Gordon Campbell has an impressive resume with sessions with Earth, Wind, and Fire, Herbie Hancock, George Duke, Mary J. Blige and more.
On today’s show, we delve into part 1 in our preview of PASIC 2014. We also answer a listener question about salvaging damaged cymbals.
In the news, we hear the amazing 16 year old drummer lighting up social media, we discuss the touring drummer for Widespread Panic, we welcome back Tim Alexander to Primus, and listen to a little bit of the McCartney/Bonham Wings collaboration.
I can’t believe it’s already time to start thinking about PASIC. You know we go every year, and if you’ve always wanted to go but can’t hold your own drumathon to raise money, PAS has a way for you to get in for free!
From the PASIC website:
Volunteering to work on the PASIC Logistics Team makes it possible to attend and participate in the convention, get a behind the scenes view of the show and save some money. Meet some of your favorite artists, be entered to win gear donated from the exhibitors, or if you’re a student, have the chance to win a scholarship.
Logistic Team members receive the following benefits:
Free:â€¢ PASIC 2011 registrationâ€¢ Logistics t-shirt and PASIC 2011 t-shirt
Entered to Win:â€¢ $1,000 in scholarship money from the Percussive Arts Society(full time students only, must be applied to tuition)â€¢ Percussion gear from participating manufacturers
Find out more, here!
Today Dave flies solo as we finally finish part 2 of our PASIC 2009 recap and we pay tribute to the late, and very great, Ed Thigpen.
Today, we go over the first day and a half of PASIC 2009. Clinics include Maria Martinez, Chris Pennie, Sergio Belotti, Tobias Ralph, Felix Pollard, Steve Fidyk, and Benny Greb.
5:06 Pearl guy comes out and takes a pic of the audience. Gives history of Pearl and VD. Gets Dennis Chambers on the phone. Lol
5:09 VD takes the stage. Takes mic. VD: I’m gonna talk about rhythmic concepts and what I call rhyhmic phrasing in zones. Today I’m going to talk about left and right zones. Normally we think in top and bottom. We can start with a triplet, and break them up in different ways. Meshing one rhythm in another. 4’s and 5’s. We’ll split the triplet between the left foot and snare with the left hand. It becomes a layered groove when you play underneath it. (he keeps referencing a handout, but I don’t see anyone who has one.) you have two constant downbeat that occur in different places when you superimpose the different zones. These can come out as a fragment or a fill or whatever. It’s all about understanding pulse and meter in different ways.
Now, let’s look at combining the double and single paradiddles. The left side is playing the double between the left snare and hh. The right side is playing the single. Then try it reversed. There’s nothing to say you have to stick to each pattern. You can play around with it.
The next one is a group of five notes and a paradiddles.
5:33 VD: How bout some playing? (applause) There is a little bit of zoning going on here.
5:34 Plays track. Prog rock thing. Guitar heavy with synthy stuff. Feels like it’s in 7 but VD is superimposing many different feels on top of it. Goes into straighter section. Sick fast tom fills around the kit. He’s got two mounted toms way up high and draws applause when he goes up to them.
5:39 2nd track. Mellower tune. Odd meter. Synthy. Very out there. Alternating from different meters and feels. Ballad to hard rock to thrash to smooth jazz. Weird.
5:47 Solo. Starts with snare work adding toms around. Lots of kick work. Going in and out of odd metered grooves. Huge kick rolls section. Blowing all around the kit. Into rudimental snare section with kick going all crazy under it. Cool remote hh roll thing. Huge be tom roll to end it as he throws his sticks to the ground.
6:01 Thank yous.
That’s it folks!!! Thank you for joining us and our Drummer Talk PASIC 2009 coverage. Be sure to tune in to our recap shows coming up!
3:00 Crowded house.
3:07 PAS-IC guy out for intros.
3:08 Vic Firth out to intro JD. 🙂 I want him to be my grandpa.
3:10 JD takes the stage and goes to the mic. Thank yous. Discusses a new Sabian 3 point ride cymbal. JD: I’m gonna play some music. Hang on, I hop you enjoy the ride.
3:12 Plays. Hits the hh with mallets and holds mic super close to hear the overtones of the top and bottom hats. Now hitting other cymbals and pulling out the deep dark overtones. He’s almost making a melody with the various cymbals. He swirls the mic over the cymbal and creates an amazing swirling sound. Moves to sticks and creates melodic ideas on toms. Toms are tuned WAY high. Looks like he’s got an 8 piece kit. Plays “A Love Supreme” melody on toms. He’s so smooth and makes this look effortless! Smooth doubles all around the kit. He might be the first old timer jazz guy I’ve seen who plays matched grip. Lots of cymbal work. Settles into med-up swing groove. Ride work is amazing. Into huge funky jazz style. Going to town. Into an Afro Cuban feel before blowing more heat around the kit. Metric modulation into up tempo jazz. heat then settles into phat groove.
3:34 JD: This is my tribute to the drummers of Motown
Lays down the funk. The crowd is really getting into it! Fills get longer and longer as he breaks away from time before returning to the root groove. More and more complex all around the kit. Finally returns to the Love Supreme motive. Diminuendo to a big crash finish. Standing O.
3:51 JD takes mic. Q&A
Q: what’s going through your mind when you solo?
A: I don’t come with anything planned. My drums are tuned high and it helps me create melody. Since I’ve studied form, I can play out of them. I expect to sit down and play something I’ve never played before. Be prepared to play what you don’t know.
Q: Insights in playing with Keith Jarret?
A: Keith and I just click. We never had deep discussions about music, but we knew we were kindred souls. We developed a way to leave space for each other. Waiting for the music to take us somewhere. If it doesn’t feel right we’ll stop. It’s been a real blessing.
Q: Who were your heros?
A: As a kid I listened to a lot of Duke, Basie. I grew up in Chicago. Art Blakey, Sid Catlett, Papa Joe Jones, Chick Webb. Wilbur Campbell was a mentor to me. Then the other heros who didn’t play drums: Monk, Hubbard, Herbie, Coltrane.
Thank you for coming! (applause)
Q: are you reading charts?
A: Most of the time there are just chord charts. The majority of the time we have charts. We have time codes that allow it to sync up. Cool process.
Q: Play some ice and rocks!
A: This is my version. (lots of huge tom rolls and cymbals.) It’s snow and slush that is a real challenge!
Q: What heads?
A: Clear ambassadors. It gives me a clean, open sound. Engineers live it too! It gives them a clean slate to work with.
A: I tend to stay away from electronics. I mostly will work with loops or a click track. I don’t use a lot of sound effect.
Q: Have there been games you’ve gone after instead of letting it come to you?
A: Hmm. My studio does so many great things and there are times when I found out they’re working on a game, I’ll offer my services.
Q: In your free time, do you play the old games?
A: I love donkey kong! Can you imagine working on Pong??
Q: can you talk about your TV stuff?
A: When I watch TV I’m always wondering who played drums on these things. Commercials. Movie trailers. Even library music! Where companies will hire me to play background music ths gets purchased.
Q: How consistent is your work?
A: Like any other musician, when it’s good it’s good, bit when it’s down you have to be the squeeky wheel! I love to play so I’ll call buddies and offer my services. The cool thing about being a sideman, you can always find work.
Getting started consists of all these gigs where you’re on stage. It’s all about knowing people.
Thank you for coming out!