Dan Dever Pro Drumming Blogspot, John Bonham, Led Zeppelin, Drummer, Drums, Drummer

When The Levee Breaks

2011-12-12T11:38:00.000-05:00

So I've been listening to WTLB and I've noticed something peculiar and I'm not too sure if it was the original recording or during the re-mastering sessions done by Page. During the last 12 or 16 bars of the tune during the outro when the track is panning left to right and vice versa I've been sort of playing with some things and you can hear during the pans that whoever mixed the track is speeding up and slowing down the track on a different channel during the pan. It's pretty strange and I don't think I've ever heard it before, by anyone!!
Hmm? What are your thoughts?
D2

Promises, Promises

2011-11-28T23:23:00.000-05:00

I really am working on materials to add but seeing as how my private practice seems to be growing by the day, I've not had much time at all to organize my approach.
Please keep watching and if anyone has any questions regarding drumming, technique, styles, polyrhythms, or anything at all. Feel free to drop a line!!

Ciao
D2

Please...Bare With Me!!

2011-10-24T16:37:00.002-04:00

I have been working on getting some new material posted but I've got some big auditions coming up and quite frankly I haven't had the time.
If however, any of you would have any questions on anything at all including hand technique, working out some Bonham groove or what have you. Please feel free to email me and I'll get back to you as soon as I can.

Ta
D2

An Introduction to Hand, Wrist, Finger and Arm Technique

2011-06-23T23:30:00.001-04:00

I hope some of you have had a chance to digest some of what I've discussed in my previous entry about hand technique and stick control if you haven't please do feel free to read at your own pace and decide what works best for you.

Now that we've scratched the surface of developing basic hand technique, it's time to kick it up a notch literally.

This will be a two part posting the first pertains to the use of a metronome as a practice aid and the second will speak to the actual rebound of the stick as well as finger technique which will be fully addressed in a future post.

The basic approach is getting the student used to having the "lumber in your hands" and then slowly introducing differing forms of finger control, wrist and finger rebound techniques as well as arm movement.

Now if you are a drummer you'll be very familiar with the next device in aiding you in your way to developing truly great hand technique as well as improving your overall stamina.

NOTE: The metronome is one of the very best friends a drummer can have and it can also be the most intimidating to a lot of beginners for various reasons which I will go into at length in a future posting which deals with Human Time versus Metronomic Time.

After you've gone through the first page of Stick Control you've no doubt realized where the weaknesses and strengths lie in your own hand technique and that is an empowerment and a tool to be used all in one, no worries if you're still working on the stickings it will take some time if these concepts are new to you, move at your own pace.

The basic premise to working up any of these stickings to performance ready status is to start as slowly as you need to in order to facilitate perfect execution of the the exercises and there is no better way to keeping yourself "honest" than using a metronome.

Once you feel you've gone through the first page of SC (Stick Control) with minimal difficulty, I suggest you turn your metronome on a very slow setting and when I say slow, I mean slow.

Somewhere around 54 BPM (Beats Per Minute) would be a very good tempo to start at and should feel very comfortable as a good warm up for what will come after your first attempt.

With your metronome set at 54 BPM go through each exercise again, 4 times each, then moving on to the next one WITHOUT STOPPING!!

Do the whole page at least once without stopping even if you incorrectly execute the sticking patterns do not stop, try and stay focused where you're at keep moving down the page.
Once you've complete your first pass with your metronome, turn it off - take a 2 minute breather to let your arms and wrists rest then mentally go over those exercises which gave you trouble. With your metronome still off, go ahead and work out the stickings on the troublesome exercises and do the whole page over again only this time move the metronome setting to 55 BPM.

NOTE: If you find that is still a bit much than by all means slow the tempo down to your original one or wait altogether until you feel confident you've worked out all the sticking exercises without a metronome.

Whichever works for you, at the end of the day it is what works best for you in this whole process.

By the way for any of you more adventurous pupils of the instrument, you can do all these exercises with brushes as well and they are a great way to warm up before a gig and it is very quiet you could do it
practically anywhere!

