Music, Music, Music

Ballads and calligraphy

A statement

This is sort of the opposite end of the spectrum from the last post.  To me, great ballad drumming is somewhat akin to Japanese calligraphy.  In order to work, both art forms have to be approached with almost unselfconscious mastery and be defined as much by negative space as positive (check out 4:59 above for a stunning example of negative space).  Here is a excerpt from the related Wikipedia article:

"For any particular piece of paper, the calligrapher has but one chance to create with the brush. The brush strokes cannot be corrected and even a lack of confidence will show up in the work. The calligrapher must concentrate and be fluid in execution. The brush writes a statement about the calligrapher at a moment in time."

Kenny Washington exemplifies this kind of mastery.  Every motion he makes on this recording has a purpose, and every motion he doesn't make has a purpose as well.  His playing is entirely in service of the music without even a trace of self-aggrandizement.  As a listener, this kind of music gives me the feeling of being present in a particular moment and being grateful for that moment. 

Ballads: Grown Folks Music

Why don't we talk about ballad playing?

Ballad playing seems to be one of the most mysteriously under-discussed topics amongst drummers.  If you are going to be a professional musician in nearly any genre of music, you are going to have to learn how to play a ballad whether you want to or not.  So simply avoiding the topic is not an option. 

Perhaps the reason this topic is avoided is because the role of the drums in a ballad tends to be particularly understated/supportive.  You are not going to be the focus of attention when you are playing a ballad.  However, that in no way means that what you are playing (or not playing) isn't important.  On the contrary for a group to really pull off a ballad, what the drummer plays is key! 

Transitions Part 3: Brushes To Sticks

Brushes to sticks

The transition we are going to focus on in today's post is moving between brushes and sticks.  This transition appears to be relatively simple and unimportant, but in reality it is very difficult to do well and makes a big difference in how the music comes across to an audience.  It is exactly the sort of thing that you don't notice when it is done correctly, so many drummers make the mistake of not practicing it. You can see me do a version of this transition at 1:25 in the video above.  The song is another great Bobby Muncy original "Bouncin With Joe And Dana", and the soloist is the fabulous Gene D'Andrea.

Uptempo Jazz 6: Brush Advice From Kenny Washington

The Reign of Terror/Inspiration

I distinctly remember the first time I heard Kenny Washington playing uptempo brushes (the video above starting around :58).  His playing absolutely terrified me.  It was this same version of "In the Still of the Night" from the album "Written in the Stars" by the Bill Charlp Trio, I was an undergrad at the University of Michigan, and my first thought was, "This is physically impossible".  For those of you who haven't tried to play these kinds of tempos with brushes and don't see what the big deal is, I encourage you to try playing anywhere close to this tempo for yourself.  

Kenny Washington's Advice

I had the good fortune to get to hear and talk to Kenny at the Detroit Jazz Festival several years ago.  He was again playing with Bill Charlap, and their set included some incredible tempos which Kenny played with brushes.  After the show I asked him for advice about developing uptempo brush technique.  I thought I would pass three of his pieces of advice on to you because I know lots of people struggle with this issue like I do. 

Papa Jo #3: Theme and variation

Theme and Variation

In my last post about Papa Jo, I discussed his use of call and response and gave you an exercise to develop some of this technique in your own playing.  In today's post I am going to focus on another element that featured prominently in both the music of Papa Jo's time and his own playing, theme and variation.  In the sophisticated John Kirby arrangement of "Blue Skies" from 1938 above you will hear some perfect examples of theme and variation.  Listen to how Kirby changes the each A section of the tune to give it a dramatically different feel, even though the basic melody stays the same.  The following exercise is from my forthcoming book "Melodic Syncopation" and is designed to help you develop theme and variation technique.  My thanks to Kenny Washington who directed me to John Kirby's music.