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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10:02 Waiting for the clinic to start. There’s a slide on hlthe screen called “The Transcription Lab.”. A beautiful Ludwig bop kit is on stage. Pretty good turn out for a 10a clinic!

10:05 Intros from Remo guy. SF is on jazz faculty in Philadelphia.

10:06 SF takes the stage. Sits at kit very intently. Plays syncopated rhythms with hands around the toms. Plays the snares on the bottom of snare drum. Adds hh, cyms. Switches to mallets and plays around toms and cyms. To sticks. Jazzy type fills around the kit. The snare sounds amazing. Lots of Moeller strokes. Back to hands. Retrogression. Soft, delicate end.

10:12 SF takes mic. Welcome and thank yous.

SF: what I’m going to attmpt to do today is have every participate in transcriptions. We have a lot to do today. We’re going to look at solos, parts. You want to play musically, study music. Transcription also helps with form, reading, dictation. The tools: pencil, eraser, paper, patience. You don’t have to have manuscript paper. Every time I listen to a drummer, I tried to hear something new. I always talk about music WITH other musicians. It also helps to have something to help slow down the music. Headphones.

Method: listen to each limb independantly. The create a composite rhythm and read it on one surface. Finally, listen back to determine the voicing. We have to determne what texture the piece is.

Stevefidyk.com/fid-studio for transcriptions I’ve done.

10:23 Plays a piece with Tony Williams on drums. Slows it down to 75%. The tune is Nefertii by Miles Davis. SF goes to overhead and begins to transcribe the ride pattern. I really can’t hear the ride pattern here in the room though. He’s using the program, Transcribe. It’s loopoing the same 30 seconds of the tune. Looks like several people are starting to leave. Unfortunatly it looks like we’re just watching him transcribe the piece on the overhead. Like watching someone work on homework. Weird. He’s nit really explaining what he’s doing.

10:32 SF: That’s the easy part. Now we have to play it. It does no good to transcribe it and not play it. Do we have a volunteer who wants to play it? (guy goes up and plays it pretty well!)

10:36 SF gives tips to the player. They play it at speed.

10:39 SF: Lets move on to full kit. (the tune is Daytripper by the Beatles.). 3 textures-sd, bs, hh. This is a very simple beat. Drummers play beats for the benefit of the music. For the snare, incorporate some rim. On the hat, Ringo swung the hat hand like he was buttering a piece of bread.

10:44 Plays Art Blakey tune (Moanin) and claps out different parts of the groove and then puts it on the overhead. Can’t hear hear the bd, so he interprets his own thing. Asks for a volunteer. Gives tips and trys it again.

10:51 Plays groove Take 5 and transcribes it.

10:55 Plays Chameleon by Herbie Hancock with Havey Mason on drums.

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5:17 We’re just now sitting down into the hall! Why are these last clinics always so late?

5:22 DW rep comes out for intros.

5:23 Zoro comes out on the mic and pumps up the crowd. Thank yous.

5:24 Daniel Glass takes the mic. They play Rock and Roll by Led Zep.

DG: who recognizes that? He didn’t write that! It’s from little richard’s Keep a knockin’. (it’s the same intro!). What you listen to today may have a lot more to do with things from the last.

Z: This clinic is about the lore of American music. It all has the swing pulse!

DG: Louis Jordan was a huge artist who was in the charts longer than Michael Jackson, Aretha Frnklin. He played jump blues which was the connection from big band to rock and roll. Here is “Choochoo Cha Boogie.”

5:31 Z: Here’s a tune 40 years later. (plays slamming tune, I didn’t catch the artist).

5:33 DG: you’ll notice the Jordan tune didn’t have any backbeat. Rock and roll was the first style to use a back beat all the way through. Here is wynini Harris, good rockin tonight.

3:36 Z: here’s a groove that everyone knows. Green Onions. It’s a quarter note shuffle.

3:39 DG: so that was stax records out of Memphis. They brought R&B into the mainstream. It was greasy and laid back. The other label that brought R&B into the mainstream was Motown. It was very polished and pristinly produced. Here is “Heat Wave.”

5:41 Z: here’s a groove from the 70’s where shuffles got big and fat. Here is the Lido Shuffle that features Jeff Porcaro.

4:42 DG: now we’re gonna jump back a few decades. The other thing that made rock and roll different was the shuffle feel moving to a straight 8th feel. During this period there are a lot of various shuffles out there. Here’s one right between straight and shuffle. Here’s Jailhouse Rock. DJ Fontana on drums n

5:45 Z: This is one of the anthems of funk – Stevie Wonder. Superstition.

