We embrace all things percussion here at Drummer Talk and that includes news of the upcoming Marimba 2010 marimba convention in Minneapolis this Spring.  From April 28-May 1, you can get your mallet on in the first marimba convention of its kind!

The Marimba 2010 International Festival and Conference will be a once-in-a-lifetime event held April 28-May 1, 2010, that will bring together the most innovative marimba artists worldwide and the most distinguished musical organizations in the Twin Cities for the common purpose of celebrating the marimba around the globe. Marimba 2010 will provide an opportunity for the leading personalities of this instrument to join forces with each other and the local community to engage in an unprecedented event comprised of performance, education and celebration

The festival will present approximately 21 recitals and 3 round-table discussions at the Ted Mann Concert Hall, 8 concerts with the artistic partners at various locations in the Twin Cities including Orchestra Hall, SPCO Center, Southern Theater, Weisman Art Museum, Landmark Center, and St. Paul Cathedral, as well as several master classes in schools, community centers and/or churches that will reach a variety of students throughout the larger metropolitan area. At the core of Marimba 2010 will be the bringing together of diverse musical environments, cultures, and creative minds; the celebration of each of the partnering organizations involved in the festival; and the learning opportunities available to those in attendance from around the globe.  This event will create a unique forum for the mix of cultural influences that will merge dynamic art forms and foster cross-cultural understanding between participants, provide future benefits for each of the countries involved, and ultimately celebrate the marimba in a grand way!

For registration and more details head on over to www.marimba2010.org.  Check out this good public radio story on the event.

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Source: Sabian.com

SABIAN, the award winning cymbal company, is sponsoring “The Most Warped Drummer” contest, an online competition at www.mostwarped.com. The contest gives aspiring musicians the chance to upload a performance video to be voted on by fans, for a chance to win a grand prize trip and all-access pass to the Boston Warped Tour stop on July 13, 2010, as well as a collection of SABIAN gear.

Musicians are invited to visit the site and upload a video, up to three minutes long, of themselves playing drums in one of five categories; “Drum Solo,” “With Music,” “Rock/Alternative,” “Jazz/Fusion,” and “Latin-Inspired.” Between April 21 and June 14, the public will be able to vote for their favorite drummers. The 10 videos with the most viewer votes will win cool prizes, and move on to the semi-final round of the competition. Top SABIAN artists on the Warped Tour will then judge the videos, and determine the grand prize winner.

Read More …

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We talk all about the upcoming Cymbal Summit on today’s show.  We bring news of PAS drumset competition,Stanton Moore clinic tour, and The Killers’ Ron Vannucci is the drummer of the week!  Show Notes



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Part II of our  look at all the crazy gear coming out at this year’s Winter NAMM in Los Angeles (Anaheim!!).  Travis Barker is the drummer of the week, we talk  about Tommy Igoe’s new DVD, and no one laughs at Carter’s jokes.  Show Notes

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We look at all the crazy gear coming out at this year’s Winter NAMM in Anaheim and Adrian Young is the drummer of the week! Show Notes

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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.  Show Notes

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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.

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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!

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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)

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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.

Q: Elecronics?
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!

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10:59 Waiting for clinic to start. There is a massive DW kit on stage. We’re on the second row! There are not a lot of people here.

11:02 PAS-IC guy comes out to intro.

11:03 Intro is done live via satellite. It’s Larry King! Lol. And it’s not live.

11:04 JS takes the kit. There is a huge screen beside him rolling vid sync’d to the track he’s playing. It’s a huge hard rock tune. Next tune, power rock sports anthem sync’d to NBA clips. New tune-random clips of Godzilla and Soccer. Next, playing electronic thing to racing game footage. War footage, protestors. JS playing marching/hard rock thing. Into motocross clips. He’s moving in and out of styles with the video clips. Now he’s playing a world/Arabic style. Ends with huge thrash tune.

11:18 JS takes the mic. Thank yous.

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5:09 Zildjian guy does intro and announcements. Everything we see is performed in real time.

5:11 AJ takes the stage and sits at kit. Smiles. Launches into a version of Bad by Michael Jackson, triggering all the harmonies and melody. This guy is so freaking happy. He’s totally toying with the audience. Launches into a triggered version of “Dont Stop Til You Get Enough.” Next up: “Rock with you.” then Thriller. I can’t believe he’s triggering all of this himself … In real time!

5:23 Free form solo. So fast! Now adds clave with left foot on jam block. Ends with huge finish and standing O.

5:26 New tune. World sounding. Wait, it’s the intro back into Thriller!nl big finish including the Vincent Price laugh.

5:28 AJ takes the mic. He’s so cute! Now he is talking about his gear. Zildjian Hybrids.

AJ: A coulple of years ago, I would take many cymbals to recording sessions but it was getting heavy. I wanted one cymbal with darkness and brilliance. I thought there should a cymbal with half lathing. Was originally just in Japan but sold out and was released worldwide. I use Yamaha oak custom drums with Akira Jimbo sig snare. (demonstrates trigger system and plays melody with sheep and bg harmonies with dog sounds! Lol). Next up, I dedicate this next medley to jazz.

5:37 Plays tune with walking line onkick drum. Take 5. Take the Train with slamming pop groove underneath. Next up, up tempo Latin tune. Caravan. Into solo section. Launches into Spain. Pretty tight! Big finish b

5:47 AJ takes mic. Thank yous.

