The 3 Most Underrated Vinnie Licks?

First things first: download the transcription here.

Let's end 2020 on a high, and uncontroversial note.

Let's study a drummer universally acknowledged to be one of the greatest of his generation.

I'm speaking, of course, about Vinnie. This month I was thinking about Vinnie after listening to Ron Bruner's solo record, because Ron gives an overdubbed verbal nod to some of his influences, and Vinnie is front-and-center.

I've also long felt Vinnie stood out from his peers as a drummer who continued to "push his prime back", by continuing to shed and get better decade-by-decade, instead of resting on his laurels. (It's inspirational to me, because I sure hope I'm a much better drummer at 70 than I am now, though I'll have to find ways to be more minimalist and efficient.)

Today's lesson is one which, like many that require multiple transcriptions, almost didn't get done in time. We pulled it off, though, and by "we", I mean Chris, who not only helped me transcribe one of the solos but pointed out an error I'd made in the counting, and Srdjan the video editor, who stuck with me gamely across multiple revisions, until we had a coherent video. (Then roasted me with the outtakes, as usual :P)

In this video I cover 3 Vinnie moments that are underrated, but which should immediately ring familiar to any "true fans".

They span multiple eras - 80s, 90s, and 2000s - and there's a good mix of jazz, fusion, and afro-cuban.

Curious yet?

See for yourself - the 3 most underrated Vinnie licks? And see if you agree.

See you in 2021,

N

Are Music School Jazz Drummers Bullies

I have to choose my words carefully, which is why “the plan” is to avoid controversy and lay low for the next several weeks after this.

No more responding to web critiques, no more “running at conventional wisdom”. For a few weeks. And then only when it’s important.

Yet there’s still the issue of this week’s video, which now exists. A bell that can’t be “unrung”. And good thing I stand by every word.

At issue: I’m on the internet taking issue with the canonization of certain drummers while others are excluded. (And if you don’t know I’m talking about, do your own research. I’m not going to “re-cancel” myself.) I’m also out here saying there’s a “high bar” for “legitimate” jazz drumming, and that there’s a difference between good drumming and bad drumming.

But “am I a jerk” is a pretty boring video.

“Are musical school jazz drummers bullies” - more interesting video.

So, if I’m the most-insufferable of music school drummers, I wanted to use my “platform” to dispel a few misunderstandings.

I don’t hate [drummer who will not be named]. Far from it.

I’m not out there looking for examples of bad drumming to police.

And I don’t think abuse is a prerequisite to sounding good on the drums.

But don’t just listen to me - I got in contact with some former classmates and colleagues and asked their opinions as well. To assemble a…focus group…if you will, of music school drummers.

Our message to fledgling jazz hobbyists, in this video.

Hope you enjoy.

Using "Jazz Ruffs" to Add Dimension to Your Drumming

First things first - grab your transcription! 👇👇👇

Jazz Ruffs Transcription

This week's video is all about the ruff.

Maybe you've noticed Marcus Gilmore seem to "suspend time" before hitting a big downbeat...

...or seen JD Beck or Rhagav Mahrotra on Instagram doing "flurries" between notes.

There's an idiom that you know even if you don't think you do, and it's part of the DNA of modern drumming. Once you see it, you can't "unsee" it.

But like many things, once you turn on the lights and demystify it, it's not so mysterious anymore, and you can even start to use it in your playing almost immediately.

Why?

You've likely already 75% of the muscle memory from things you're already doing.

In today's lesson, I'll show you what ruffs are, the 3 major types of "jazz ruffs" I've identified from players like JD, Marcus, and Maison Guidry, and how to implement them in your playing by grafting them onto what you're already doing.

After all, ruffs are embellishment.

Hope you enjoy this week's lesson.

Coordination CHALLENGE - Can You Play This Beat? (I'll Help You)

First things first - grab your transcription below (it’s free): 👇👇👇

Coordination Challenge Workbook

I like to create coordination exercises for impatient people.

I’ve long championed the somewhat controversial idea that exercises are useful in direct relation to their utility in real life.

Hence - abstract coordination exercises with zero resemblance to any real-world situations…you might as well be practicing stunt driving to improve your rock climbing.

Except…

Except.

When multimodal thinking is the point. For example, when I decided it would be cool to practice a 9-beat pattern with my feet, and play the Allan Dawson Rudimental Ritual over that (still in 4). That taught my brain a lot of unorthodox ways of hearing rhythm and orchestration, and I believe it’s a big reason why Nasheet Waits’ playing made sense to me when I encountered it later.

So it’s in that spirit that I offer this week’s lesson.

Does it bear a strong resemblance to anything you’re likely to play on a cruise ship, or in a wedding band. No.

Will it spark your brain to think creatively, and open up new forms of muscle memory which might themselves inspire more novel ways of negotiating everyday challenges?

Emphatically yes.

I got the idea from watching Steve Lyman’s Instagram videos, and imagining, as a thought exercise, what his nightmares must look like. There would be flams, there would be related rates, and there would be ride cymbal.

Next I decided to throw in a decidedly-8020 approach to coordinated independence: a beat you can’t “fake” unless your limbs are truly occurring together when they’re supposed to be.

Enjoy this one!