5:47 DG: The next few grooves show how the shuffle started to creep out into other styles of music. New Orleans. Here is Joseph Smokey Johnson, “I Cant Help It.”

5:51 Z: this next tune is from James brown. Jabo Starks and Papa Dont Take No Mess.

5:53 DG: Another place where the swing pulse had an influence was Reggae. The main diff between American and Jamaican shuffle is the kick is on 2 and 4. Reggae is mix of rock steady and ska.

5:56 Z: this last groove is the Purdie Shuffle.

5:58 DG: Check out the commandments of early funk drumming. Z: we’re gonna end with an improvised solo. (go into a half time shuffle. Each player takes turns trading licks.)

Go into an up beat and licks continue.

6:06 trading licks ala drum battle. Solos end in huge unison lick and a standing O.

That’s it for today’s PASIC coverage. Until tomorrow!

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3:05 SB has already taken the stage. He’s taking about the imortance of knowing rudiments.

SB: we are gifted as drummers. When you hear something new, try to go for the sound. That’s what makes the difference. I want to go over the basic sounds (strokes) of the drum. Singles, aka tap. Means freedom and natural movement. It’s easiest to express yourself. How do you make singles musical without sounding like a machine? It’s natural motion. Next: the unison. We play more unison strokes than any other stroke. We play it every time we play a groove between the hh and sd. Harmony, power. Like playing chords on a piano. Next: the buzz roll. Long continuos sound. Smooth. Next: double aka diddle. Rebound, bouncing. Next: flam. Natural accent. Grace note before a loud note. Next: drag. These are the 6 main strokes. Concept to application. We’ll look at this on the drumset. First, pad or pillow? NEITHER!! You don’t play a pad on the gig, so when possible practice on the drumset. The rudiments are also great bc it teaches us subdivision. Notation, accents. And also the fact that you are forced to alternate. Spend twice as much time on the weaker limb.

Permutations. Practice slow. The slower you practice the quicker you learn.

You can also apply the strokes on the clave.

3:27 Moves to kit. He’s a lefty! About to play to a James Brown track.

SB: instead of using a metronome all the time, practice to music. You’ll find that you might find some really good ideas! Here’s a cool exercise to help with rudiments. Dr. Beat. Quarter bass. 8th on ride. 16th with hh. 8th Triplets on snare. This will help your inner pulse.

2 weeks per Rudiment. 52 weeks of work. Start on snare the begin to explore on the set. And use the bass drum! That’s what makes it drumset. (demonstrates singles around the kit.)

3:41 SB: with doubles, everybody’s fascinated. Make sure to take a breath. Once you get them faster the temptaion is to do this (blows heat). But let’s make it more musical. Inverted doubles: the second note is on the downbeat. (demonstrates).

3:48 Paradiddles. Mixing doubles and singles around the kit. Flamacue. (demonstrates several other rudiments around the kit and splitting hands and working the rudiments around grooves.

3:53 Wraps of the clinic and plays us out. Nice touch!

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1:00 No one up yet. There are swag bags on all the seats. Mapex is a big endorser. Decent crowd, but scattered.

1:02 PAS guy is out and still insists on pronouncing it PASIC as in gas-ic. Lol. More intros from Mapex guy.

1:04 CP takes mic. Thank yous. Gives brief history. Studied at Berklee for 2 years. Facinated by music technology. From there formed band called Dillenger Escape Plan. Played lots of shows. Threw in lots of styles into DEP. Cut to now. I wanted to change. DEP is fast and free, but I wanted to step away from that where there is a lot more space in the music. Coheed and Cambria allows that. Also in other projects including a production company that does scoring and electronic music. CP: I’m just gonna play now bc I don’t get the opportunity that much in a band setting.

1:12 Solo. Big rolls on the snare drum with Tom and kick accents around. Moves to floor tom. Lots of metric modulation. 3 over 4 over 2. Breaks out into Fool in the Rain groove. Plays different subdivisions over it. Lots of double kick action. Wow, the verb on the snare sounds like it’s in a sewer. Breaks out into quick DnB sounding thing. More heat around the kit. The solo is devolving into a bashfest. Lots of triplets and 16ths around the kit between kick and toms/snare. Solo ends with huge snare drum roll

1:29 Takes mic. CP: I like to deal with modulating and polyrhythms. If I’m doing an ostinatos with me feet or hands, I’ll keep something the same and shift the accents on another part. (demonstrates).

