will greatly prolong their life and make tuning your drum easier.
Clean nut boxes and other hardware attached to the drum shell (it's a lot easier when it's been dismantled)

And there we have it. A few simple steps that will help to prevent problems later on. You can now replace your drum heads. A few suggestions can be found here.

Great Bass Drum Sound - Tuning Quick Tip

2009-10-01T14:29:00.005+01:00

If you're trying to get a full, deep sound from your bass drum try the following:

Tension the back (batter) head and your front (resonant) head so that they are equally tensioned all-around
Tuning each head in turn: Press in the middle of the head with the palm/heel of your hand and slowly de-tune each tension bolt by about a quarter of a turn (ensure you use the opposites method as described here) until the head shows wrinkles around the edge. It is important to ensure that the tuning remains even at each tension rod so complete the de-tuning sequence even if wrinkles begin to appear before you've de-tuned every rod).
Once all tension rods have been de-tuned by the same amount, re-tension each bolt by one complete turn.

This should give you the deepest sound possible from your bass (kick) drum.

We all have our personal preferences and so you may need to tweak the tuning of the batter and resonant heads to your own personal taste, but this method gives you a great starting point.

Some people advise that the drum should be parallel to the floor so as to reduce pressure on the rear tension hoop and give the deepest tuning. Other exponents (e.g., Russ Miller) advocate raising the front of your bass drum slightly (by about the thickness of your hand) so that when you play the bass pedal, the beater strikes the batter head when it is in the vertical position, thereby gaining maximum pedal control.

I guess it's a case of see what suits you best. As with all things avoid extremes and be prepared to experiment with what suits YOU (not your favourite drummer!) best.

There's further information on the Waywood Music web site for general drum tuning and bass/kick drum tuning.

Until next time ...

What I Can Play or What I bring?

2009-03-24T20:14:00.004Z

I have recently been enjoying Cuban music, in particular that of the Buena Vista Social Club and its members.

For those of you who are not familiar with this group of musicians, the story is a modern-day fairytale ...

Cuban music has for decades been the envy and shining star of the World (especially Latin) music scene. Many of the stars who put it on the map had retired or had to find an alternative living to make ends meet: selling lottery tickets or shining shoes in the street, or selling tobacco.

In 1996 Juan de Marcos González, a young Cuban bandleader and arranger was fascinated with the old stars of Cuban music traditions such as Son, Guajira, Son Montuno, Rumba and Bolero. He set out to see how many of them were still living (many had been stars in the 1940’s, 1950’ and 1960’s). To his amazement he was able to contact a large number of these national treasures of Cuba’s musical heritage; the list was impressive:

Don Rubén González - legendary pianist and pioneer of the mambo
Orlando ‘Cachaito’ López - third generation bassist
Ibrahim Ferrer, Piya Leyva, Raúl Planas, Manuel ‘Puntillita’ Licea and Omara Portuondo - legendary singers
Compay Segundo and Eliades Ochoa - tres player and guitarists
Amadito Valdéz – percussionist
Barbarito Torres - Laoud player extraordinaire
Manuel ‘Guajiro’ Mirabal - Cuban legend, trumpet
... plus more

In order to understand the stature of this group, each one of these names was at the very top of their profession, many having had a significant impact on the history and direction of Cuban music. Each one of these musicians (plus other top calibre musicians) performed together, in the same room at the same time to record the largest selling Latin album ever (over 8 million copies sold). Everyone enjoyed working and performing on the album and no-one was interested in where their name went on the list of credits. Music was being made for the love of the music and no thought was given to any potential financial gain (though this was eventually considerable).

Live performances in Amsterdam followed release of the CD, and the jewel in the crown was when this group of Cuban musicians were able to play a sell-out concert at Carnegie Hall, New York in 1998, captured on film and CD. When you read the album notes and DVD booklet or watch the performances, the joy and emotion of making music together is clear.

This fairytale ending to the story was that these humble people found a new lease of life as they achieved global recognition and ‘stardom’ when many of us would think of taking it easy: most were in their 70’s or 80’s (Compay Segundo was in his 90’s).

By 2005 many of these great characters had passed on and only recently (Feb 2009) the great Cachaito also died ... but their legacy continues.

Why have I taken the time to mention all of these people?

Well, imagine a group of top name Rock n’Roll stars gathering to record an album. Now think about the ego problems; who’d play with whom; who wouldn’t play with whom; who would want their name at the top of the list?

