NEW!
Now on my YouTube channel - REFondrums
https://www.youtube.com/watch?v=TMizccWvRvk
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I recorded the tracks for the second Concepts CD right after the first CD was produced, the late Spring and Summer of 2021. If you have read any of the posts on the recording blog, you know the tech aspects of dealing with DAWs is a nightmare for me. I thought the simplicity of Audacity would allow me to Mix and Master myself but, for whatever reason, I just blank out and glaze over. I need hands on instruction to get me deeper into things. If I can watch someone do it, I can grasp it. That education is not available. Not that I have found.
John Mayes, a guitarist from West Virginia, is a gentleman I met online many years ago and we have stayed in touch with over the years. It came into my mind to ask him if he had the time to listen to the drum files and maybe mix them and if possible, master them as well. He said, Sure, send them along, and off we went. In the first weekend he had most of it done. In around three weeks it was all finished. He did a great job. It's a fine recording of a drum set in action.
John Mayes, a guitarist from West Virginia, is a gentleman I met online many years ago and we have stayed in touch with over the years. It came into my mind to ask him if he had the time to listen to the drum files and maybe mix them and if possible, master them as well. He said, Sure, send them along, and off we went. In the first weekend he had most of it done. In around three weeks it was all finished. He did a great job. It's a fine recording of a drum set in action.
'Solongs' is a portmanteau title, presenting the idea of a drum solo being a percussive song, in and of itself. I'm always thinking melody at my drums, and this bunch of solos is no exception. I also got into some solos recording background percussion tracks. It was fun. Well, you know me. Frustrating fun.
You know the saying. "Want to make God laugh? Make plans." No matter the plans I made in how I'd play and record the solos, it became an uphill battle, same as Concepts 1. Always a character-building exercise. I trudged along and got it done. In some cases, one take. In others... so many, I lost count.
Once again, for me, the idea of a 'drums only' album is just a given. I love soloing. Always have, and my favorite players down through the years were and are masters of drum set artistry. I wish many of today's well-known players would make recordings like this.
You know the saying. "Want to make God laugh? Make plans." No matter the plans I made in how I'd play and record the solos, it became an uphill battle, same as Concepts 1. Always a character-building exercise. I trudged along and got it done. In some cases, one take. In others... so many, I lost count.
Once again, for me, the idea of a 'drums only' album is just a given. I love soloing. Always have, and my favorite players down through the years were and are masters of drum set artistry. I wish many of today's well-known players would make recordings like this.
I recently bought a CD put out in 2014, of some of Buddy Rich's solos from concerts back in the 1970's. It's a really amazing listen. While he wasn't involved in the collection and the recording, it's still a riveting experience to hear his technique and dynamics in action. No visual; just the experience of hearing what the man could do with gifted hands and feet, under the control of a truly master mind.
It's pretty impossible for Buddy not to be an influence in anything drums, for me.
It's pretty impossible for Buddy not to be an influence in anything drums, for me.
God has given me enough of an active imagination to put the drum set into various places of mental and aural imagery. I have tried to take more of those images and offer them up for your consideration in your own playing.
While I used my "leather" set for CD #1, I used my ever-expanding, stacked plywood-ring set for this second gathering of solos. The drums sound really nice, and my usual array of bronze is all over the soundstage, as well.
While I used my "leather" set for CD #1, I used my ever-expanding, stacked plywood-ring set for this second gathering of solos. The drums sound really nice, and my usual array of bronze is all over the soundstage, as well.
The "coffin" didn't change much. Still blankets, padding and pillows all around the room. It did help with excess natural reverb and ringing of cymbals.
Because I make the drums myself - and these are so easy to make - and knowing some odd size heads are made by Remo, you'll hear a pitch range for 6's,8's,9,10,11,12, 13, 15, 17 and 20" drums. The kick is 16x24. The snare drum is also a stacked plywood shell, a 13", all utilizing a simple tension system for both heads at once. These drums are shown around the website, especially the Drum Shell discussion page and the DIY page. I also used another snare or two, like the Aluminum one, pictured, and my Ironwood.
My usual wide range of cymbals are heard, from Paiste, Sabian, UFIP, Wuhan, Zildjian and others, like Soultone and Stagg. |
Once again, everything was recorded with three mics. Two Earthworks TC30's over head, with my DIY Jecklin disk, and a Sennheiser e902 on the bass drum. The sound is spatial, accurate, and alive. More so from John's processing of the files, which he tells me was nothing complicated. Just some tinkering with compression and EQ, reverb and a "Limiter," if I have that correct. Maybe some other things. He appreciated the raw files to work with. All I had to do was learn enough of the ZOOM H8 to get clean recordings.
