Thursday, December 16, 2021
Thursday, December 09, 2021
Tuesday, December 07, 2021
Tuesday, November 30, 2021
Jon studied with Joe Morello, and later developed his own approach to Master Studies using brushes to develop facility with lateral strokes.
I've been revisiting Master Studies lately myself (with sticks, that is), so I think I'll be giving this a try soon.
Thursday, November 18, 2021
Wednesday, November 10, 2021
Anyway, with the recent passing Pat Martino I've been revisiting a bunch of his records, and in listening to his final record, "Formidable", got to thinking again about that evening at Ronnie's and the great teamwork of Bianchi and Intorre.
I was reminded of this video I saw back in 2014 when looking for a studio to do my record. It's a promo video for guitarist Alessandro Florio, and features a very nicely constructed solo by Carmen. I was always struck by how relaxed Carmen was and how naturally he made his way around the kit and flowed from one idea to the other.
Wednesday, October 20, 2021
It's been a little awhile since I've done one of these practice loops, but this one has really been coming in handy lately for both teaching and my own practice.
This comes from the opening track of Rosa Passos' 2011 album É Luxo Só named after the Ary Baroso tune of the same name that is very much a Brazilian standard. The whole album is an absolute clinic of samba and bossa nova drumming.
The loop below is simply Barata playing surdo and a telecoteco pattern on tamborim, leaving lots of room for you to try things out with it.
And, as there is no harmony or melody on this loop, you are free to practice on both sides of the rhythm, feeling it like this:
...or like this:
Wednesday, September 29, 2021
Camilo is one of those players who never seemed to become a household name (at least not outside of Brazil), He didn't do much of the samba/jazz fusion like many of the other drummers we check out here on the blog, but rather was a first call samba session drummer. If you've checked out any samba at all, it's very likely you'll have heard his playing. Camilo appears on records by some of the biggest names in samba and MPB, including Tim Maia, Chico Buarque, Danilo Caymmi, Maria Rita, Beth Carvalho, Paulinho da Viola, Leny Andrade, Alcione, Dudu Nobre, and many more. Just check out his discography on Discos do Brasil and Allmusic.com as neither list is exhaustive. If you want to dig deep and play some real deal non-textbook book samba, Camilo is a great place to start.
Tuesday, August 31, 2021
Conti phrases and orchestrates Brazilian rhythms in ways different to many of the other Brazilian drummers both old and new that we've looked at on the blog. I find that his playing is focused less on chops, and is not as busy as some other players. Part of this could be due to the fact that Azymuth don’t often play at extremely fast tempos, opting instead for more mid-tempo grooves. Also, despite the slower tempos I tend to hear less of the steady 16th note time keeping in favor of a more syncopated approach, which is exactly what we’re looking at today.
This transcription comes from the tune “Pulando Corda” on Azymuth's latest release which came out last year on the Jazz is Dead label.
As I mentioned earlier, Mamão foregoes the constant right hand 16th notes, and instead plays his own variation of telecoteco. The left hand then supports the right hand rhythm with occasional accents at various points in the bar. We’ve seen a somewhat similar approach by Edison Machado.
The phrases below were transcribed directly from the recording, and as you’ll see the second bar of the phrase rarely changes. But like most samba influenced music, these rhythms are directional meaning you can mix and match any of the first bars with any of the second bars as long as you stay on the right side of the rhythm.
Equally, you could change the direction by playing any of the second bars followed by any of the first bars.
Both of the above approaches are worth experimenting with, and you could even revisit this post and try a different telecoteco pattern in your right hand while playing around with different rhythmic placements of the left hand.
Saturday, July 24, 2021
Tuesday, June 15, 2021
The five stroke rolls from the original become flam accents, and the eleven stroke rolls become flam taps. When you get to the second and third camps with the pickup notes we're still going to play flam taps where the long roll would be, but in order to turn it around we'll cut it short by an 8th note and make the turnaround a pataflafla. Doing this puts us on the opposite hand on the repeats which is an added bonus.
Friday, May 28, 2021
Tuesday, May 25, 2021
Awhile back we applied flams to Stick Control. This is a similar concept that applys double strokes. The basic system is below, with all the 16th notes played as double strokes:
Thursday, May 20, 2021
I first heard it in 2007 when I went to Brazil and picked up the first album by de Holanda's now famous quintet. The album is called Brasilianos, and the groove came up in the song "Pra Sempre". It only appears for a few bars at a time at the end of the first A section. You'll find it in the melody at 0:16 and 0:58, and many more times throughout the solos and out head. Marcio Bahia is on drums.
Which just so happens to be exactly what is being played in the examples above. "Tamanduá" adds an additional layer of disorientation by starting on a pick up note, like so:
Edu Ribeiro has played this groove a few times as well, putting his own subtle spin on it. The first was in 2011 when, Jota P., a sax/flute player from Hermeto Pascoal's band released a self-titled solo album. The track "Que Fase!" features the groove.
Monday, May 10, 2021
Friday, May 07, 2021
Because we'll still be playing three notes for every two beats, we can use all the same voicing options we did on the two inner triplet exercises. If we start on the beat, then there's really only one note different in the whole thing: the first non-ride cymbal note will be on the downbeat, rather than the second partial of the triplet.
I've written it out again, however, with both the two and three voice versions on one page because A) it's easier to visualize if you're new to this, and B) to emphasize the placement of these notes, as it's far too common that this:
Wednesday, May 05, 2021
Monday, May 03, 2021
In gathering some material to send over to him I was reminded of this excellent post by Canadian drummer, Jon McCaslin on his long-running "Four on the Floor" blog. The whole thing is definitely worth a read, but today I want to focus on one exercise in particular that Jon saw Elvin demonstrate at a clinic in the late '90s.
Saturday, May 01, 2021
Tuesday, April 20, 2021
Friday, March 26, 2021
...and then read page 38 of Syncopation with your right hand on the ride cymbal. As Allison points out, this really helps to free up your right hand and allow you to break away from common patterns.
This is the same general concept as the Kiko Freitas samba ideas we looked at recently where the feet and left hand play common samba rhythms and the right hand improvises in a telecoteco style. Both of these are a really nice way to break out of the habit of thinking about ostinatos in your right hand and improvising with the left.
If page 38 is going by to quickly for you, don't forget that pages 34-37 are great to give yourself a little more time and repetition to get used to this, or any, concept. I often do this myself and recommend it to my students as well.
As you get more comfortable, experiment with different sounds on the ride. Play the bell, shoulder it a bit, etc. Or, if you prefer a bit more structure in the practice room, try this....
Play everything on the bell. But whenever there are two or more 8th notes in a row, start on the bow, and only play the last note of the group on the bell. So the first two lines become this...