For me, the great power and impact of these recordings is the enjoyment, passion and love of the musicians for their music that shines through so clearly. Everyone is in it for everyone else, making the whole band look great. It’s even recalled that at one stage, Ibrahim Ferrer had a bad throat and was struggling to sing and suggested that perhaps someone else should finish the album! That’s a bit like Eric Clapton suggesting someone else should finish off his guitar solo. This level of humility is rarely seem today in a world of get what we can, when we can, however we can.

This excursion into Cuban music has taught me a lot more than just the notes and beats. Engaging with characters of history (and today) who are prepared to make everyone else look good by playing their part has re-challenged me to ask myself, “Is that the sort of character I am? Do people want me in the band for who I am as well as what I can bring.” I read many stories today where the key to a ‘successful’ career in music isn’t so much what you can play, but what you a as a person bring to that particular situation. I also read that our musical output reflects our personality. All I can say is that I hope some of my performances haven’t really let people know what I was feeling on the night!!

I know that rediscovering my love of Latin music through encountering these characters has re-challenged me to be a musician that people want to play with, rather than a musician whose talents are admired. It has also reminded me that I cannot try to project and hide behind a different ‘musical persona’. Music is too transparent for that. I guess my priority is to ensure that my day-to-day life is such that I’m happy for people to see the real me when I play as a musician.

Or perhaps when I get my priorities in life right, my music will take care of itself.

To Read Dots or Not Read Dots: Is That The Question?

2008-09-07T20:25:00.005+01:00

I heard an interesting comment the other day (and not for the first time). Two friends were discussing music with a couple of other people; the exact subject matter I do not know, but what I heard was familiar ...

"Well, if they can't read music they are not a real musician."

Now I don't know about you, but I don't respond well to those sorts of comment. I think it's a bit like someone saying, "If you don't understand how an engine works then you can't drive a car" or "If you don't understand how electricity is generated, you can't switch on a light bulb."

Sure, understanding about engines and the generation of electricity is very important to the designers who create these things, but for the consumer? I know reading music is an important skill for many, but what about those great musicians who have never seen a musical note? Stevie Wonder, Ray Charles and Art Tatum (arguably one of the greatest ever jazz pianists) are/were all blind, but few would say they were not musicians because they couldn't read music.

I have a couple of friends who are totally blind who also have perfect pitch so they can sit down in any situation and play along with whatever is playing, without having to be told that it is in B-flat or whatever. They don't read it, they hear it. So I guess they could use a counter-argument and say, "Unless you have perfect pitch you can't be a true musician because you have to read the dots to play the tune."

As with all arguments, there are flaws from both sides; flaws which seem to relate more to human insecurity than anything else. We are not always comfortable with views or abilities different from our own and in defending our corner we often unintentionally alienate others.

Surely the issue isn't whether one can read music or not, it's more a case of whether one can make music (as opposed to just playing the instrument). The difference between these two is light years apart, and I know that in any situation I'd rather play with passionate, non-reading musicians than sight-reading automatons with no feel.

Thankfully, most of the musicians I work with are musicians first and foremost some of whom read and some of whom do not. And those who read? It is well down their list of priorities for playing. They see it as a tool not a dictum!

Drummer Joke

2008-01-23T10:32:00.000Z

A man goes into a shop and says,

"I'd like a pair of 13-inch Zildjian KZ Custom hi-hats, a 16-inch Sabian AAX Ozone crash, a 22-inch Paiste Signature ride cymbal and a Wuhan 14-inch China. Oh! And could you throw in a pair of Vic Firth 5A sticks and a 14-inch Remo Ambassador coated head please."

The assistant behind the counter looked at his customer with a puzzled expression and said, "Are you a guitarist?"

The customer smiled and said, "Yes, how did you know?"

The assistant replied, "Because this is a fish and chip shop"

Practice

2008-01-14T10:26:00.000Z

Today's entry is short and to the point ...

A couple of quotes which I hope you will find helpful and thought-provoking:

"It's not practice that makes perfect, but the right kind of practice that makes perfect"

"The difference between an amateur and a professional is, an amateur practices until they get it right, a professional practices until they can't get it wrong"

Lessons from a Master

2008-01-05T21:09:00.000Z

Earlier in my playing career I had the privilege of taking lessons from one of the true characters in the drumming scene. He wasn't renowned nationally but on the local scene he was called simply Mad Bob.

His technique was awesome and his ability unquestionable. Bob was able to play, beat for beat, many of the best-known pieces by his hero Buddy Rich. Bob was the driving force behind many of the big bands and brass bands in the region. Always a spectacle, his trademark beaming smile visible amongst the blur of arms and sticks, a smile that clearly demonstrated his passion and ecstasy as he sat behind the band, pushing the music along, stabbing with the horns, giving everything to the music and people he loved.

The main lesson I learned from Bob was his passion for playing, his passion for teaching, his passion for life.

