Hello Readers!
The theme of this article is based on my musical experiences of the last two weeks. I
just returned from a trip to Germany, where I recorded with a Radio Big Band, did a
live recording with a jazz quartet, played two other jazz concerts with other jazz
quartets, and finally did another studio recording with yet a fifth group of musicians.
While we are all critical of our own playing, I felt that I did a decent job of playing in all
of the situations, and in fact, the big band recording, which was supposed to take 2
weeks, finished two days early because of the proficiency of the band. I was reflecting
on how amazing it is to just show up at a gig or recording session with new musicians
and music that you don't know, and find a way to make it all work. This article will
analyze just what elements come into play when you do this type of playing. I hope
you find it interesting, and helpful in achieving your own musical goals.
Taking these experiences one at a time, let's start with the big band. The music
recorded was big band charts, written by Swiss conductor/arranger George Gruntz,
with whom I have worked with for many years, all featuring music by Thelonius Monk.
The first thing that helped was that I knew most of the Monk tunes we were about to
record, so... Topic #1 should be...
#1 Listening to music and knowing the history of jazz.
If I didn't know who Thelonius Monk was, or if I didn't know that his songs are pretty
wacky, but brilliant, or that most of the classic recordings of drummers playing his
music featured playing in a be-bop style with a few quirky elements, that would have
eliminated one of the basic places to start. I didn't know if George's charts would be
similar to the classic recordings of Monk, but knowing some of the basic material
would certainly help my playing on this project. And if I didn't know anything about
Monk's music, getting a tip that this was the project in advance, would have prompted
me to go check out some recordings. For example, if I were doing a Duke Ellington
project, I would listen to Duke from different eras, and try to figure out the basic feeling
of the music involved. This is a basic concept, but you can see how the knowledge of
jazz history, drummer styles, songs and arrangements can really be helpful.
For example, on this project, we did a version of the classic " ‘Round Midnight", and
the intro was taken directly from the Miles Davis classic recording in the '50's featuring
the amazing drumming of Philly Joe Jones. I know this recording so well, and it was
fairly easy to interpret the big band chart with this background knowledge.
So, knowing the styles, and the tunes greatly helped. If I didn't, I would have asked
George for the feeling of each particular song. There was one tune I didn't know, a
ballad, and the question was whether it was swing or a straight eighth note feel. Once I
knew it was swing feel, I could interpret it in an appropriate style. So, Topic #2 is:
#2 Know styles and feels
Knowing whether it is swing or straight eighths, playing the appropriate dynamics and
comping with a good feel is essential. Helpful hints in the working of styles and feels
are to listen to as much music as possible, have a strong source in a teacher or
mentor who has knowledge in this area–who can guide you, and to read about jazz
and jazz history. Actually this is not limited to just jazz, but that was the main source of
stylistic approach for these projects.
The next idea, is that I completely felt compatible with the rhythm section, made up of
Vladislav Sendecki on piano, a Hamburg resident originally from Poland, and Lucas
Lundholm on bass, a native of Sweden! A Swede, a pole, an American playing Monk
music arranged by a Swiss composer, pianist, and arranger, for the Radio in Germany.
Music is SO universal!
Lucas has a great beat and feel, and has been at the radio for 30 years. Vladislav can
play any music–he played with Billy Cobham, Joe Henderson, etc, and as a result it
was easy to draw on our collective rhythm section experiences, and form a good team
very quickly. What helped me was having a strong time pulse based in the jazz
tradition. If I didn't have a strong pulse, I would have been in trouble. And I don't
mean loud, but solid and appropriate for the music. Again, it comes down to
background knowledge of style, experience, and having played with and been exposed
to three musicians who have commented on what feels good, and what not. Also, at a
certain level, it becomes a chance for me to express myself, using the experiences
and abilities of the other rhythm section players. Feeling great about the bass pulse,
and the fills and comping of the pianist allows me to relax and just play along, and be
part of the team. If they were inexperienced, I would've had to figure out how to make
the situation work better, and thus would've had to alter my playing in an
uncomfortable way. So all the experiences work together. Knowing styles, feels, and
how to play in a rhythm section makes this work.
#3 Understanding the Drummer's role in a rhythm section
A classic way to work on this, is to study the the great rhythm sections in jazz: the
Basie Band (Jo Jones), the Ellington Bands, Gene Krupa, Buddy Rich, Glen Miller, the
be-bop rhythm sections, the drummers and bassists with Miles Davis, the modern funk
and fusion rhythm sections, and rhythm sections on all classic recordings in all styles.
It all helps build a strong foundation that will allow you to be familiar with almost any
musical situation.
