A bit of a diversion from the usual posting faire, I had the privilege of catching the Syracuse stop of DJ Shadow and Cut Chemist’s Renegades of Rhythm tour from the other side of the security gate (for the first 10 minutes, anyway, then a bunch from the back). 80% performance and 20% history lesson, the set featured selections from Afrika Bambaataa’s own vinyl collection (current in the process of digitization at Cornell Library, where hip hop’s Amen Ra currently graces the campus as a Visiting Scholar).
The extra-special access provided through arrangement between the performers and Gregory Allis of, among other things, Live High Five. From Greg’s post of the event at livehighfive.com:
DJ Shadow and Cut Chemist brought their touring ethnomusicology lesson to a respectable and excited crowd on a cold Tuesday in Syracuse, NY a few weeks back. After catching the show in Austin during the tour’s first leg, it was pretty much mandatory to follow up with a second helping of tunes cultivated from Afrika Bambaataa’s personal stash. It isn’t often that the longtime friends pair up and bring their skills on the road, but it’s always a spectacle when they do!
A few things need to be said: 1) Hip Hop = DJ’s, MC’s, Breakdancing, and Graffiti, 2) DJ Shadow and Cut Chemist incorporated all those elements into the performance and tour, 3) Afrika Bambaataa deserves every ounce of recognition he has coming to him, and 4) the beginning of Boogie Down Production’s “South Bronx” is one of the hardest things on Earth.
For the full set, off to flickr -> flickr.com/photos/somewhereville/sets/72157649174784268/
This (what I hope will be a) series of posts stems from a gig that changed the way I approached all the songs I played that evening (specifically, this gig). Changed in the kind of way that I wish the band had had proper notice of the situation we (well, I) were walking into in terms of the room, the acoustics, and the management. On the plus side, Syracuse is undergoing what I think is a slow expansion of mom+pop places that open their doors to live music. This is just fine for most styles of music and small groups. On the down side, these tend to be small places. This is just fine for most styles of music and small groups.
This can be a problem for a set drummer, which can then be a problem for the rest of the band. You rehearse and rehearse with a group at one volume, playing at a level at which you are comfortable playing all the complicated fills and patterns you like. Everyone gets used to hearing certain things and you get use to executing those things. Then you find yourself at a venue with your full kit and an owner who doesn’t seem to like loud noises. And by loud noises, I mean sounds generated by the lightest sticks you own using little more than your fingers to propel them several inches. And I understand the hesitancy an owner might have when confronted by a drummer they’ve never heard, as I’ve certainly sat near my share of drummers who didn’t adjust their playing volume to the room. But with this new adjustment, you’re not playing the same song you (and the band) have grown accustomed to. Now, the whole band may find itself reacting to this new dynamic from the drummer, while all the others in the band had to do was turn their volume knobs down a bit.
Continue reading “Play Softly And Carry A Thin Pair Of Sticks, Or A Drummer’s Guide To CNY Venues, Part 1: The Buzz Cafe, Syracuse”
You should have a copy regardless (amazon.com direct link).
You could spend your life on the first six pages of “Stick Control” and still not cover all the possibilities. Dynamics, accents, foot-hand, foot-foot, fast/slow, hands on top of foot patterns, feet on top of hand patterns, regroupings and accenting in 5-7-4 (regrouping of the 16 strokes per pattern), 7-5-4 (re-regrouping of the 16 strokes), yadda yadda. If you see the first six pages of Stick Control as just exercises, you miss the fantastic complexity YOU can introduce to constantly humble yourself while hovering over a practice pad.
The original post related to the PDFs below (link) provided two downloads. The first was all 65,536 R/L combinations for 16th note groupings (so full measures of 16th notes in 4/4 time). The second contained all 4,096 8th note triplet groupings (so full measures of 8th notes in 12/8 time, or 4/4 “jazz” triplets).
Continue reading “Sand, Pebbles, And Fill – RR/LL, RRR/LLL, and RRRR/LLLL Sticking Combinations From The Original “Stone Boulder” Series”
It seems a near-impossibility that you can buy something in a store today that has (as of this post) ZERO google footprint, but I found it. On a recent trip to Buke at the Music Center on James St., I picked up the cymbal/chime/bell/thing below. The only identifiers on this 6″ core of a heavy ride cymbal are the cursive TM’ed text that looks like “Zenero” and a pure tone that can be easily discerned from background noise for a minute or more (and you can feel the air buzzing just around it as it rings).
Continue reading “Zenero (sp?) Bell/Cymbal/Chime Question – Now It’ll Appear Twice! – And The Vimeo Spizzichino Mini-Documentary To Boot”
UPDATE – 29 September 2010: In my usual policy of *nix-based deference to anything Perry Metzger has to say (other areas, too, but specifically here), I note that my procedure has the potential to mangle whatever is using Memeo (although I’ve not had anything go bump in the night yet). For those less than interested in the surgery below, your most safest bet is to crack open a Terminal window and sudo cp -R /Users/[you] /Volumes/[Your Backup Drive] (assuming you’ve activated the root password in OS X, of course). That is all.