Years later I had the privilege of visiting Bob at his home, just before he passed away. A man now ravaged by an illness that took his voice, his strength and co-ordination, and that could have so easily taken his dignity. But deep in his eyes burned that same fire that had burned through those previous years. Nothing inside Bob had changed, except now he was also at peace with his Maker.

The creativity and drive came from his heart and his inner passion and was inextinguishable to the end.

I hope that in my life and playing, I can show something of the passion and commitment that I learned from my friend and teacher, the late, great, Mr Bob Nutt.

Happy New Year

2008-01-01T14:52:00.000Z

Today is the first day of the rest of our lives ... so goes the saying.

A new year with new potential and new opportunities. Some will come our way; some we'll have to go out and find; some will be expected and others will be out of the blue.

In whatever shape today finds you, remember that 2008 is a year in which we can all make a difference in some way.

Perhaps it's learning something new ...
Perhaps it's being able to play something we've never been able to play before ...
Perhaps it's just picking up a pair of sticks and making our very first sound from a drum ...

Whichever way we make a difference ... whether to our own life, or to the lives of others ... let's try to make sure that 2008 is a year we can look back on and say, "Something special happened that year!"

How Do Bands Stay Together?

2007-12-30T17:45:00.000Z

Today's entry is very short ... Check out this link for really good, sound advice from experience on why some bands are so good, and how they stay together at all!

Tick! Tock! Is That The Ticking Of A Clock?

2007-12-27T21:34:00.000Z

No! It's the sound of a metronome or click.

The very name metronome or click strikes fear into the heart of many musicians. Their reasons are many ...

"It steals my creativity"

"I can't get into the groove"

"It's too rigid"

"It takes all the feel out of a song"

"It makes us sound like robots playing along to a computer"

Most of these comments come from having heard bad reports from other musicians, from a position of ignorance or day I say it, in some cases from a position of arrogance ("I don't need a click track").

I'm not going to talk about the finer details of playing with a click as that's covered on the main website, drummers see here and percussionists see here, but I would like to share a couple of things that have really helped me.

Playing against a click track takes familiarity and experience i.e., practice. It is very rarely that drummers instantly take to playing with a click ... and the same is true for many other musicians, although those playing melodic instruments may be more used to it having practiced against a metronome or recorded against one in their home studio. The more you play with a click the better your 'internal clock' becomes, so that even if you're playing without a click, your timing becomes much better.

Sometimes playing against a single click (crotchet click) can be quite difficult, particularly at slower tempos or in a different style such as swing. In these cases I try a couple of alternatives; a) I set the metronome at double speed so that you get quaver clicks. This is very helpful at much slower tempos as it gives a better point of reference for where you are, and b) I have a cheap (ca. £15) metronome/click that has different styles of click as well as different time signatures. So you can set the click to play in triplets, quavers, dotted quavers etc which I find really helpful with feel.

I have always found it helpful to have the click playing through headphones (preferably semi-open or open back) as it is more immediate in your hearing. The downside is that people often have the volume at rhino-stun level which can seriously damage their hearing very rapidly.

As you practice you will find playing in time with the click easier. I would advise not setting the volume too high for two reasons: i) Your hearing, and ii) you become less dependent on the click and more able to listen to your playing so as to maintain feel. You may find that you start with the click a little louder and then decrease the volume as you become more experienced and used to it.

A good tempo to start with is between 100 and 120bpm and then reduce this by 10bpm each time. Play against each tempo until you are comfortable with it and able to stay in time. Try a range of tempos right down to 40bpm. try also increasing the tempo up to your maximum capability. Drop back 5bpm, play until comfortable (e.g., 10 minutes) and then increase the click back to your maximum and try again. By using this method of pushing your tempo a little you will find that over time your speed and accuracy improves. You will also feel more comfortable across tempos.

Be aware that there will be some tempos you find really hard to play at a constant speed ... these will be different for each of us, but these are the ones that need most practice. Persevere and don't give in ... you will get there eventually.

Good luck!

Creativity With Our Wallets?

2007-12-25T09:16:00.000Z

HAPPY CHRISTMAS!

Today is Christmas Day, a time when most of us look forward to celebrations with friends and family.

However, some people are not so lucky and it was great to receive the e-mail below from Zoro, one of greatest groove drummers of our day, with some information on the work he is doing with children in extreme poverty and need.

I have posted the complete e-mail so that you can hear in Zoro's own words what his position as an International Spokesperson for Compassion International means to him and the people he helps ... bringing a bit of the Christmas spirit to people all-year-round.

