Okay – big thought today. It’s a concept I put to all my jazz students, accompanied by a series of exercises called “Singing and Snapping.” Check it out and let me know what you think:
When practicing jazz comping figures on the snare, most drummers don’t think about the LENGTH of the notes they’re playing (quarters vs. 8ths, for example), only which BEAT they’re playing ON (the “and of 2,” for example). In other words, rather than thinking of each exercise as a “melody” (the way the other instrumentalists in the band would), they are only thinking about the placement of the notes – more like a math problem than music. What typically ends up happening is that the entire pattern sounds very staccato and the snare is much too loud compared to the other limbs. In order for us to express rhythmic phrases with a JAZZ awareness (meaning, the same as a sax or piano player would), we have to take into account the note LENGTHS (8th=short, Quarter=long) when we play them. The way to create this distinction is to first SING the phrases in the manner or other instrumentalists. Once we start expressing the notes as MUSIC (rather than simply rhythmic ideas), our hands will naturally follow in creating the appropriate feel. Get it?
For the past five years, I’ve been doing a weekly gig here in NYC called Jim Caruso’s Cast Party at Birdland. You never know who will show up – past guests have ranged from Art Garfunkel to Kenny Loggins to Lisa Lampinelli to Michael Feinstein. This week, we were joined by “Dancing with the Stars” winner Rumer Willis (daughter of Bruce Willis and Demi Moore), who tore down the house with a WICKED version of “Fever.”
We always hear talk about New Orleans being such a great music town. Well, here’s a perfect example of WHY. Imagine living in a city where you can walk out your door every day and find this kind of a jam underway. And imagine if that jam was open to ANYONE who showed up with an instrument.
Hosted by singer and trombonist supreme Glen David Andrews, this particular jam incorporates Mardi Gras Indian chants, brass band second line, drum set, and electric guitar. Like New Orleans itself, it represents how musical barriers are meaningless when people come together, find common musical ground and play WITH one another. It’s not pretty, it’s not slick, it’s not organized, but it s damn sure REAL. Jams like this have been going on in N’Awlins for literally two hundred years or more (going back to the slave “ring shouts” in Congo Square)!
The young man in the foreground playing the marching snare can’t yet be ten years of age, but he is “in it” as deep as anyone esle – getting a serious lesson in groove, funk and a spirit of musical community that can’t be taught in school band, private lessons or any other “formal” setting. Without a doubt, he and his peers will grow up to fuse all these influences and produce a new generation of badassery to emerge from this one of a kind city. Just as so many others have for so many generations.
If you are a lover of music, do NOT leave this planet before spending some time in the Crescent City!
If you’ve always loved the classic Frank Sinatra records from the ’50s and ’60s, but never knew who was laying down those impossibly swinging grooves behind him, permit me to introduce you to IRV COTTLER.
Many other drummers also played and recorded with Sinatra in this period (among them Sonny Payne and Speedy Jones – as part of the Basie organization – Alvin Stoller, Sol Gubin, Frank DeVito and Gregg Field ). But Irv Cottler had the longest association, and is definitely worth studying!
On this amazing performance of “Luck Be A Lady” from 1966, Cottler kicks in at 1:16 and shows us all just how to do it. Cottler recorded and toured with Sinatra on and off for over 30 years, starting in 1953. He also played with Louis Armstrong, Bing Crosby, Ella Fitzgerald, and was in the house band for the Dinah Shore show for 12 years.
Irv Cottler also put out an instructional book and record called “I’ve Got You Under My Skins,” which includes reproductions of the charts he played with Sinatra. Cool stuff!
My appearance at the 2015 Chicago Drum Show was completely centered around paying tribute to Gene Krupa and the 80th anniversary of the birth of Swing (1935-2015). Dr. Theodore Dennis Brown (aka “Denny”) and I hosted two big events to celebrate Krupa: A clinic in which we deconstructed the classic performance of “Sing Sing Sing,” and a roundtable where we discussed Krupa’s life in detail (including the infamous “drug bust” of 1943).
To see the full performance of “Sing Sing Sing,” check out the video at the bottom of this post.
The set up includes a 14×26 bass drum, 9×13 rack tom, 16×16 and 16×18 floor toms. The cymbals are a combination of vintage plates, along with newer SABIAN and Crescent models (the latter was bought by the former in January, so I endorse both companies). The set up is rounded out with heads from Aquarian drumheads & Percussion Accessories (mostly from the Modern Vintage line), Vic Firth sticks, and a cowbell (a key ingredient in “Sing Sing Sing”) provided by Latin Percussion (LP).
Thanks to all my companies for creating this phenomenal gear, and for their continued support of my “mission” to share the incredible legacy of our instrument!
Daniel Glass plays “Sing Sing Sing” at the 2015 Chicago Drum ShowTo put you in a festive mood for the upcoming weekend, here’s the complete performance of “Sing Sing Sing” from the 2015 Chicago Drum Show. Enjoy!For more on drumming history and evolution: www.DanielGlass.com
Posted by Daniel Glass – Drummer, Author, Educator on Friday, May 22, 2015