Is it ever okay to criticize people on YouTube?

As I write this, this week’s video already enjoys one of the lowest like to dislike ratios in recent memory.

Which I’m fine with. I think it’s my best lesson yet.

So: why is it rubbing so many people the wrong way?

There’s the perception that I’m fighting for my right to judge others publicly.

There’s the belief that I need to be a much better drummer before espousing strong opinions on the internet.

It’s hard to overstate the importance of making work you’re internally satisfied with, as a means to an end to stay “zen” in the face of criticism.

So: what’s this lesson actually about?

It’s one of my “soapbox” episodes, in which I take a break from rote drum instruction to advocate a position.

And that position, put simply, is that there’s an obvious downside for critiquing others in public - one incurred several times. And a less obvious downside of never criticizing anyone.

To learn how I draw the line, and hear about my real life mistakes, just watch the lesson.

Back next week with another.

Enjoy,

N

5 Subtle Ways Pros Can Tell if a Drummer's "Legit"

I remember the first time I saw a “bad” drummer with chops. It was a revelation.

He could move his hands faster than mine.

He could do impressive things on the kit, and had worked out impressive combos and stickings. He could play louder, for longer, than I could.

And yet, anybody who’s played in a band for more than a year would’ve wrinkled their brow, and - hopefully not looking right at the drummer cause that’s rude - thought “that ain’t it”.

Similarly, I saw a bucket drummer in the subway in 2019, and I knew immediately he was legit. There are tons of bucket drummers in New York, and most are…I’m sorry, but well-meaning amateurs. Hobbyists.

But I could tell that this guy had played real music.

Years later, after decades of playing with groups, in recording sessions, and sometimes with difficult music, there’s a set of things I do automatically. They include knowing where “1” is at all times, learning tunes quickly, being able to play unfamiliar kits, and plenty else.

But it wasn’t until I started asking my friends to evaluate some of these subway performers that I realized: these musical skills that pros can identify immediately…

…aren’t necessarily well-recognized among the general public.

Which is why I made a video about it. My most popular video to-date.

Curious what the skills are, and whether you measure up?

Just check out the video.

Enjoy!

Tony Williams and Mel Lewis did this - can you?

Tony/Connie/Mel Exercise

Yet another lesson has me asking "what's clickbait and what's not clickbait".

The original idea behind this lesson was simple: my How to Really Play Jazz Part 1 video was one of my most popular videos...

...but it was also getting long-in-the-tooth, at 5 years old.

Time for a reshoot.

But "the reshot How to Really Play Jazz Drums" wasn't going to fly.

And, to be fair, there's a lot that's updated this time around.

Here's the crux, and if it sounds similar to the problem I outlined in my "how not to get vibed" lesson, that's because it is.

At the time I made the original lesson, drum instruction was mute on the subject of what to practice if you wanted to do anything other than 2 & 4 on the hi hats...

...unless you were ready to play like Roy Haynes or Paul Motian.

Which was mysterious and infuriating to me, because it's not like "mixing it up" while staying relatively "straight ahead" is new.

Indeed, Connie Kay was doing it...70...years ago?

Mel Lewis throughout his career.

Tony Williams, best known for his Plugged Nickel stuff...and maybe those ridiculous clinics at the yellow Gretschs (Gretsches?)...did it.

So maybe it's not clickbait.

I'm going to show you how to do the thing Connie, Mel, and Tony did.

But I can guarantee you they didn't practice it this way.

And, to be frank, this week's lesson isn't opposite-end-of-the-map from the "how not to get vibed" one, which used Max Roach as the template to explore some "non-two-and-four-yet-straight-ahead" playing...

...but it's a different angle from which to tackle it.

And a more "in depth" approach to the teaching. Less storytelling, more teaching.

Hope you enjoy.

N

5 Subtle Ways Experienced Musicians Can Tell if You're Legit

The email subject affords me more nuance than the YouTube Title field.

How to express a strongly held opinion - that drumming's about a lot more than just chops...and even a lot more than just how good your solos sound in the practice room...

...without coming across as a self-important douche.

Put yourself in this headspace: you know you've got a lot to work on. You're well-acquainted with your flaws.

Sometimes it's a struggle.

Sometimes you go weeks without feeling like you see any improvement.

But you're in the shed every day. Trying gamely.

Then, you flip open the laptop, and see some videos from people who obviously didn't even try.

Who, at the time of the video, weren't aware there was a bar, much less that effort was required to reach it.

I knew this week's lesson would be a tough one to pull off.

How to express that, flawed-though-I-am, my 20-some years of toil...

...of getting yelled at in percussion ensemble...

...of sweating through rough rehearsals and gigs, and festivals with jazz bands...

...of not-getting gigs, then, finally, of getting gigs...

...I've noticed a few things that bandleaders - and, indeed, audiences - appreciate from a drummer.

Things I thought were obvious.

Then you go on the internet, and realize they're not.

So, I've gotta make a video that makes it sound like I think I'm sitting above a whole echelon of musicians.

In Judgment.

Which I'm not.

And I've gotta call it something like "5 Ways Pros Can Tell a Good Drummer from a Bad One".

And I'm not impervious to these flaws, either. I run afoul of them all the time.

But, switching hats, some people don't even f@#$ing try😛

And a lot of the general public, it turns out, is not even aware these are a thing.

Anyway, hope you enjoy this week's lesson.

See you next week,

N