I guess that's why I called this entry 'Creativity with our wallets'

********************************

Me with my Compassion Children Justin and Cindy in Guatemala

Dear Friends,

I am writing to encourage you to do something meaningful and powerful this Christmas – sponsoring a child in need through Compassion International. Sponsoring Justin and Cindy has been an incredible blessing to myself and my family. They are living examples of the heart of Christ at work, teaching us what it really means to put our faith into action, one child at a time.

Please take a moment and view my video testament for Compassion http://www.youtube.com/watch?v=auf9oJ_Q6_c, then click the link below to get started making a difference for a child in need. I know you will be richly blessed by this experience. It is the work God calls us to do, and if we take the step in faith, he will give us the resources to see it through.

Yes – I want to join Zoro and sponsor a Compassion child today http://www.compassion.com/Sponsor_a_child/default.htm?referer=Zoro_66561

When you choose to sponsor a child in need, you are linked with one particular child who will know your name, write to you, and treasure the thought that you care.

Share prayer requests Exchange letters and photos. Make an eternal difference in the life of a child!

Change a child's world.Your tax-deductible contribution of just $32 a month connects your child with a loving, church-based child sponsorship program that provides:

- Educational opportunities Health care and supplemental nutrition
- Opportunities for safe recreation Opportunities to learn about important life skills
- Most important of all, sponsoring a child will allow your child to hear about Jesus and be encouraged to develop a lifelong relationship with God.

Compassion is highly rated: Charity Navigator, an independent charity review group, has given Compassion their best rating five years in a row. That places Compassion among the top 1 percent of the thousands of non-profit charitable organizations they review. Compassion is also a good-standing member of the Better Business Bureau Wise Giving Alliance.

Thanks so much for your time and allowing me the privilege of sharing my hearts desire with you.

God bless you and your family this Christmas.

Zoro

Here is a link to my web site
http://www.zorothedrummer.com/
Here is a link to the Christian Ministry portion of my web site
http://www.zorothedrummer.com/christianprograms

***************************

Happy Christmas - Why Not Take a Rest?

2007-12-24T15:53:00.000Z

Today is Christmas Eve ...

I love this time of year because I try to take time to rest, relax and recharge. It's very easy to get caught up in the hype, the adverts which tell us that in order to be happy we must buy this or that product ... until we feel that we're on a carousel we can't jump off.

So, why not find somewhere quiet and amongst the gigs, concerts, joy, partying and celebrating take some well-earned rest and recovery!

Wishing you all a very Happy Christmas & Peaceful New Year.

... and if you like poetry, here's something I wrote about the first Christmas ...

THORNS AND STRAW

A back street stable in a crowded town.
Anguished screams; an occasional moan
Go unheard in the noise of a night
Of hustle and bustle, and rooms packed tight
With people, so busy and unaware
That a virgin's sweat means God is here.

No warm, cosy glow; only candle-lit straw.
A manger and oxen and filth on the floor.
No sweet smelling incense or soft comfy chair,
But cold stone walls; acrid smells in the air;
And the breath of animals to supply the heat,
In this hole in the rock on an unnamed street.

But God's not ignored the place that He's chosen
To visit as a baby, when the night air's frozen.
He treats some shepherds, the lowest of the low,
To front seat tickets at the greatest light show;
And singing and music like they've never heard before,
Which leaves them face down, shaking on the floor.

"Get up! Rejoice! For your king is here!
Run to the town and worship Him there.
Not in the palace so lofty and tall,
But lying in a stable, accessible to all.
So go! Take gifts and sing and feast,
For the mightiest God, has come down for the least."

And in palaces and castles hundreds of miles away,
A country's elite, at the end of the day
Study changes in the stars and heavens which bring
News, that on earth is born a king.
A king so great that creation bows down,
And brings its own offering, unseen in the town.

Their journey is long and filled with pain,
Across scorching deserts and rugged terrain.
As days turn to months and months to years;
Following the bright star whenever it appears.
Then rejoicing and thanks when at last they find
A small boy, just walking; the Lord of mankind.

With regal bows and language unknown,
They offer their gifts to Mary's son.
Gold, incense and myrrh; "What can I believe?"
His mother wonders as the visitors leave
To journey back east, their hearts on fire.
They've seen and worshipped the true Messiah.

And as years roll on by and the crowd's anger grows,
In reaction to this radical who constantly shows
That God has no favourites; our rules don't apply
To the values of heaven. "Crucify!" they now cry,
So He's crowned and beaten and then nailed to a tree;
This King, Priest and Sacrifice; thorns and straw set us free.

Dynamic Playing?