John sent me files with ideas for a basic template to be used throughout and it worked really well. Because I can at least import files into Audacity, I was able to listen to all the solos, suggest pan positions, reverb percentages, and volumes, etc.. For the most part the drums were not really modified in any significant way. John just brightened them up and they really sound alive and present.
On the solos containing extra sound sources - percussion items of various kinds - you'll hear sparse and also thick conglomerations of things. I'll mention them below as I run through the concepts and the stuff involved.
Because of the way things are in the USA right now, in the Summer of 2022: the economy and other matters, I decided, for now, to just self-produce this recording, just burning some CDs and do the packaging myself, to send these to friends and acquaintances I know will be interested and enjoy the recording. Also, in the file sharing back and forth with John, it became an obvious option to send a download of the album to people. If someone wants to burn a CD for use on a stereo or player in their vehicle of choice (and I'm told newer cars and trucks do not have CD players anymore), it's easy enough to do. ***********UPDATE. [Given the amount of time involved in transferring files of this size, I have dropped the idea of file sharing]
In some ways I like this recording of solos better than the first album. I kept most of the solos shorter, and the overall blend of things happening, solo to solo, is a pretty cool listen, for me. It seems foolishly self-serving but, if I can't enjoy the recording I can't expect anyone else to enjoy it.
I freely admit to having an "old school" style of playing. Personally, I find the old school style more musical than today's mixtures of fast flurries of notes, heavily integrated kicks with fills and very dry, muted sounding drums, which, in fact, is pretty late 60's/70's sounding. It's a very percussive sound, a mesmerizing sound, and many players have mastered it well. That may be the thing. So many notes on relatively dry drums, by so many players, leads to a loss of player personality. It's hard to tell who's who, just from listening.
Once again, I go back to each player looking for their "voice:" the sound of their drums and cymbals, and the personal approach to playing them. It is becoming an almost impossible task in a global drumming community, experiencing exponential growth. With the onset of the visual media age, there are children playing with the same technical proficiency as professional adults, today. They watch, they learn, they execute.
On the other hand, many of these current, modern-style players have provided the drumming world with new challenges and directions to pursue, which is always part of the changes music and playing instruments goes through over time.
As I state for myself - Nothing I do is perfect. Everything I do is passionate.
John sent me files with ideas for a basic template to be used throughout and it worked really well. Because I can at least import files into Audacity, I was able to listen to all the solos, suggest pan positions, reverb percentages, and volumes, etc.. For the most part the drums were not really modified in any significant way. John just brightened them up and they really sound alive and present.
On the solos containing extra sound sources - percussion items of various kinds - you'll hear sparse and also thick conglomerations of things. I'll mention them below as I run through the concepts and the stuff involved.
Because of the way things are in the USA right now, in the Summer of 2022: the economy and other matters, I decided, for now, to just self-produce this recording, just burning some CDs and do the packaging myself, to send these to friends and acquaintances I know will be interested and enjoy the recording. Also, in the file sharing back and forth with John, it became an obvious option to send a download of the album to people. If someone wants to burn a CD for use on a stereo or player in their vehicle of choice (and I'm told newer cars and trucks do not have CD players anymore), it's easy enough to do. ***********UPDATE. [Given the amount of time involved in transferring files of this size, I have dropped the idea of file sharing]
In some ways I like this recording of solos better than the first album. I kept most of the solos shorter, and the overall blend of things happening, solo to solo, is a pretty cool listen, for me. It seems foolishly self-serving but, if I can't enjoy the recording I can't expect anyone else to enjoy it.
I freely admit to having an "old school" style of playing. Personally, I find the old school style more musical than today's mixtures of fast flurries of notes, heavily integrated kicks with fills and very dry, muted sounding drums, which, in fact, is pretty late 60's/70's sounding. It's a very percussive sound, a mesmerizing sound, and many players have mastered it well. That may be the thing. So many notes on relatively dry drums, by so many players, leads to a loss of player personality. It's hard to tell who's who, just from listening.
Once again, I go back to each player looking for their "voice:" the sound of their drums and cymbals, and the personal approach to playing them. It is becoming an almost impossible task in a global drumming community, experiencing exponential growth. With the onset of the visual media age, there are children playing with the same technical proficiency as professional adults, today. They watch, they learn, they execute.
