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Discussion in 'Fred's Barcalounge' started by Synchro, Mar 11, 2019.
Look how he's holding that stick
Properly, per well trained drummers I know. Military drumming style.
To the tiny extent I could be considered a drummer, I am an advocate of the asymmetric grip. It's what I learned 50 years ago, and a symmetric grip feels strange to me.
I know fife and drum musicians, as well as musically educated drummers---learned paradiddles, etc.. That IS the grip they all learned. I know more drummers that studied music than guitarists. I worked with university bands for 40 years---military, marching, jazz, orchestral, etc. That is the grip they all use. Anything else is amateur.
Agreed Gentlemen. I was referring to it being spun around and he’s striking with the butt, not the tip.
Used from time to time. It’s a great way to make a thin stick sound like a thicker stick.
Nothing but the utmost respect for Hal Blaine. If I were able to pick a drum tutor, it’d be this man. The vid I posted is a quintessential example of how in many ways the drums became equal if not greater than all other aspects of a particular tune.
He had a conservatory background and understood music through and through. That made a big difference in his ability to size up a song and bring just the right treatment. That was the thing about the Wrecking Crew, they were musicians with strong improvisational skills and could take the measure of a song quickly.
Many of them had a jazz background like Barney Kessell.
Yep. Carole Kaye played Jazz guitar, Tommy Tedesco had some serious Jazz chops, too. Lyle Ritz, on double bass, is somewhat of an unsung hero, having been on all sorts of recordings of the era. Plas Johnson was basically a Jazz sax player. It’s interesting that, according to Chet Atkins, many of the Nashville session musicians of his day listened to Jazz on their own time.
Look how close attention he pays to what others are playing. Like his drumming is so natural to him, he just focus on others.