The Drum Aesthetic

I have referenced my ridiculous attraction to the appearance of drum sets before, but...I remember...

My father had a recording studio in our house for awhile. I was but a lad at the time; maybe in middle school. After a session, a great area drummer named Carl Mattola, who was a cool guy and a good friend of my dad's, left his drums behind in anticipation of an upcoming session. The thing was, he hadn't left any sticks, so I couldn't play them.

Gavin Harrison's set on a King Crimson tour: potential energy.

I had never played the drums before and now I had to just look at them. But, I could see something in that little Pearl four-piece set. At the time I wouldn't have been able to articulate it, but there was tremendous beauty in that silent sculpture that is a drum kit. It was the aesthetic of  potential -- potential energy; potential for human movement; potential for explosive or shimmering sound...

Here, a cymbal hung in perfect reach; there a pedal for one foot; there a pedal for the other foot. The drum set was a mechanism for a kind of Tai Chi movement of four limbs at different times and in different ways; there was the potential of bringing the disparate instruments of a hi-hat cymbal (that could hit or played with the feet) a crash cymbal, a "ride cymbal," a snare drum, a kick drum and a mounted tom-tom and a floor tom all into focused rhythmic pattern that could only come out of a musical oneness with Tao or Zen or "The Groove" whatever you wanted to call it.

I'd sit with my feet on the pedals and imagine playing. I'd envision it. But... no sticks.

Ye Olde Ego

It's amazing how ye olde ego can sneak up on you.

I have, of late, had a bit of a drummer's resurgence. I have been a drummer since the age of fifteen. I have been in a working band since the age of twenty-ish. I have always enjoyed going out to play drums. But, somewhere between the ages of, say, thirty-ish and forty-ish, I started to put my songwriting and composition first and I started seeing drums as a small part of the big puzzle.

The new drums, on a gig. 

Then, I, for whatever reason -- I think it had a lot to do with having been inspired by the drumming of Gavin Harrison, recently -- I got psyched up for the skins again. I upgraded my beloved but tired old drumkit and bought new cymbals and, then, I started...dare I say it? I started practicing again, because, now, that tired old kit is in my little studio, permanently set up. (I have gone years without an actual acoustic kit set up in my house, warming up on practice pads and electronic kits, but it just ain't the same...)

But here's the weird thing: I have been practicing poorly. I just realized it the other day. You know what I have been doing? I've been playing stuff that is easy for me. Any novice musician knows that is no way to grow. I know it full well. Still...

...the other day, I tried something: playing patterns over a steady 3/4 (waltz) rhythm. (Inspired by Max Roach's "The Drum Also Waltzes", but with a slightly more complicated foot pattern.) Anyway, whatever level your musical knowledge is, let it suffice to say that doing this is more difficult than it sounds and, most importantly for this piece, much more difficult than I thought it would be.

I tried it a few times and just quit. Just stopped and moved onto something simpler. Today, driving in the car, it occurred to me why that was. I wasn't conscious of it, but I was saving face.

Pigasus

I have said before, on here, and also when I was writing the column "Artistic Unknowns" for When Falls the Coliseum, that I don't believe in THE creative process. People speak of it as if there is one way to do things. Not only do I know that different artists and writers have different procedures, but I also know that I don't have a set procedure for myself. And I love that.

I am officially ready to start recording my second CD. This one will be an instrumental CD -- a collection of songs on which (among other goals) I can have a little fun on the drums; flex the chops a little. The tunes carry a concoction of influences from everyone from Rush to Ravel. Seriously eclectic.  The working title is Pigasus, taken from a character John Steinbeck used to draw on letters to Pat Covici: the pig, trying to fly, that was meant to be a humorous self-deprecation on Steinbeck's part: "earthbound but aspiring.... A lumbering soul but trying to fly...(with)...not enough wingspread but plenty of intention." In short: me.

As it stands, the songs are in the form of MIDI (computer) mock-ups. The arrangements were done on the computer, including the drum parts. What I need to figure out now is how to humanize things. I have no idea, yet, as to how I am going to do this. I do know it will involve guest musicians, recording of the real drums and, likely, a replaying of all of the other parts.

Once Upon a Time Signature (A Parable)

Shelly Manne, Stan Kenton's (and many others')
 great drummer.

Once upon a time-signature, there was a young, wide-eyed kid who wanted to become a drummer. His parents, ever the encouraging and musical types, bought him a drum set that they probably couldn't afford. It was a hazy silver/grey color and it was one of the most beautiful things the boy had ever seen.

By the standards of a professional drummer, it wasn't the highest quality drum set, but the boy cherished it and polished it and he learned how to play by taking a few precious lessons and by playing along with records in his junk-crowded bedroom for hours on end. (His parents were also very, very patient.)

For all of his high school years, he would practice for hours each day. Guided by his father, an arranger and composer, he listened to recordings by all of the greats from the old days and he found the modern greats on his own. He was one of the few kids (if not the only one) in his high school who could tell you who Gene Krupa, Louis Bellson and Shelley Manne were, though he did listen carefully to Bill Bruford, Phil Collins, Chester Thompson, Vinnie Colaiuta and Neil Peart -- but mostly to Neil Peart.