On the other hand, many of these current, modern-style players have provided the drumming world with new challenges and directions to pursue, which is always part of the changes music and playing instruments goes through over time.
As I state for myself - Nothing I do is perfect. Everything I do is passionate.
The SOLOS
Yehovah - 2:14 - Creator and Commander of the universe; Sovereign Lord, Father, Saviour, Friend. I tried to think big and broad but, concise, as well. Gong, cymbals and trees, massive floor tom strikes (way to go, John), and soloing in and through it all. A percussive overture. This is not a singular gig, for sure, unless you have eight arms. It's definitely a recording studio-thing, unless others can be involved along with you, on stage. Many other musicians or entire bands actually involve themselves in a drum solo, utilizing other sources of percussion and sound. Some even play the drum set along with the drummer. The possibilities are pretty endless.
In this case I just wanted big sound to portray the greatness of God, and the might of the Omnipotent. Truly, God is all things good, and one could go in any direction to percussively exemplify God's character. I just chose to go with a way to display the Majesty and Power of the Lord.
This concept of portraying a personage with drums is just a matter of imagination. Certainly God is bigger than anything man can do to portray Him but, the idea was in my head for a long time and I chose to open the album with this solo. If you choose some other person, think about their character, their personality, their place in society, their accomplishments, etc., and think of how drums and cymbals can characterize aspects of all that. It's all Impressionism on the drums, no doubt but, it can be interesting.
This concept of portraying a personage with drums is just a matter of imagination. Certainly God is bigger than anything man can do to portray Him but, the idea was in my head for a long time and I chose to open the album with this solo. If you choose some other person, think about their character, their personality, their place in society, their accomplishments, etc., and think of how drums and cymbals can characterize aspects of all that. It's all Impressionism on the drums, no doubt but, it can be interesting.
Open Solo - 7:55 - Here, I just played to a mental pattern that came into my mind and kind of wandered around the kit to give the listener an appetizer of all the sounds in the set-up. An open solo is just that - open to whatever comes into the mind, moment by moment, nothing planned out. You just play what you think and feel, drawing from whatever bag of playing figures, fills and flailing stickings the player has in their mental and physical collection. It most certainly does not have to be a chops-fest, either. You're just communicating ideas as they go through your mind.
The Irish Dance - 2:25 - Back in the 1990's, Riverdance became a worldwide sensation. Watching the dancers play rudiments with their feet, at perilous speeds, is not just fascinating but, jaw dropping. There is one number where the guys come out and do this dance with some faux thunder and lightning happening and this solo was inspired by that number.
I didn't notice it until a year later, when John sent me the first mix, that I forgot to take down the snare wires, and a muted snare sound is heard. I'd rather it be the tom setting but, no matter. It all fits together one way or the other.
What those dancers can do, in the seemingly rigid, stiff style of movement, is something that took the world by storm and is coming up on its 25th anniversary. Inspiring a drum solo was a given, for me. |
I took drum heads, cut out the metal rings, placed them on just three drums: snare, floor tom on each side, and muffled the kick drum more than normal, used some large DIY rods, and just traveling around those three drums and with the kick, thinking of Riverdance, a solo emerges. The muted tones sort of render an image of the staccato sound of those dancing shoes on wooden floors.
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Off The Floors - 4:23 - Growing up, at the end of the Big Band era, and into Early Rock, the use of floor toms in drum solos was regular. Did it develop from 'Caravan,' Duke Ellington's composition, and solos by Sonny Greer? I don't know but, every drummer back them was playing rhythms on their floor toms in solos and still do, today.
In this case, I don't use "floor" toms. All my drums are shallow shells, and the toms sit in modified snare baskets but, the pitch and sound is there and I go back and forth between the Left side and Right side of the set in this solo. It's kind of a drum battle, if you will, with myself, not far removed from 'The Battle with Self' track on CD #1. It's a fun solo, and for those with a four piece kit, the same concept can be used on the floor tom and the rack tom, incorporating cymbals into the whole thing. With a 5 pc. set - two floor toms - play a stanza on one and then the second on the other, and sway up and down, back and forth as the solo develops. Same with a 5pc. using two racks and one floor tom. Any size kit can have this kind of 'conversation.' Pick your foundation voices and travel throughout.