Again as with any aspect of drumming we as drummers have to be careful to not overdo any aspect of rigorous technical exercises as you could cause serious damage to your Ulnar nerve which is the key
cause of , dare I even say it, Carpal Tunnel Syndrome which would effectively end anyone's drumming career. There's also Tendonitis as well as Arthritis to be concerned with so if you have any pain or
discomfort during any of these exercises STOP IMMEDIATELY and rest for a few moments before proceeding any further. Thank you.

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Hand, Finger, Wrist and Arm Techniques

There are a number of differing techniques employed by drummers regarding finger control, wrist movement and arm movement and I can guarantee you if you ask 5 drummers how their technique was developed, each one of them would have differing theories on technique.

But I will lay it out for you ... There is no secret to good hand technique the only secret is deciding which combination works best for you and which ones will allow you to accomplish everything you need to say at the instrument without sputtering, or seeming to flail at the drums.

There is a reason why I've left the actual hand positioning of the drumstick til now, which I addressed at the very beginning of this posting. It only matters that you get the lumber in your hands at first, to feel
the weight of the sticks and how that new wood feels against your fingers and the underside of your palm, how the butt can be manipulated into any action deemed necessary by the drumming student.

But there always comes a time when it becomes necessary to fine tune a thing and that time is now and unfortunately it is the most difficult part of your technique to master but I can assure you, once you do you will find yourself playing at a level that will shock and surprise you and thrill every cell in your body.

It's a level of complete rhythmic and creative expression which will honestly take a lifetime to truly master but, the sooner you have the truth the sooner you can start focusing in on what needs to be accomplished.

Having the ability to play whatever you hear in your head EXACTLY the way it sounds on the drum set is the goal and these methods can help you achieve just that but it is a difficult road and will be challenge you at every turn but, you must endeavor to persevere!

I will, over the course of the next few days, post a few pictures on what your basic hand/stick position will look like as well as touch on subjects such as counting, balance and posture, practice ideas and rhythmic ear training as well. Whether you decide to use Traditional Grip or Matched Grip / French Timpani Grip whatever you prefer experiment with them all to see which one works best for you.

Please if you have any and I mean ANY questions at all do feel free to either submit them or if you'd prefer them to be confidential by all means send me an email at ddever@berklee.net and I will help you out as much as I can.

Rhythmically Yours,
D2

Drumming 101 - The Basics

2011-06-15T11:27:00.001-04:00

While coming up with some ideas for presentation here in this forum, I've come to the conclusion I should start with the basics and work my way up from there. If you are an intermediate or advanced drummer and you have some questions regarding anything at all just ask!!

Now, if you are a beginning drummer, as in you have never even held a pair of drumsticks, don't waste your money on buying a drum kit just yet that time will come soon enough. What you need to do is go out and buy a decent pair of good drumsticks.

I personally use a very well known maker's sticks and they are made of New England hickory, you can do the math from there on what company it is I'm sure.
If you're not sure which drumsticks to buy for your age, dexterity or ability just ask your local music store professional they will be glad to help you out!

After you've got your sticks you will also need a good practice pad.
Real Feel is a great pad due to it's thin polystyrene pad and thick wood base, it makes for excellent accent and rebound practice.

Another useful pad is the Billy Gladstone pad, it's a rubber pad that fits over the top of your snare drum and is thin on the sides and thicker in the middle, but you should really only buy this if you've already worked up your stick rebound ability as it's very "squishy".

There's also a great little pad known as the Practa Pal, it's great for all you cats on the go.
The great thing about the Practa Pal is that it attaches over and behind your knee with a piece of velcro and is actually quite comfortable, the downside is the strap doesn't hold up that well and the practice surface is small.
But any one of these pads will serve the purpose you will initially need it for.

Now that you've got your sticks and your practice pad, the next thing you will need is a good book which in our line of work, is listed as one of the many drumming "bibles".

It's called "Stick Control" by George Lawrence Stone and it will run you about $8.00 the last time I checked.

I start all of my students on this book and for at least the first 6 months that is usually all we cover but there is a method to the madness which most students don't realize until they have that light bulb "moment", and then it all makes sense to them.

Stick Control is one of the very best instructional books on inter-hand co ordination I have ever used, which is why it is still in publication and is very good for independence or 4 way co ordination studies as well as being able to be used a number of different ways.