There isn’t too much of this online so I thought I’d provide my fix. As background, I like the idea of having constant capsules of my MacBook Pro (MBP) sitting on a Time Capsule drive, but I am constantly up-and-running with my MBP and am rarely sitting in front of a machine long enough to let full writes be written to some backup drive (and, as any quantum chemist worth their salt is generating scores of files on an hourly basis, my laptop is constantly undergoing changes). Long story short – I want to spend one hour at my choosing to turn off wireless, close all my open programs, copy my User directory, and paste it onto an external drive. That’s it.
Finally upgrading to 10.6.4 (by way of a new 13.3″), my first attempt to backup the first clean copy of the complete migration from my old 15″ went all of 20 minutes before the following error popped up on my screen:
Continue reading “chown/chmod Your Way To A Backup Free Of The MemeodHelper Error in OSX 10.6.x (Snow Leopard) & A Seagate Vs. Western Digital Experience”
“I know only two tunes. One is Old Hundredth, the other one isn’t.” – Abraham Lincoln
Nearly six score days ago, the Excelsior Cornet Band performed in Canastota, NY as part of the Art & Music series at the Canastota Public Library. As reported in the Fall 2009 edition of “Check It Out!” (the library’s newsletter, of which a copy of the Fall 2009 PDF is saved locally at 2010january_excelsior_checkitout.pdf)…
On October 4, a concert is planned with “The Excelsior Cornet Band”. “The Excelsior Cornet Band” is New York State’s only authentic Civil War brass band. Founded in 2001, the band consists of a group of upstate New York musicians who are dedicated to the performance of original Civil War music on actual antique brass band instruments of the 1860’s period. They will be performing their Abraham Lincoln Program on Sun., Oct 4 at 2 pm on the second floor of the Library.
Is this thing on? – Jeff Stockham
Continue reading “The Excelsior Cornet Band At Canastota Public Library, 4 October 2009”
This is the method presented by Terry Bozzio in many of his clinics. Once you can play all 15 measures above against ANY rhythm possible from repeated combinations of the above measures (so-called “ostinatos“), then you’ve played every sixteenth note-based subdivision possible. There are, of course, actually 16 measures, the first being the one with nothing played (the easiest to master for most rhythms). The importance of this null case will be important in later sections. Note that the above is for sixteenth notes in 1/4. The game is played differently for 1/4 with triplets, quintuplets, etc. The mechanism is the same, however. If you feel inclined, the other possible combinations are easy to write down using the Pascal Triangle to keep track.
Continue reading “An Old Post And A New Corresponding Site: The Bozzio Independence Method And Much More At drumcontrol.com”
Top o’ the afternoon to ya, just in time for St. Patrick’s Day. A fortuitous occurrence above the western skies (relative to my apartment) of Syracuse in the direction of Tipperary Hill (where, for those interested in local trivia, the traffic light has the green on top thanks to the indefatigable efforts of Irish youths in the 1920’s) brings to mind three questions about the most recent (and my first sub’ing) Grove Havener (who’s name, for those interested in local trivia, is taken from an Earth Science teacher at Jamesville-DeWitt) gig at Coleman’s Irish Pub on 6 March 2009:
(1) Will it go ’round in circles?
(2) Will it fly high like a bird up in the sky?
(3) Did we play that Billy Preston cover?
Continue reading “Grove Havener At Coleman’s Irish Pub, 6 March 2009”
There’s the notion of “organic time,” the ebbing and flowing of the tempo as the band intensifies, backs off the tempo for emphasis, etc., “perfect time,” the absolute metronomic, dare I say, preservation of the tempo, and “criminal time,” the one where you demonstrate that your timekeeping skills were honed by dropping bags of marbles down stairs, where the spaces between your beats obey Boltzmann statistics, where your band mates “put a warrant out for 1” in the hopes that the local authorities can find it before your solo ends.
“Some fours take longer than others.” – Elvin Jones (9 September 1927 – 18 May 2004)
This quote from The Great One was made not in regards to his soloing technique, but rather to pay regards to his occasional instances of needing to stretch-and-bend the meter in order to get that last thought in.
There’s the notion of “organic time,” the ebbing and flowing of the tempo as the band intensifies, backs off the tempo for emphasis, etc., “perfect time,” the absolute metronomic, dare I say, preservation of the tempo, and “criminal time,” the one where you demonstrate that your timekeeping skills were honed by dropping bags of marbles down stairs, where the spaces between your beats obey Boltzmann statistics, where your band mates “put a warrant out for 1” in the hopes that the local authorities can find it before your solo ends. There will always be places for “organic time” and “perfect time” in music, but “criminal time” is, well, somehow criminal, if for no other reason than you can’t justify exactly how you’ve managed to pull it off and, very likely, can’t make that lightning strike twice.
Continue reading “Time Improvement Audio Files And Tips For Drummers (And Others)”