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Custer's Last Stand - 3:12 - Another telling-a-story-concept. Last time, I did the Mouse, the Snake and the Eagle. This time, the battle of Little Big Horn. Many years ago, reading about the event, it moved me to create a drum solo around it. In the case of the history, for the story telling: Custer rode to the edge of the Indian camp, dividing his troops because he figured it would be a simple affair to put down 600 or so warriors. When he came up over the rise, he beheld over, what historians recount of 1,200 to 12,000 warriors in the encampment, 20 times what he imagined. Once seen; the shouts, the drums, the gunfire, the gun powder smoke was complete chaos, and over rather quickly.
Visiting the battlefield/monument, in Montana, was interesting. It was quite different than I pictured in my mind. It's a very quiet, somber place. Many tombstones mark the fall of soldiers, as well the entire graveyard. It really does bring about a solemn attitude being there.
Visiting the battlefield/monument, in Montana, was interesting. It was quite different than I pictured in my mind. It's a very quiet, somber place. Many tombstones mark the fall of soldiers, as well the entire graveyard. It really does bring about a solemn attitude being there.
In the solo, the horses ride up, the sound of sabers rattle as they dismount, then the beat of the drums, then the gunfire and the chaos. Just snare, bass drum and cymbals capture it. The familiar drum beat is, of course, an added effect. No warriors were spared to play drums during the battle. It's just used as an act of the percussive drama.
A solo like this is very different from my usual approach of melodies and patterns. |
The March - 3:35 - Simple enough. A solo using a pattern to display the march of an army, that kind of pace. Fills move within and through it all.
Having always been intrigued by drum corps, I tend to employ a lot of that marching pace in my solo playing. It also comes from the marching pace of so many Christian hymns that captivated my life when I was converted, 43 years ago. It just all weaved its way into my playing, even though I never was involved with a corps or marching band.
It's kind of like watching the famous battle between Vinnie Colaiuta, Dave Weckl and Steve Gadd, at the first Buddy Rich Memorial Concert. Gadd gets into his marching riff, then the cowbell beat, and it's like the place comes alive, even though Vinnie and Dave are all over their drum sets. There's just something about a march that captivates people. Let's face it. There's a reason the music of John Phillip Sousa remains popular a century later.
Having always been intrigued by drum corps, I tend to employ a lot of that marching pace in my solo playing. It also comes from the marching pace of so many Christian hymns that captivated my life when I was converted, 43 years ago. It just all weaved its way into my playing, even though I never was involved with a corps or marching band.
It's kind of like watching the famous battle between Vinnie Colaiuta, Dave Weckl and Steve Gadd, at the first Buddy Rich Memorial Concert. Gadd gets into his marching riff, then the cowbell beat, and it's like the place comes alive, even though Vinnie and Dave are all over their drum sets. There's just something about a march that captivates people. Let's face it. There's a reason the music of John Phillip Sousa remains popular a century later.
Dig This - 3:30 - Pun definitely intended. I could have done this with cowbells but, always wanted to try this. I took shovel heads, mounted them to a stand, and played patterns to solo along with. John liked this one, especially. Don't believe I'd play shovels? Look at the picture, including the shot of my having to shave the wood handles down to fit them into drum clamps. Whatever it takes! :-)
The solo is multi-layered with the shovels, a beat throughout, and the improvisation over that.
The solo is multi-layered with the shovels, a beat throughout, and the improvisation over that.
I didn't want an Afro-Cuban kind of rhythm here. I was just interested in the three tones coming from the shovels. It's wild. Pretty much unlike anything I've heard before.
I go back to a picture I saw on an album cover around 50 years ago. A Jazz album, perhaps an early John McLaughlin recording? The black and white picture showed a shot of inside the studio and the musicians, from above. I believe the drumist was Tony Oxley. I saw a shovel as part of his drum set. I bought the album. Never heard a shovel but, someday... and here we go. |
Follow the Bouncing Snare - 2:15 - This is another "mind-loop" kind-of-thing, where a sound just keeps repeating, so much so, when it isn't present your mind still hears it. When people take a quick look at the sun, then look away, or close their eyes, what do they see? The sun. It's an image thing. Visual or aural, it's the same concept. The snare drum just repeats constant 8th notes, one hand or the other. I break away for fills in and through that constant. You can do this with any item in the kit. The concept applies throughout.
Bronze - 6:24 - I do love cymbals, far more than drums. Always have. Cymbals are far more complex, tonally speaking, than drums are. Why not do a solo, on just cymbals. You'll hear melodic imagery and dynamics employed, with just the overheads here. Just hands and hi-hats.