A very simple assignment for a motivated drummer would be to tackle the first page which at first glance seems very, very basic and it is in a sense but, when you hit the fourth example your sense of what's basic and simple will be altered and that's where the fun begins.

There is a paragraph or two in the introduction to the book with recommendations on how to practice the exercises and it serves a purpose but, I've found more productivity from my students is achieved through the even bar repeat system when approaching these exercises.

Let's take Exercise #1 for instance.......

||: R,L,R,L R,L,R,L :|| (after repeating this 4 or 8 times immediately move on to #2 WITHOUT STOPPING!! This is very important)

||: L,R,L,R, L,R,L,R :|| (and so on, for every example right down the page)

Also another very important thing to remember is the Time Signature in Stick Control is in Cut Time or 2/4 meaning you can count in 4 at first but you must at one point start "thinking in two" meaning instead of counting in 4 like this:

1, an, 2, an, 3, an, 4, an

Eventually you will have to start counting in 2/4 like this:

1,e,+ , da 2 e, +, da (the + sign is meant to represent the word "an" or "and", whichever you prefer and the "da" is pronounced "duh")

Another thing to keep in mind is counting out loud, you must count out loud!!

A lot of my younger students have a tendency to count some syllables louder than others which when played comes out sounding lopsided.
Do not emphasize any other syllable louder than the others or that's what the exercises will start sounding like and that is a
VERY, VERY, VERY BAD THING!

What we are looking for is fluidity of motion but also fluidity of stick motion which will make each note sound even. Counting with a stress on a given syllable will make your stick motion sound lopsided and that can take a long time to correct.

Instead of playing this exercise 20 times then moving on to the next what I prescribe to my students is play 4 or 8 bars of the exercise and then move on to the next. So as opposed to playing one exercises 20 times, you would in essence be able to perform the entire page in just a few hours work which is very good for increasing hand technique and improvement for fluidity of motion and it also builds up the muscles in the wrists and forearms.

This serves a two fold purpose; the first is the repetitive motion of the exercises become fluid in the hands a lot quicker and the second would be the natural effect you would assume, it begins to train the drummer's mind to start thinking in terms of 4 and 8 bar phrases.
Again, it's all subliminal but it works wonders when work on phrasing with these figures is ready to commence.

After you've gone through this method a few times you will no doubt understand as well as see and feel the benefits of this approach.

When you feel you've achieved a significant amount of practice, DO IT ALL AGAIN!!
When your finished with that... DO IT ALL AGAIN!!
You see what I'm getting at here right? The old saying "Practice makes perfect" is an old saying for a reason!
So start working on your hand technique then check back in and I'll have some more goodies for y'all!

An addendum to an earlier post

2011-06-12T23:02:00.000-04:00

Awhile back I posted a blurb about the LZ song "The Ocean" and though I've listened to it too many times to mention, I just came across a Youtube video of what I think is a performance at Madison Square Garden and the live version is even better.
You can check it for yourselves here The Ocean by Led Zeppelin Live and hopefully enjoy it as much as I have.
Slainte
D2

Custard Pie & Southbound Suarez

2011-06-08T13:53:00.001-04:00

The correlation between these two songs didn't actually dawn on me until today.
I was out for a drive with the windows down and the sunroof open with Led Zeppelin playing on the CD player, yes I still use one of those, and it dawned on me as I was listening to Custard Pie that the grooves for Custard Pie and Southbound Suarez are one in the same "ish" aside from the difference in tempos they are almost the identical groove.
That's the best way to describe what I was explaining about the feel of the groove on SS, it's a very simple groove but it's the feel which is the driving force within the groove, not the groove itself.
And again, that is what a lot of drummers miss or lack whichever you choose, when performing or attempting to perform these grooves.
I am actually going to be posting some videos over the next few weeks demonstrating these groove, well the basic approach anyway, as well as other videos explaining some grooves I am working on at the moment and how I've come up with them.
Peace

Shameless Self Promotion

2011-06-05T19:03:00.000-04:00

Drum Stuff

2011-06-03T10:47:00.000-04:00

So, over the next few days I will be formulating some drum tutelage based postings regarding hand and foot technique as well as 4 way coordination, linear drumming and esoteric musings ha (couldn't resist)!
By all means, if any of you out there are drummers and would like some advice on anything from choosing drum heads, tuning, posture or anything related to practicing anything at the instrument, feel free to send me an email and I will address your inquiry via the blog or privately.
Have a great weekend everyone!
Slainte,
D2

