Pianist/keyboardist Craig Taborn gives us a great interview explaining highlights of his experience with his favorite drummers. Craig is from Minneapolis and brings brilliant perspective to how drummers from his area are to perform with as well as how they react to the music and what they do to create the landscapes. Being that piano and electronic keyboard are percussive instruments, Craig analyzes each drummer’s approach to contributing and supporting the music. He has a vast history and experience of drummers he shares here with us in this informative interview.
Double bass drum technique is a combination of thigh and ankle muscle movements that I recommend playing heel up. The chart for this lesson looks insane but is easy to understand when looking at the bass drums as broken triplets. The first note of every triplet is held in place by the snare drum as a ghost note and the second and third notes are played on the bass drum every time. This can be played in any time signature in duple and triple. This triplet figure played between the snare and kick creates a flurry of notes that are played in fixed frame. When hearing this lesson as a duple chant in 13, placement of triplets are easier to grasp. Tempo variations become smoother with repetition.
Joe Marciano, Chief Engineer and Owner of Systems Two Studio in Brooklyn, New York City is a legendary veteran of the music industry. I recorded a number of Steve Coleman albums at Systems Two with Joe as the engineer (Genesis & The Opening Of The Way, Sonic Language of Myth, The Ascension To Light, Alternate Dimension Series I, Functional Ahrrythmias). I’ve always had a great sound and experience working with Joe over the past 20 years. I was there again in January 2016 recording with guitarist Miles Okazaki for his fourth upcoming release Trickster. Here Joe lets us inside his world of expertise and choice gear for capturing and isolating live drums.
This song uses the triplet feel with a nod to reggae. Written long ago and put in vaults of instrumentals, I realized years later this is a great tune to feature the triplet shuffle. The left hand propels the groove with ghost notes emphasizing the second beat of the constant triplets. This is a fun tune to play pocket to and experiment with the world of triplet based phrasing. The title is actually “That’s My Cord” from a demo I recorded years ago.