I used a stick with a cymbal felt affixed on the butt end. I begin with the softer sound of cymbal rolls and such, then switch to stick tips, and back to the mallets. This solo can be mesmerizing. More than once it has transfixed me while listening to it and the solo seems to be over as soon as it begins.
Bronze - 6:24 - I do love cymbals, far more than drums. Always have. Cymbals are far more complex, tonally speaking, than drums are. Why not do a solo, on just cymbals. You'll hear melodic imagery and dynamics employed, with just the overheads here. Just hands and hi-hats.
I used a stick with a cymbal felt affixed on the butt end. I begin with the softer sound of cymbal rolls and such, then switch to stick tips, and back to the mallets. This solo can be mesmerizing. More than once it has transfixed me while listening to it and the solo seems to be over as soon as it begins.
Admittedly, I have a lot of bronze to choose from than most players care to have. I've just been enamored with cymbals and bronze since my early youth and watching a Cream documentary and Ginger Baker explaining his different cymbals. I took it all in and things just began to grow.
Despite my collection, with some imagination the same can be done on hats, ride and a couple crashes. I did not even remember to employ some edge strikes for tones but, add those in and you have at least 20 tones to work with, using 5 cymbals in your set-up: edge ting, edge swipe, cymbal bow and bell. There are so many possibilities when technique enters. If you think melodic, things will emerge. It's more than melodic, it's the atmospheric and aqua imagery cymbals can evoke. It's a very broad palette. |
Shake, Rattle and Roll - 2:06 - This was the most densely tracked of all the solos. Tambourines, various shakers employing steel and copper BBs in glass, plastic and metal containers, as well as dried beans in a big jar, plus a drum beat, and with it all, the soloing all through it. John said it sounds like a room full of clocks. That made me laugh because it does, even though that was not my intent.
So, 16 tracks of stuff throughout the stereo image. The sound is so crisp, it literally changed the perception of the tone of the drums. They sounded softer, muted, like twin-ply, coated heads or something; and small mallets, not nylon-tipped sticks. I had to have John brighten up the drums more. They got lost in the soundfield of all those BB's and beans.
So, 16 tracks of stuff throughout the stereo image. The sound is so crisp, it literally changed the perception of the tone of the drums. They sounded softer, muted, like twin-ply, coated heads or something; and small mallets, not nylon-tipped sticks. I had to have John brighten up the drums more. They got lost in the soundfield of all those BB's and beans.
The One-Man Corps - 2:33 - Sorry, can't help it. The cool nature of drum corps just fascinates me. Why not be a one-man corps? The concept here employs an inner focal point of some kind. In this case, an old hymn with a good marching pace for me to follow but, it could be anything with such a pace, including a corps piece, itself; duplicated, to a small degree by one player on their drum set. This one always entertains the listener. Again, go back to Gadd and his marching riff. It just slays people and he's been playing it for decades. Enlarge on that.
The idea of the one-man band goes way back. |
Yes, that's Sly Stone in the upper right. If you are interested, an incredible array of vintage pics of the one-man band is located here:
https://www.polarityrecords.com/one-man-band-vintage-photos.html
The one-man drum corps just takes some imagination to play, and hear, and really, it's just a title for a solo. It's impossible for a single person to emulate an entire drum corps but, it's a fun gig to get into.
https://www.polarityrecords.com/one-man-band-vintage-photos.html
The one-man drum corps just takes some imagination to play, and hear, and really, it's just a title for a solo. It's impossible for a single person to emulate an entire drum corps but, it's a fun gig to get into.
Pound It - 3:02 -Just a combination of hand and foot work, as the title states. This concept for a solo is not about technique, per se.' It's about the dynamics of the force of a drum set and interplay between hands and feet in very distinct measure of laying it down; lots of powerful flams and stuff.
Chase Me, Till I catch You, and Don't Stop - 6:48 - A very popular way to solo in recent years has been for the player to lay down a beat and then fill throughout the time. Some Jazz players, a lot of Rock players, Metal, even Country players, when a solo comes around, employ this concept.
In this case, I play a Fusion-style pace and structure, and weave in and out with the fills. The intent, for me anyway, is to overplay. It is a solo, after all. I used an internal riff/song to go by and if you listen closely, you might pick up on what I used, if you pay attention to the accents.