Happy Birthday to John Henry Bonham

2011-05-30T23:41:00.002-04:00

The birth date of John Henry Bonham :

Bonham was born on 31 May 1948, in Redditch, Worcestershire England, to Joan and Jack Bonham. He began learning to play drums at the age of five, making a drum kit out of containers and coffee tins, imitating his idols Gene Krupa and Buddy Rich. His mother gave him a snare drum at the age of ten. He received his first proper drum kit from his father at fifteen, a Trixon kit. Bonham never took any formal drum lessons, though as a teen he would get advice from other Redditch drummers. Between 1962–63, while still at school, Bonham joined the Blue Star Trio, and Gerry Levene & the Avengers.
Bonham attended Lodge Farm Secondary Modern School, where his headmaster once wrote in his school report card that "He will either end up a dustman or a millionaire". After leaving school in 1964, he worked for his father as an apprentice carpenter in between drumming for different local bands. In 1964, Bonham joined his first semi-professional band, Terry Webb and the Spiders, and met his future wife Pat Phillips around the same time. He also played in other Birmingham, UK bands such as The Nicky James Movement and The Senators, who released a moderately successful single "She's a Mod," in 1964. Bonham then took up drumming full-time. Two years later, he joined A Way of Life, but the band soon became inactive. Desperate for a regular income, he joined a blues group called Crawling King Snakes, whose lead singer was a young Robert Plant.
In 1967, A Way of Life asked Bonham to return to the group, and he agreed — though throughout this period, Plant kept in contact with Bonham. When Plant decided to form Band Of Joy, Bonham was first choice as drummer. The band recorded a number of demos but no album. In 1968 American singer Tim Rose toured England and invited Band Of Joy to open his concerts. When Rose returned for another tour months later, Bonham was formally invited by the singer to drum for his band, which gave him a regular income.

The Ocean.....

2011-05-26T22:19:00.001-04:00

Well, it's more like a pond now!! But damn listen to it on headphones and I mean a good quality pair of headphones, not those little nobby things that come with your Ipod. Go out and buy a good pair of Sennheiser's and really LISTEN to music my brothers and sisters.

Back to The Ocean (Led Zep) seriously doubt it can be pulled off anymore which is why there is no more Led Zeppelin, that's right I said it folks...there will never be another Led Zeppelin.
I'm sure JP will release another album and he might even do a few shows but it won't be anything like what you might expect, that's just the way it is. RP will probably slam into another drug counselor, which I laughed my ass off to by the way!!
JPJ will pittle about doing whatever strikes his fancy.... and there might be an attempt to replace JHB but they will always miss the mark in doing so, because they jump on the bandwagon cuz that's what musicians do these days. Integrity is lost in today's music world a decision might be made to use shit I don't know Dave Grohl, that guy's got about as much ability to play those classics grooves as Jerry Lewis has the ability to play Jackie Gleason's character in The Honeymooners!! Slim to none!!
Everyone thinks they know what it takes to pull of that gig, I got news for ALL of them. The only one who even came close and only in energy really was Michael Lee, but only in energy.
No one has or will come close!! And that is fact!! Indisputable and forthright!!
Peace ta all ya knuckleheads!!

Trampled Under Foot

2011-05-26T19:37:00.003-04:00

This is the best version I have EVER heard bar none! John Henry is just driving this tune the whole way!! For the most impact listen to it with a pair of decent headphones, that bass drum is just killin'.
Enjoy ya'll!

My Travels

2011-05-23T18:14:00.002-04:00

My trip to Bolton Abbey

2011-05-23T17:58:00.002-04:00

Another Ting...

2011-05-23T14:36:00.000-04:00

It kills me when drummers try and make videos about any of Bonham's grooves for instance,this attempt Aaarrgghhh! is well intentioned but, it's not the groove that was played by Bonham.
I'm not really sure if drummers even realize that those 16th notes are dubbed they weren't actually played during the actual performance of the song in the studio.
If you listen to the fills John Henry plays you'll hear that there's no way he's playing 16th notes, it was dubbed to give the song more of a active feel to that's all.

