In this special in-between episode, we share a special interview from 1984 conducted by jazz/fusion great Danny Gottlieb with his teacher, studio great, and The New Breed author, Gary Chester. The interview covers everything from the inspiration behind the book to Chester’s thoughts on tuning, time, feel, posture, breathing, and more.
See what’s in this special 40th anniversary edition of Modern Drummer magazine featuring Neil Peart…
Welcome to the second lesson in our series on jazz-style triplet fills. This month we’ll continue with the three-over-four triplet concept. For this version of the fill, you’ll play the first three notes of the phrase on the snare and the fourth note on the bass drum.
These new cymbals are distinctly old-world in appearance, featuring flat profiles, unhammered bells, light and wide lathing, hand-hammered bows, and a proprietary aged finish, but they’re built for modern strength and stability. We were sent a set that included 15″ hi-hats, an 18″ crash, a 22″ ride, and a 20″ flat ride. Let’s check them out.
Many of these exercises have a rock ’n’ roll feel and sound. But you can use them in jazz, funk, or fusion settings by experimenting with dynamics, touch, subdivision, and the tuning of your drums. Try playing the phrases on high-pitched drums for use in a bebop setting.
In this lesson we’ll superimpose quintuplets across two beats using a five-over-two polyrhythm and across three beats using a five-over-three polyrhythm.
This lesson is an example of that approach. When I started working on world grooves in my teens, I learned quite a few traditional hand patterns and foot ostinatos from Cuba, Africa, Brazil, and the Caribbean. Until recently, it never occurred to me to treat them as drumset rhythms without a cultural association. Once I made that leap, I started to mix and match to improve my independence on the kit.
Vater is good about balancing its catalog with highly practical products and innovative designs and accessories. This year the company introduced unfinished versions of two of its most popular “rock” models, the 1A and 3A, and added custom designs for Primus’s Tim Alexander and 311’s Chad Sexton. Also new are two sizes of clear muffling gels, the Buzz Kill and Buzz Kill Dry, and a couple of inventive StickMates, which allow you to add shaker or tambourine textures to your grooves via a slim, lightweight plastic grip attachment. It’s all very cool stuff, so let’s take a look.