The title is actually something my wife wrote in her online profile when I first saw her. It's a pretty cool way of stating the balance of what a relationship involves.
Chase Me, Till I catch You, and Don't Stop - 6:48 - A very popular way to solo in recent years has been for the player to lay down a beat and then fill throughout the time. Some Jazz players, a lot of Rock players, Metal, even Country players, when a solo comes around, employ this concept.
In this case, I play a Fusion-style pace and structure, and weave in and out with the fills. The intent, for me anyway, is to overplay. It is a solo, after all. I used an internal riff/song to go by and if you listen closely, you might pick up on what I used, if you pay attention to the accents.
The title is actually something my wife wrote in her online profile when I first saw her. It's a pretty cool way of stating the balance of what a relationship involves.
Rumble in the Rumpus Room - 2:22 - This is for my daughters. Get along. Fight like cats and dogs. Get along, back and forth. It's like some crazy, symphonic composition between the two of them, all their lives, now grown adults. Most of the time, an iffy balance of somewhere between sibling friendship and at each other's throats!
So, the beat is there, the melody is there, in percussive choices, and I also decided to add percussion tracks of Djembe and Talking Drum. Lots of fun here. You take an idea, an image, and translate it to a drum solo. In this case - Playtime!
Use your imagination and you can come up with a combination of thoughts and kit sounds for dozens of different subjects. A lot of soloing, on any instrument, is about observation of life and interpreting that on a musical instrument. A drum set is no different. |
The Jackhammer - 1:59 - Self-explanatory. The bass drum hammers away. The snare drum hammers away and builds to a thunderous climax.
This is just old school drumming right here. All the players in the Jazz/Big Band era had solos like this. The first time I heard Buddy's album, 'The Monster,' and heard that incredible solo hammering away, with just no stopping, no tiring, no fatigue, just outrageous energy, I was duly floored and drop-jawed. That was Buddy, but, also, other players employed this kind of thing, too, especially those with marching band and rudimentary drumming in their young lives. The snare drum is the spinal column of the set and Big Band players utilized it in a big way. It's simple but, powerful. |
Yehovah: Reprise - 1:41 - Not a solo but, a percussive epilogue to fade out into an end from a recorded, percussive firestorm.
I don't know why more players do not do this. Maybe it's just a marketing thing for record companies? But, in this day and age of Inde music and recordings, is there a single, well-known player in this world that could not produce a concept album like this? I certainly wish they would. They'd have one customer, for sure, and let's be honest. The higher up the elite ladder, the more customers they'd have for such a recording.
When I think about the players that have incredible knowledge of the instrument and technique in playing it, there must be dozens of players who could put out drums-only albums with lots of original ideas to explore and share. Matter of fact, like Terry Bozzio and Chad Wackerman, or Pierre Favre and Fredy Studer, or the Drumbassadors - Rene Creemers and Wim De Vries, why aren't there more pairs or trios or quartets of players doing that kind of thing? There's always an audience for it. I confess, I would love to do something like that.
When I think about the players that have incredible knowledge of the instrument and technique in playing it, there must be dozens of players who could put out drums-only albums with lots of original ideas to explore and share. Matter of fact, like Terry Bozzio and Chad Wackerman, or Pierre Favre and Fredy Studer, or the Drumbassadors - Rene Creemers and Wim De Vries, why aren't there more pairs or trios or quartets of players doing that kind of thing? There's always an audience for it. I confess, I would love to do something like that.
Pierre Favre was an early visual influence of mine. Not being into Jazz that much, or "Free" music, as he is, it was the drum sets he put together that inspired me. His whole approach, including reading his thoughts in interviews, was very inspiring to me. This was before the internet so, finding such interviews was difficult, to say the least.
While it is true drums are not a chromatic instrument and what can be played on them is limited, each player(s) can bring a personal adaptation of those parameters to the audience and bring an experience that is unique.
This is my lowly effort. May those who hear it, enjoy it.
My thanks to my daughter, Hannah, for the photographs of the guy standing in front of the gong.
Till next time...
Concepts #3 in the wings. :-)
While it is true drums are not a chromatic instrument and what can be played on them is limited, each player(s) can bring a personal adaptation of those parameters to the audience and bring an experience that is unique.
This is my lowly effort. May those who hear it, enjoy it.
My thanks to my daughter, Hannah, for the photographs of the guy standing in front of the gong.
Till next time...
Concepts #3 in the wings. :-)