#4 Interpreting the written Music
With big band charts, the parts are really a guide, helping with dynamics, and how to
shade and color the band. If it's all sight reading, you have to make the best of what is
there and use your musicality to make it work. In the radio production, most charts got
a read through, a pass through the hard sections, and then recording. A few of them
had one read, and then, bam, a recording. Some were first takes. So, you have to
interpret quickly. My role model for this was and is the late great Mel Lewis. I have
listened over and over again to his drumming. Some of Mel's classic recordings are
the Terry Gibbs Big Band, Art Pepper plus 11, and any of the Thad Jones-Mel Lewis
recordings. Listen to how he plays the figures, always in time, with amazing dynamics
and feel. That is where I am drawing my main inspiration in this type of playing.
Record yourself, record the band, read from the trumpet parts to figure out what is
going on in different sections. The main approach that I try to take is to read the part,
but feel like I am in the moment with the band. I try to fill in the holes between
ensemble figures, but not with just drum stuff, but something that will tie it all together.
It is a way to use the chart as vehicle to tie all the parts together, as opposed to just
reading a part. Another way to improve in this area, is to write your own parts for
different songs, both small group and big band, I would not write each fill, but rather
write a guide that I would like to see that includes the important information that would
help set up the overall performance. That way you learn music, have experience
writing and interpreting figures, and add to your complete music knowledge of the
style.
OK, let's move on to the small group experiences of last week. The first one was a
quartet, with two saxes, drums and bass. There would be no piano or guitar, so the
bass was the only comping instrument, and the performance was to be in the style of
an Elvin Jones group that had done a live recording, "Live at the Lighthouse." I knew
the recording, and was familiar with Elvin's style, so I could draw from that experience.
The charts were written loosely, with easy forms and I would just listen to the soloists,
and play. If I hadn't heard Elvin, or that recording, this would of course have been
much more difficult and unfamiliar. The bassist was Paul Im, an American who lives in
Germany, and is great. We had played together, and felt the beat in a compatible way,
so no problem. The tip from this situation:
#5 Let the Music Guide You
In a situation like this, you have to relax, and listen. How the soloist approached each
song was a guide–sometimes playing busy when they played simple, sometimes the
opposite, sometimes, together. That is what makes jazz playing so special. But if you
think too much, I find that it is a distraction. I mostly just closed my eyes and played
while listening to the overall picture. We did a live recording, and I think it's really good!
The second quartet was traditional jazz, sax, piano, bass, drums, and the third, the
same with trumpet instead of sax. The rhythm sections were the same for all gigs,
Vladi and Paul, and it meant the we had 3 gigs to develop compatability. However, the
rooms and drums, and other instruments, were different in each setting. The fist gig, in
a room of a fish restaurant on the water, was surrounded by glass. The piano was an
electric and a Rhodes. The next gig was a large club, with loud reflecting walls, the
piano a Rhodes, but also an upright with a mic that was prone to feedback. So, I had
to adjust my dynamics to the situation. Because I use the Joe Morello/George
Lawrence Stone, technique, it's easy for me to play very loud, and I have a tendency
to hit it pretty hard when the music gets intense. In a situation like this, with strange
acoustics and instruments, you really have to use your ears to help create a dynamic
balance. And you have to be able to hear all the instruments, otherwise it's a disaster.
So-The next tip is:
#6 Use appropriate dynamics to influence the overall music situation
Using brushes during a piano solo, lowers the sound threshold, and gives the soloist a
chance to build. Never playing louder than the rest of the band, and being able to hear
each instrument clearly, allows you to let the music flow creatively. Pretty simple
concept, but we've all heard bands and played in them, where the dynamics are way
off, and it's very hard to play under those circumstances. The drums can really affect
any situation in regard to dynamics, and this is something all drummers must be aware
of, and use to their musical advantage.
#7 Have a variety of sticks, sizes and sounds available
I mostly use nylon tip Hot Sticks, but I also have some wood tips, smaller sticks, and a
variety of brushes. The more sounds you have, the more you can use. I try to change
textures at appropriate parts in the song, as well: the beginning of a chorus, bridge,
new solo, etc. It all adds to the musicality of the situation.
And finally, the last situation was a recording, actually with a quintet: with sax, guitar,
piano, bass, and drums. The songs were all original, so all I had to do was to interpret
the music.
#8 Let your creativity shine
The last topic, is really the reason we are playing music–to let yourself create and
enjoy. Through these songs I could be myself, drawing on all of my musical experience
Having great players, of course helps, but that is what it is all about.
I hope you have enjoyed these tips, based in my recent experiences. Good luck, see
you next time!
–Danny
Check out Danny's website at www.dannygottlieb.com