5:49 Closes with Pirates of Carribean soundtrack. EPIC! Standing O to exit!

This concludes today’s PASIC coverage. See you tomorrow!

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2:58 Kinda sparse crowd. But it looks like it’s filling up.

3:01 PAS-IC guy is out and intros Meinl guy.

3:03 BG takes the mic. Thank yous.

3:05 BG sits at kit tonplY 2 tracks from his record, Brass Band. Track one, a sloppy New Orleans groove with a big fat back beat. Very reminiscent of The Meters. Track 2 is a straight 8th funky upbeat thing. Imagine if Thomas Lang did covers of Stanton Moore, then you’d get this. HUGE drum break. Very tasty. Nice punches to get us back into the track.

3:17 BG takes the mic. Now he’s going to play a solo.

3:18 Free form solo. Starts with sd roll. Moves around the kit with a pseudo latin foot ostinato. He’s the cleanest player we’ve seen so far. Moves to just his hands keeping the kick pattern going. He’s hitting any and everything he can find on the kit. He’s even playing the click sound of toms touching! Back to sticks with a big rolling double kick ostinato. Solo ends with standing o.

3:33 BG takes the mic. Thank yous. Gives run down of gear.

BG: 2 things that are very important: groove and improv. We as drummers are mostly pattern oriented. We focus on the fill but not on how to play it. We often speed it up. Time is very important to us. (does a group clapping exercise – “football clave”). Now do a click sound and clap! Take things slowly and practice things with this internal click. A quarter note “chit” sound. I’ll take 1 question.

Q: How did a white boy from Germany get so funky?
A: I get that. When we listen to music – to the lyrics, to the way it was played and recorded. And listen for a long time! not this iPod, 12,000 songs. I tried and tried to listen to as much as I could.

3:53 Plays one last track. A piece from his first solo record, Grebfruit. It’s a band piece where BG has sung all the parts except for drums. Bass, horn stabs, etc are all BG singing. Lol!

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1:02 Intro from Paiste guy. He keeps going on.

1:05 TR takes the stage. Dons headphones and plays to a drumnbass track. Man, this guy is fast! Blowing heat all around the kit, up and down the toms. Seems like there are drums on the track. Hard to tell what’s live or not.

1:11 Track morphs into chops solo. Moves in and around grooves. He’s doing this thing where he plays the hh with his right hand while making contact on the sd with the butt of the stick.

1:24 TR takes mic. Thank yous.

1:29 Demonstrates splitting up double strokes between surfaces. Then applies it to a groove. RLL sticking. Break it up between hh and snare

FP: now we’re gonna take that broken sticking idea and put it in a 16th pattern that creates a 3 over 4 feel. (demonstrated in various tempos). Before you get it fast, you want to make it feel good at a slower tempo. The whole thing is to keep people dancing. The other thing is what we call hh fill ins. Take the sticking of an inverted paradiddle and put any R and sub out the hh foot. The last concept is hand foot overlaps. When we’re playing with hh sd and bd, there’s a lot we can do. (plays overlapping rudiments across hh and sd)

1:45 Takes questions. One about seat height and one about double bass technique.

1:49 Thank yous

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11:05 PAS-IC guy comes out and drums up applause for sponsors. Next up, Meinl guy. We’re in for a “treat”!

11:07 FP Takes stage. There’s a huge Yamaha kit on stage with more xymbals than I can count. Plays to a track. Starts with his back to us playing a djembe.

11:10 Plays drumset to slamming gospel track. Lots of sick fills and licks.

11:15 Plays another track. Half time 6/8 shuffle sounding thing. Gospel style. The snares sound good but the toms and kick sound dull and thuddy. This is the 2nd or 3rd clinic where the drums in this room sound bad. I’m starting to wonder if it’s the sound team in here. FP is starting to solo around time.

11:20 Takes mic. Thank yous. FP: I hope to encourage you today and inspire you to just play. (talks about tunes he just played). I’m developing this thing called the ones and twos of popular music. Maybe not know the beat for every single song, but I had to develop a way to keep songs in my head. One simple bd pattern can dictate what type of music it is. The ones and twos are the first quarter on 1. Wherever the 2nd 2 beats are changes the style of music. Wherever I put the sn and hh changes the music drastically. By changing the kick pattern.

11:32 Demonstrates new kick pattern. I’m having a hard time following what he’s trying to establish with the idea of ones and twos. It feels like something that makes perfect sense I his head, but isn’t quite fleshed out enough to try and teach it to others.

FP: whenever I learn a tune, I try and relate the groove to another tune I already know. (demonstrates a shuffle type groove)

11:36 FP: The next thing is called 4 on the floors. A good groove to know is the disco. (demonstrates)

11:39 Plays several grooves all with quarter note kick patterns. I’m missing his point bc he keeps mixing up the tempos. So the idea that they all sound diff gets a bit lost.

11:41 FP: so there are a couple of examples of ways to learn lots of different kinds of music. Questions?

Q: How do you start learning tunes?
A: First, listen to all the music. Then I try to relate it to other music. I then categorize it by style. Motown, rock, etc.

Q: Can you isolate the hh patterns you’re using?
A: In general, I try and keep it straight forward or what the artists wants. Accented 16ths and 8ths mostly. Or quarter notes. (demonstrates)

Q: Double bass?
A: my doubles are pretty straight forward. Right over left. (demonstrates)

11:48 FP thank yous. Plays one more track. It’s a medley of Lionel Ritchie songs.

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