How to Hack Gospel Chops

So I met Nick smith this week. I'm glad I made the drive to see my friend Chris, even after traffic, exhaustion, and (yes) getting lost in Compton.

Anyway, Nick smith wants you to know a few things. First, that "gospel chops" are a myth.

Hang on...isn't this lesson called How to Hack Gospel Chops? Yes, it is. Very observant. Well, if Nick doesn't believe gospel chops exist, I'm not in a position to argue. But let's just say, like you guys, I want to learn to play what Nick plays, regardless of what we call it. Also, I shot this lesson before meeting Nick.

Anyway, not to worry. I'll learn you. At [not gospel chops], or whatever else you want to call it.

How to Play Jazz Drums with a Bassist

This week I'm excited to bring you another long-requested lesson. Actually, it fulfills two frequent requests: first, people asking for a lesson on how to play with a jazz bassist. Second, people asking for any footage at all of me playing with real musicians.

Who better to oblige me than one of my musical heroes? Remember that Tigran album Chris Paprota and I talked about last month? yea. Sammy played on that. Know who subs for Kaveh Rastegar in Kneebody? (Besides Nate Wood when Mark Guiliana plays drums.) Sammy.

Sammy's also one of the most down-to-earth people I've ever met, and I'm proud to call him a homie. I'm definitely getting the better part of that deal.

Anyway, Sammy was nice enough to swing by the Studio and record some takes with me. We approached it like a mini-group-clinic. We talked through some concepts, then turned on the cameras. What follows is How to Play with a Jazz Bassist.

For the comments, what questions does this lesson answer, and what other questions does it raise? We obviously took a 10,000-foot view.

N

What I Stole from Richard Spaven

So I'm pretty fired up this week. I get to bring you Richard Spaven, and I ought to be thanking You Guys for bringing him to my attention. Richard's my kind of drummer - somebody who demonstrates what musicality, playing clean, killer time, and upload speed are, all without resorting to "chop outs" except occasionally.

But that's not why I'm fired up. I'm fired up because I just off the phone with my bank. I had the conversation we've all had.

"I can't get this to work."

"Yes, I did go to the website and enter things properly."

"No, my mother does Not have another maiden name."

"Yes. I'll hold."

I'll save you the suspense. The actual problem had nothing to do with my Mom. Luckily it only took me 44 minutes to get to the bottom of it.

Sort of like Richard Spaven gets to the bottom of a groove. Told you I'd bring this home...

Anyway, here's the transcription:

For the comments, tell me what other Richard stuff I should check out! I've barely scratched the surface. Thanks for bring You, killaz.

N

How to Play Like Forrest Rice

Guitar center does something both asinine and hilarious at its yearly competition, the Drum Off: it asks the participants who their influences are. When this week's guest stepped up to the kit, the announcer read his influences: "Admiral Akbar, Obi Wan, and the Dark Side.”

I knew I had to get this guy on my channel.

"This guy" is Forrest Rice, and it didn't hurt that he proceeded to melt face with his drum solo, and win the regional round of the competish.

Continuing my attempts to feature next-level drummers you'll hear about soon if you haven't already after Chris Paprota (another guitar center regional winner), Forrest is barely 20 years old, and plays with a fury that belies his thoroughly laid back "west coast...ness".

In this lesson I'll show you how to play Forrest's guitar center solo, then let Forrest show you a variation on his Own lick.

And for the comments this week, does anyone have any drum-related New Year's resolutions? Finally get through the Rudimental Ritual, or buy that 26” kick? Talk about it!

See you soon killaz,

N

Anika Nilles Drummeo Lick

I might have gotten carried away. Fresh off the Chris Paprota collaboration, with plans to make group lessons with a who’s-who of my favorite drummers, many of whom have generously donated their time and ideas, I thought, “why not ask Anika?”

After all, in the recent Drummeo lesson, she did reveal we have a modern hero - Nate Wood - in common. I’d already been a fan of Anika’s, but our mutual esteem for Mr. Wood gave me the foolhardy idea to hit her up.

Not so fast, maybe. In the Drummeo lesson, she revealed it took her a year to find the time to collaborate with Drummeo, one of the biggest drum channels on Earth, but here comes Mr. 80/20, full of youthful bravado, thinking “what can possibly go wrong?”

Well, Anika hasn’t yet gotten back to me. But that doesn’t stop me from bringing her playing to you the same way I’ve done all along, for people like Chris Dave Mr. Guiliana: by Transcription.

In this lesson, I transcribe a fill from the Drummeo lesson that raised my eyebrows - it’s deceptively simple, but played in an unexpected corner of the beat. The, just for fun, I’ll give you a lick of my own. Practice them both, play them both over Anika’s track.

And for those of you still reading, I have four seats left for the LA clinic at the early bird price. If you’re going to be in LA the 20th of January, get them here!

See you soon killaz,

N

Two Licks to Play Over Gilad’s Eye In The Sky

Gilad Hekselman’s music is one of the only things that’s been in steady rotation on my iPhone since around 2010. I listen to One More Song if I want to get fired up in the mornings, or This Just In before I go into the shed. Often, I’ll end a jazz practice session by jamming along to Eye in The Sky. Last month I posted a Facebook video of me playing along, but the quality was low and you couldn’t hear what I was listening to in my headphones.