One other thing I like to do is to take doubles and creat polyrhythmic ideas by accenting different parts.
(demonstrates by accent every 3 or 5 or 7). Any questions?

Q: what’s your approach to polyrhythms.
A: approah it very slowly. Get comfy with feet, then add more in layers. My feet are on autopilot.

Q: Show us the hand patterns you were doing.
A: what it is is simply RRLL but I add accents every 3 notes. RrlLrrLlrRll. Eventually it resolves back.

1:41 CP: I’m gonna back seat that. I’d like to talk about a side project I’m working on. You should play with as many people as you possibly can. Everyone has something to offer. At the end of the day it’s all about commnuicating. It’s important for me to be creative. Writing. Writing orchestral music or another form of rock or metal. I’m always working on it to keep myself fresh. I’m going to play a track from the new project, Return to Tomorrow.

1:44 Plays to track. Sounds very Muse-y. Huge blast bear section!

1:47 CP: I want to talk about my sound. I always play a smaller kit. I keep it mixed up so I don’t get bored with playing inthe same space. (discusses gear I set up and thank yous.

That’s it for this clinic!

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9:56 – Waiting for the masterclass to start. Beautiful red DW kit on stage. Maria is walking around the crowd saying hi! She rubbed me on the back and smells of clean soap. Too much info? She’s saying how she feels far away from the audience.

10:01 Not yet started. Still waiting. There is also a set of congas on stage with the kit. Pretty good crowd for a Thurs morning. She asks us questions. “I feel like a woman on an island up here. I wanted to make a personal connection with you.” this is why she walked around. She’s asking the crowd who’s comfortable with rudiments. Most of us here are drumset players.

10:09 MM: the rudimental way seemed so straight and narrow to me. The marching tradition is really very much a part of the music if today and the past. Musical styles came out of the marching tradition. Like ragtime. It was a piano music (sings the entertainer). Everything is evolving. Dixieland, jazz, boogie woogie. The drumset wasn’t what you see it today. The hi hat used to be on the ground. I’m gonna okay the pulsating roll concept of the hi hat.

10:12 Demonstrates the New Orleans roll concept. Very maching sounding. Like a second line thing. Adds hh on the off beats.

10:13 MM: You can hear how marching influenced drumset playing. Like the second line and the 3-2 clave. (demonstrates)

10:17 MM: it’s the accented and unaccented notes that communicate the groove. It’s all about the groove. Not about protools or just techique. Touch sensitivity awareness. Like the drumstick. It makes a difference. Also, how you play your bass drum. Are you burying the beater. Also, where are you hitting the cymbal. As you play, have an awareness of what sound you are producing. Are you playing the snare in the middle? On the edge? What’s appropriate for the style you’re playing? That’s what I’m talking about. Sensitivty aawareness comes fro you, not the equipment. Like k owing vocabulary. It’s food to know words, but can you comminicate. It’s now what you play, but HOW you play that matters. Like Steve Gadd. It’s nit just the rudiment. It’s nit just the accents. It’s nio just the space between the notes. It’s ALL of this that matters.

10:23 Points us to handout. It’s a page of 16th note rudimental patterns with 3 diff kick patterns. Demonstates putting the flam on each note of a 16th pattern. It has alternate sticking. RRRL RRRL with flams on the downbeat.

10:26 MM: you never want to hear both notes of the flam. Th lifting of the full stroke is not for looks, it’s to get the best sound. (demonstrates) Use a mirror and watch your full strokes. The other thing, don’t lift your arms when you play a flam. Use wrist strokes. I want to demonstrate some things for you.

10:29 Demonstrates some of the patterns from the page. She puts the sticking across the ride and snare and some really cool patterns emerge!! I think she just blew everyone’s mind!

10:34 Question from the floor: It seems like your accenting parts of the left hand. MM: yes. You have to translate from the page. (demonstrate also on cowbells)

10:35 Solo. The kit sounds great. The solo is a mix of foot ostinatos with heat. In and out of time. Mix of Latin and groove. You can hear a clear Gadd influence in her playing.

10:40 Asks several people to come up and play. Little goes up and rocks it

10:50 Plays the exercises with the other 2 ostinatos. Slow then fast. She has a very nice, light touch! My brain hurts!! Another audience member goes up to play. An audience member asks if she can play with a clave in left foot. MM: Unless you’re Horacio Hernandez, you can’t. Lol.

That wraps up our first clinic! Mad props to PAS for having a woman drumset player kick off the drumset clinics. Maria is a good educator and a very smooth player.

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