2007-12-14T21:51:00.000Z

Running a drummer & percussionist's information web site I get asked many questions, particularly about equipment, maintenance and how to choose the right gear. One question I was asked recently was "How can I make my drumming more interesting?" Well, there are many ways we can be inventive on the kit, cymbals and percussion (see my website for more details relating to drums & percussion).

However, I'd like to take just a few lines to talk about creating interest through dynamics, or differences in volume of different strokes. Many of us are familiar with the term accent, where a note is played louder than surrounding notes to make it stand out .. we play different notes loud and soft in a group of notes to create a pattern, and we may link a number of these patterns together to form a variation on a beat. Playing with dynamics is an art that in many areas is disappearing or is pretty much extinct! The music starts, we plough into the song at a volume of 10 and keep playing until the music finishes. We're totally knackered at the end and the audience are going wild as the adrenaline flows. BUT if we keep playing at one volume for more than one song, or for a whole gig the audience's ears (and ours) can become tired ... or deaf!

Introducing dynamics to our playing adds interest and life to the music and opens up increased opportunities for expression e.g., building up the volume towards a solo or chorus, reducing in volume for a section to create a more intimate feel to the song. It allows the music and our playing to breathe. Even introducing accents into our breaks can change the feel of our playing and add interest. Great examples of playing with dynamics can be heard by Jeff Porcaro on Toto albums (check out Hold The Line & Rosanna) and on just about every track that Steve Gadd and Vinnie Colaiuta play. In fact most of the top session players are booked because of the feel and life they bring to the music, much of which includes their use of dynamics. And it isn't just restricted to acoustic music: dynamics can be applied to just about any genre of music and produce a benficial outcome.

It's a huge subject and no doubt many of you will have very useful hints to add ... but the next time you're thinking "How can I improve my playing?" think about, and try to apply that little word dynamics. It will make all the difference to you, the band and your audience. Good luck!

Drummers are a pain!

2007-12-10T15:49:00.026Z

So started a conversation with a musician friend of mine.

As I probed a little and asked what they might mean by such a comment, the answer was (in their eyes) simple ... 'Drummers spend too much time endlessly banging around the kit.'

When I asked what they meant, I received two answers:

a. 'Drummers set-up and then run through their latest round of 'new beats' or breaks when the rest of the band are talking.'

b. 'Drummers seem to endlessly tap all their drums making micro-adjustments here and there which 'make no difference to their sound'

I asked my friend a couple of simple questions:

i. 'As a guitarist don't you ever widdle around (warm-up) 'to make sure your gear is working'?

ii. 'More importantly, don't you ever tune your guitar?'

They were quiet for a moment ... you'd think I'd dropped a bomb!

'Oh! Is that what they're doing?'

'Yes' I said, 'Have you never asked?'

'He's never told me!'

And there we have the crux of the matter ... lack of communication.

Too often we rely on assumption, thinking that what we're doing or have said is as obvious to others as it is to ourselves. The result is often a complete lack of understanding or, worse still, wrong impressions/breakdown of respect.

I wonder how many bands would function better, and dare I say, stay together longer if the various members talked and listened to each other more. Just a thought ...

Education: Help or hinderence?

2007-12-05T08:43:00.000Z

How many of us have been in situations where we just don't fit?

That's okay if it's a one-off, you know, party, event, visit to friends. But what if the time we don't fit in is in our education: at school, college, university or job? Then, it's no longer an inconvenience ... it's a life changing, life hindering, often traumatic, shattering experience. Perhaps maths seems alien and illogical. Perhaps we would understand our English or language lessons more if they were in Greek!

Sadly, this is the tail for too many people with artistic abilities in today's education system, a system which praises those who can do the logical, academic tasks and pass written exams (though we'll come back to this in a minute) and punishes, degrades or worse still, forgets those who struggle or simply can't relate.

We have confused intelligence (the ability to use our brains creatively) with academia (the ability to achieve high marks in tests and exams which are designed around logical or deductive processes). We are told that science, mathematics, languages are 'important' and that art, music, drama, dance are not.

So, what if you are naturally musical or artistic? You quickly pick up the message that you are either not intelligent or worse still, not important ... and these messages stick, and then stay with us through life: stunting our growth, shouting at us that our views don't count ... lying to us.

And the result? Loss of confidence, withdrawal from friends or society, loss of direction and motivation, rebellion against the life we should be enjoying, never reaching our true potential, always thinking others are better than ourselves. And this goes with us into our jobs, into our family life ... and screws it up!

Some of my best friends and most intelligent people I know never got a qualification at school, college or university ... but they did realise afterwards that they had so much more to give than they'd been led to believe.

What are your experiences of education? Good or bad? If you need to, get those frustrations and lies about yourself off your chest. Go for it!!