The groove is a lot simpler than that! There's probably a few 8th and 16th combinations on the hi hat but a majority of the groove lies in the feel between the hi hat and snare drum. I've talked about this in one of my earlier posts how drummers even well known drummers usually miss the mark with replicating these very simple grooves. It's not what John Henry played it's how he played these grooves that makes them rhythmic gems.

Just had to get that off me chest is all!
Peace

How Many More Times

2011-05-23T13:24:00.001-04:00

You know something, I've not had anything which I felt like I've needed to write about lately but there is one thing I have been paying more and more attention to.

I'm not sure how many of you have heard LZ's song "How Many More Times" but there's two things that have always intrigued me about this tune one is the intro where Page, Jones and Bonham are grooving during the intro and it sounds like Jones and Bonham weren't on the same page as far as where the time is then when JP comes in with that trademark riff, you can clearly hear that Bonham is on top of the situation.
Coming from the jazz world, if that kind of drop in time were to happen the track would have been scrapped and another take would've ensued, but that's what makes Zep, Zep afterall, innit?

The production quality is not very heavy in the low end, that's probably on purpose, but there are some other really cool devices used most notably during the "bridge" way back in the mix you can hear Page has layered in what sounds like a slide guitar on volume swells or something to that effect, afterall I'm not a guitarist.
Also throughout the bridge you can hear Bonham's fills but the time is not being marked by a hi-hat which has always peaked my curiosity as well, was it taken out in the mix or was it just not there?

The energy on this tune is fantastic, it's mean and driving which is rock n' roll epitomized of course but it also reflects the attitude of the group as a whole when approaching song craft. The consistency of the band's approach to all of their recordings is without doubt one of the best in the history of rock n' roll, in my humble opinion.

If you listen to this Recording you'll hear exactly what I'm saying about the intro, but if you listen to the live recording in Denmark HMMT Live you'll see there's no problem at all so I guess my question would be, what's up with that?
Whatever the reason it's a great tune and that's all that really matters!

Collective Bargaining Rights in the Commonwealth

2011-04-29T08:36:00.000-04:00

We've got a fight developing here in Massachusetts, Collective bargaining is under assault here in the Commonwealth. I don't think it will go that far as this entire state is very Pro union but it's time to organize. The President of the IFFA has already said his members are already pulling their support of elected democratic officials and will be focusing their attention elsewhere. This madness has to stop!! Support your family members, neighbors, children and friends who are in some way, shape or form associated with a labor union! Stand up and be counted!!

Stay Union, Stay Strong!!

Politics in the U.S.A.

2011-03-21T23:13:00.004-04:00

It kills me that the very people in congress who can't seem to pass a budget amendment are upset that they had no say in "going to war"? We're not at war we are involved in a unilateral peace mission/intervention, is it racism driving these neo cons?
I am utterly disgusted with what these people are calling politics....go figure. Don't even get me started on that nut job ho Sarah Palin, what a fuckin' nutjob!!
Our politicians are so out of touch with their constituencies it's like they are living in another world, they have no concept of what the average American is faced with suffice it to say they become confused with our dissent.
And just so you all know, when "they" talk about the richest 1% of Americans in this country they are talking about themselves. They are quite possibly THE wealthiest people in our nation, how in the hell should people with that much money be involved in OUR collective futures? They shouldn't be , period!

I hope this country starts to wake up like the rest of the world which is standing up and saying, enough is enough, to quote the movie Wyatt Earp "It all ends now..."

Thinking about attending Berklee?

2011-03-16T14:50:00.007-04:00

You might want to reconsider cheaper and better alternatives, for more info send me an email...ha
Ese Quam Videri my ass! In fact, here's a new motto they should really probably adopt

Non Assis Facis Quidem

Bonham "Impersonators"

2011-03-15T03:24:00.002-04:00

If you couldn't tell by now, I am a HUGE Zep fan! And being a drummer I can't help but be very, very critical of how drummers on the web and indeed live, approach JHB's general vibe. I haven't seen one person who actually comes even close to understanding what that guy was all about, and I am not being opinionated I am merely being assertive.

