Sticks (Baquetas) ala Toninho Pinheiro

Apparently, this is how the great Brazilian drummer, Toninho Pinheiro, liked his sticks....

And I think his were even sharper.

Now, I didn't want to destroy a perfectly good pair of sticks, so I figured I'd try it on an old pair first.  These were chewed up from many a rim click, and the tips were chipped.  So I sanded the shaft smooth, sanded the tip all the way off, and then applied a couple coats of finishing oil, and I have to say, they're actually pretty cool.  Not sure I'll be doing it all the time, but it was a worthy experiment.

Toninho first started doing this because he was playing background music in restaurants and wanted a more delicate sound without having to mute his heavy Zildjian Avedis cymbals.  It ended up becoming part of his sound as he found the modified sticks to be perfect for the delicate cymbal sound needed to play Bossa Nova.

I didn't do the final step, which was, after removing the tip with sandpaper, dipping the new tip in a mixture on paint thinner so as to draw out any moisture, which further helped to create a light attack.  He used to heat his sticks for the same reasons.

I've read that other Brazilian drummers of the time did this as well so as to be able to play faster tempos at lighter dynamics, but I can't seem to find reference to any names other than Toninho.

Tonhino's name doesn't seem to get mentioned as much as Edison Machado, Milton Banana, and Dom um Romão, but you should definitely check him out if you're at all interested in Brazilian jazz.  He did long stints in Jongo Trio who supported Elis Regina, Som Três, a trio with Cesar Camargo Mariano that backed Wilson Simonal, and with Dick Farney's trio.  And he worked as a sideman with many of the biggest names in Brazil, like Alaíde Costa and Beth Carvalho.

"Thoughts by Elvin"

This list of quotes by Elvin Jones has been around for awhile, but I've been seeing it make the rounds again lately in the drumming and jazz circles of social media, and they are great.  The list was apparently compiled by Norman Grossman, an old New York drummer who worked at Frank Ippolito's drum shop where Elvin taught along with Jo Jones.

The original list, which was apparently typed up by Ed Soph, is below, but for clarity I've typed them out:

1. The drummer’s role is to provide a basis for anything that is being played. The mistake that many drummers make is not to keep time when it is needed. A thorough knowledge of any style is a prerequisite.

2. Good time should be the rule not the exception.

3. The role of support is an obligation. There is always a demand for a good musician. No matter what you are playing, make it the best thing that ever happened in that style.

4. One of the mistakes of inexperienced drummers is to try to do too much while not implying time. This, coupled with pyrotechnics injected at the wrong time, is disastrous.

5. One should add to the beauty of a piece rather than detract from it.

6. Learn as many tunes as you possibly can.

7. The ability to draw a tone out of the drum is very difficult but necessary. It depends on your stroke, your ear, your tuning and you.

8. It appears that most great drummers are rudimentary oriented.

9. There must be a consistency of time in everything you do.

10. Tuning and dynamics are the ways to validate a good musical idea.

11. Playing should be like walking. It should be a natural function of life for a musician.

12. Ideas only have meaning if they are used at the appropriate time in a piece.

13. All rhythms do exist individually. However, it is the putting together and the end result of the combinations which is finally judged.

14. All combinations should result in the projection of one feeling and one rhythm.

15. Playing in free-form requires more discipline than almost anything else. To avoid anything one must have a detailed knowledge of it

16. The ability to read music should be acquired by all who consider themselves musicians.

17. The musical content is always more important than the visual.

18. One should explore all the possibilities of a drum set in order to use it musically.

19. One should know one’s capabilities.

20. The condition of the body is a very important factor in playing.

21. A truly creative person never steps on other artists. He adds to their expression.

22. Always listen to everyone, including yourself.

23. All musicians have a responsibility to respond to each other.

24. No matter how much talent you think you have, develop it.

25. Think of one single line no matter how many things you are playing or hearing.

26. The connecting of logical rhythmic phrases to each other is always my aim.

27. Practice as much with your feet as you do with your hands.

28. The most important thing a drummer can do is to keep time.

Weekly Wisdom

I just finished a book by one of my favorite authors, and fellow Pittsburgher, David McCullough.  It was about some of the pioneers who left New England to start settling western lands of the US, in this case specifically along the Ohio River.  It's an excellent book, aptly titled, The Pioneers, if you're interested.

A quote from one of the settlers really stood out to me:

Count the day lost at which the setting sun sees at its close no worthy action done.

I was quickly reminded that it's waaaay too easy these days to waste our short time on frivolity, and if want to do something - in my case be the best drummer I can be - then we should get our heads down and get on with it.  I'll be remember this one on days where I'm tempted to not practice, or I find myself wasting perfectly good time on social media.

Allison Miller's post-Christmas work out

Allison Miller posted this exercise on Instagram the other day to "reconnect the four limbs after not playing during the holidays", and I've really been enjoying as I took an extra long break from my usual practice routine this Christmas.

Allison explains that she's been doing this exercise for 20 years as a way to "connect with [her] ride cymbal better and ... understand the connection between the four limbs".

It's quarter note triplets played as paradiddles between the right foot and left hand, starting first on the downbeat, then on the second partial of the triplet, and finally the third.  For brevity I've just jotted them all down one after another, but Allison puts four bars of improvised time between each one.