
SKF NOTE: Ah, drum industry advertising! What’s not to love? Here’s a nice 1985 photo of RATT drummer Bobby Blotzer with his Ludwig drumset. Scurry to a Ludwig dealer, indeed.

SKF NOTE: Ah, drum industry advertising! What’s not to love? Here’s a nice 1985 photo of RATT drummer Bobby Blotzer with his Ludwig drumset. Scurry to a Ludwig dealer, indeed.

SKF NOTE: Solid thoughts from Smashing Pumpkins‘s Jimmy Chamberlin on learning to communicate through drumming.
Jimmy Chamberlin: [A] lot of people…don’t give themselves enough time to master something, even something as simple as a paradiddle or a single stroke roll. I continue to work on that stuff today and try to make it better, you never really master it. You might master it to a certain degree, but everyone’s single strokes are different.
You need to realise that throughout your life drumming will remain a long arc of practise, completion and some type of resolution. Realising that allows us to continue to learn with patience.”
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[T]here are many levels of success. Letting people know that the destination of music is self expression is important, and that the reason…we practise the drums is for us to get what is in our heart out onto the canvas. That should be the only reason that we practise.
There’s a lot of people out there who can do it with very few brush strokes. Charlie Watts is one of the most recognisable drummers out there…. Then you have someone like Vinnie [Colaiuta] who obviously articulates in a very different manner, but the destination is the same. They both have feelings they need to articulate and get out onto the drumset, they just have a different mechanism. It’s all self expression.”
Source: Jimmy Chamberlin on drum education, developing your style and the mechanics of drumming, by Rich Chamberlain, MusicRadar.com 12/4/17
SKF NOTE: This Ginger Baker drum solo, Africa, as far as I know, has never been released. Chip Stern sent it to me as part of a cassette for a drum project on which we, and others, were working. The cassette is dated May 1990. I assume Ginger’s Africa was recorded around that time.
Posted with Chip Stern’s permission.

Photo courtesy JackBruce.com
Stanley Hall: Did you enjoy working with the Tony Williams Lifetime?
Jack Bruce: Oh yeah, it was one of the high spots, and Tony, he’s the prophet of rhythm.
Source: Jack Bruce: Low String Eclectic, by Stanley Hall. Down Beat, 1/26/78

Photo courtesy TheFamousPeople.com
SKF NOTE: Neil Peart‘s travelogues — books written about his travels touring with and without Rush — are always good reading. Neil writes well, and his travel books’ format are such that each chapter holds up on its own. When I have a finite amount of time to read, I often grab one of Neil’s books.
I’ve been reading Neil’s Far and Away: A Prize Every Time that way for awhile. I recommend the chapter, Drums of October, from that book as must reading for every drummer; certainly for every drummer feeling stuck in rut, or feeling too old to try playing some new music.
In brief, in 2008 Neil decides to perform in concert with the Buddy Rich Big Band. He rehearses the chart he’s asked to play, Mexicali Nose. Neil’s onstage, the song gets underway, when, writes Neil:
…I discovered two things: I was too far away from the horns to hear them.., and, second and far worse, the band was playing a different arrangement from the one I had learned!
In the aftermath of that “nightmare,” Neil decides to play again with the Buddy Rich Big Band. But this time Neil turns first to Peter Erskine for drum lessons.
I’ll let you read the book chapter, but near the end, Neil says:
I already had the notion that I would want to continue studying with Peter, for I had learned one very big lesson: understanding more about jazz drumming is simply understanding more about drumming. That’s got to be good — even in the ‘October’ of my own years.
Yes, indeed.
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