Drummer are so caught up in having some sort of bead on what they think is happening and it's sad because the real genius of JHB (John Henry Bonham by the way) is being missed more and more.

I've actually seen some drummers whose approach is to muscle their way through Zep tunes and when they walk away they have a sort of confidence that they've done their part justice, but they have missed the mark utterly with regards to feel and the spectrum of emotion needed. Don't get me wrong I am not being cynical I am merely posting my observations.

What made JHB's tunes and approach great was his level of energy, not good not bad just his, and the fact that he knew those songs inside and out. If you listen to some out takes HERE you can hear John moaning and singing his part while trying to up the ante with regards to the energy of what the rest of the band is giving.

I just get a bit miffed at the drummers of today who think they could step in and fill those shoes, as Gary Burton said during my first day of attending Berklee .."Welcome to Berklee, check your ego at the door"
and if anyone knows a drummer at all you will know all about the ego....HA!!

It comes down to this.... It's not WHAT he played, rather more HOW he played it!!

If you listen to all the recordings you have of LZ both live and in studio you will hear in them some major differences being performed live versus being in the studio. Which is natural because no song should ever be played the same way twice unless your working with some mega pop star. That whole band intrinsically knew that theory...

Jimmy Page knew the difference in what was needed to record tracks but he also knew a live audience would know that it was being "mailed in" if they stuck to the same formula, and I think they knew they wouldn't have been able to "sell" a live show based on that premise.

Some bands do go out on the road and play exactly what was recorded due to some sense of "giving the people what they want" and you know what you're going to get from their shows when you purchase the ticket.

To illustrate further I'll give you an example of what I mean, if I were to play say the Sonny Rollins tune St. Thomas which has a 4 bar drum intro, it would all depend upon how I felt at the gig... did I feel like playing a samba, baion, calypso or would I play it like the original? But there's no way I'm going to play it the same way all the time, because it would grow stale and the audience would see my frustration immediately.
But if I am engaged in the FEEL of the song regardless of the "style" then it becomes something fresh and full of life.
I guess it would all depend on the audience, the room and how I was feeling!

Music is a living, breathing thing and cannot be constrained in what today's music business can understand which is units sold and marketing gimmicks. Led Zeppelin innately understood what was at stake from the beginning and followed it through to the end!

I see all these drummer sites on the web and most of the time I sit back with an open jaw...saying to myself "what the _ _ _ _??? Everything is so packaged and sanitized with a sort of overview, show me a guy who's not the greatest drummer in the world but who's got feel by the truckload and then I might pay attention.
All I see is guys with headphones on and metronomes ticking away in the background which is not a bad thing if you're rockin' your own grooves BASED on the John's style which is where I live when it comes to all of this. I might go to a blues jam and sit in with the band and they'll call a slow blues tune and wouldn't you know it I'm playing I Can't Quit You Babe or using some of John's trademark grooves in a way which fits but isn't immediately noticeable. And to my way of thinking THAT is the art of what John was all about using your abilities in a way which enhance the people you are performing with.

At any rate I just had to get that off my chest, it's a "vibe" thing and if you're gonna pay your respects, do the man justice and do your homework. Bonham was a natural player with his own natural touch and inspiration, and let's face it as my instructor at Berklee used to say "... You can't teach natural"
So long for now , peace!

Work for drummers in these difficult times!

2010-01-07T07:55:00.002-05:00

Hey guys,

Just wanted to share with you some outlets of creative employment I've been experimenting with as of late.
The old tried and true method of going to jam sessions to let other musicians know of your availability seems to be a thing of the past, and it's a shame because that was always a very good test of mettle, if you will.
So, I've come up with some new ways of finding work although not very conventional they seem to be working quite well especially in these lean times.
The first avenue I worked on was the "worship" gigs, these are gigs which seem to be quite abundant if you're willing to travel distances and show up consistently.
The average amount I've made is $200 for 2, 1 hour services now this won't make you rich but it will pay that cell phone bill or fill the gas tank for a few weeks while you're trying to find that ever elusive "steady" gig.
Another method I've been developing is "gulp" playing for free...I know, I know...just hear me out.
I've always been one to say if you've got the goods you should be paid a fair and equitable fee for those services however, we are in quite a economic pickle when it comes to music these days.
There are so many bands out there now with the DIY approach to making music, whereby any money being made goes into a band "kitty" which pays for gas, food and lodging if needed. You can negotiate with these groups for a small stipend to cover your expenses of getting your kit to the gig and while it won't be enough to really make any money the return is two fold.
Say this band decides they really dig your approach to their music this could lead to a recording, which is very important for you to start doing by the way, and it could also lead to mini tours, or a full blown national or even international tour.
I wanted to share these ideas with you because I know we are all struggling to make it, and I don't mean "make it" in the sense of being millionaires, but keep in mind you SHOULD be getting paid something.
I once did a gig with a reggae band at a bar in the Boston area for a pitcher of beer and a plate of chicken and rice which led to me getting a gig with a R&B band which was working 6 nights per week and they were right around the corner from where I was living.
Keep your heads up and don't despair, you deserve all the universe has to offer...
and your worth it!!

Foot Technique

2010-01-07T07:54:00.002-05:00

What are you views? Drummer are always asking me "..what's the best technique for the bass drum?"

My answer would be whatever works best for you! I've always played with my heel up but I've studied with some jazz guys who say "heel down, always heel down". I just feel it lacks the power needed especially when you're playing in a club with no mic system at all. But, even in the studio I play heel up and have never had a producer or engineer say anything remotely adverse to the sound of the bass drum. I usually get complimented that my bass drum sounds so good, so go figure.
All in all I'd say it's a matter of personal comfort and taste, but I do have to admit when I am playing with a trio or in any combo setting I do notice I don't need to work that hard and guess what? Most of the time in that setting, my heel is down!!!

Weigh in and give your opinion guys, and thanks for joining!! Feel free to tell me about your experiences and share ideas if you're willing.
Have a great weekend!
Dan Dever

Work for Drummers in these lean times!

2009-12-07T20:11:00.000-05:00

Hey guys,

Just wanted to share with you some outlets of creative employment I've been experimenting with as of late.

The old tried and true method of going to jam sessions to let other musicians know of your availability seems to be a thing of the past, and it's a shame because that was always a very good test of mettle, if you will.
So, I've come up with some new ways of finding work although not very conventional they seem to be working quite well especially in these lean times.

The first avenue I worked on was the "worship" gigs, these are gigs which seem to be quite abundant if you're willing to travel distances and show up consistently. The average amount I've made is $200 for 2, 1 hour services now this won't make you rich but it will pay that cell phone bill or fill the gas tank for a few weeks while you're trying to find that ever elusive "steady" gig.

Another method I've been developing is "gulp" playing for free...I know, I know...just hear me out.
I've always been one to say if you've got the goods you should be paid a fair and equitable fee for those services however, we are in quite a economic pickle when it comes to music these days.
There are so many bands out there now with the DIY approach to making music, whereby any money being made goes into a band "kitty" which pays for gas, food and lodging if needed. You can negotiate with these groups for a small stipend to cover your expenses of getting your kit to the gig and while it won't be enough to really make any money the return is two fold.

Say this band decides they really dig your approach to their music this could lead to a recording, which is very important for you to start doing by the way, and it could also lead to mini tours, or a full blown national or even international tour.
I wanted to share these ideas with you because I know we are all struggling to make it, and I don't mean "make it" in the sense of being millionaires, but keep in mind you SHOULD be getting paid something.
I once did a gig with a reggae band at a bar in the Boston area for a pitcher of beer and a plate of chicken and rice which led to me getting a gig with a R&B band which was working 6 nights per week and they were right around the corner from where I was living.
Keep your heads up and don't despair, you deserve all the universe has to offer...and your worth it!!

Merry Christmas to all!!

Rhythmically Yours,
Dan

Big Screen Dream - Music performed by the Lamont Jazz Orchestra Video by Lamont Jazz Orchestra - MySpace Video

2009-12-07T19:46:00.000-05:00

Big Screen Dream - Music performed by the Lamont Jazz Orchestra Video by Lamont Jazz Orchestra - MySpace Video

Heel Up or Heel Down?

2009-11-21T11:09:00.000-05:00