How do you get better at improvising and start to develop your own voice? In my Asia clinics (sometimes in front of a cadre of 4-5 hard-core fans, lest anybody think I’m bragging;) I spoke about the two “poles” we’re trying to join: at one end, there’s practicing only other people’s vocabulary, from transcriptions or books; at the other, there’s only working on abstractions like Stick Control. How to join the two together?

Listening back to my own playing in the Facebook video, I realized there were several licks I kept coming back to - a few that I was nailing, and a few that needed some work. From my own recording, I picked out several unique things I was doing that needed more work, and I started working on them. In essence, I transcribed Myself.

To bring the two threads together, two of those licks are the subject of this week’s lesson.

And for those of you still reading, I still want to do a small clinic in New York during the first two weeks of January. Interested in attending, and/or know of a venue? Just hit “reply” or comment below the blog post, and let me know!

See you soon killaz,

N

Advanced Odd Meters 1 feat Chris Paprota

I’m pretty excited for this one. When you watch it I think you’ll understand why. Chris Paprota has inspired me for the last six months with his head-turning videos on Facebook. I heard he was looking to get into video lessons, I was looking for badass drummers to collaborate with, and the rest is history.

I should say this lesson has a lot of Me, and relatively less of Chris. We didn’t plan it that way, but that’s how it shook out. Given that we were edging past 20 minutes, we elected to post in installments. Hence, Chris’ response to my last video will be in Part Two.

Ok - odd meters. In this lesson we attempt to wrap our minds around the Sweet Science of math-rock/jazz/pop, choosing, as our primary target, one of its most ingenious purveyors: Tigran Hamasyan.

Anyway, I know why all ya’all are here...

And for those of you still reading, I still have a few Early Bird tickets left for my LA clinic, where I’ll discuss how mortals like us can learn Gospel Chops. Get in here. 

See you soon killaz,

N

Two Licks I Stole From Spanky

It’s been a busy week.

As I ramp up for collaborations numbers 2 and 3, dash off the last videos of Module 12, and prepare for my What About Me lesson, I was again in a position where I needed to dash off a “quickie” lesson to give you guys something to chew on for the next week. (Can’t let you guys get soft;)

It just so happened that one practice device I’m using to learn What About Me inspired some Spanky licks I’d heard players like Arthur Kam use, but that had lain dormant for a few months. “Well,” I thought, “why not just give them those?”

So even though this week’s episode is a shorty (an “in-between-isode” in Ferriss parlance), I think it’s dense with useful drum goodness. The licks contained within it will immediately make your straight 8th playing hipper.

Anyway, I know why all ya’all are here...

And for the comment thread, who thinks my language on this channel is too blue? Who thinks it’s not blue enough?

See you soon killaz,

N

Jazz Ballad Crash Course

Careful what you wish for. Feedback on  my last “mini” lesson was unequivocal: people want shorter lessons if I’m not doing a collaboration or interview.

Not one to ignore good advice, I give you another “shortie”. Jazz ballads are probably the scariest single thing you can do as a drummer. Vast, wide-open spaces, plenty of room to rush or drag, plenty of sonic space for people to hear if your brushes aren’t on point. (Even Jojo gets nervous…)

So I thought I’d give you two simple tools to make your jazz ballads better. First, a ballad pattern that seems to work at multiple tempos, and keeps one brush in motion all-the-time, but also accents the beats to give the band a clue where you are. Second, you know that hipster lick you always hear Ari and Greg doing? I’ve got a version of that. (As usual, I tried to get at the DNA of the lick, not just recite it verbatim.)

Anyway, you’re probably here for the transcription.

And for the comment thread, who’s coming to my LA clinic!?!? It will be either Wednesday Jauary 20, Thursday the 21st, or Friday the 22nd. If it’s thursday I might drag some of you to cocktails with some of my entrepreneur buddies. Oh - and probably in Echo Park/Silverlake. As I’ve said, I’ll get an official announcement out soon!

See you soon killaz,

N

Murder Out Your Backbeat

So I've had a good week. It's not every week a pie-in-the-sky project idea comes to fruition in better form than you conceived it. But that's just what happened with this week’s lesson.

Over the next several months I'm going to be introducing you to some of my favorite drummers on YouTube, and to start things off, I give you Gabe from Drum Beats Online.

I discovered Gabe in my news feed and quickly grew to appreciate what he was doing: breaking down difficult drum concepts in a clear and entertaining way. When I reached out to him to do a collaboration, much less a “group lesson” format from two separate studios - one that would have to be edited together, and would require a lot of back-and-forth - I kept my expectations realistic. To his credit, Gabe was in 100%, demonstrating the “why not” attitude that's doubtless played a big role in his channel’s success.

The lesson covers a topic we’ve both been asked about: how do you play a backbeat without being Boring. You're playing behind a band, so you can't go to Keith-Carlock-Wayne-Krantz territory, but you don't have to stick with just “2 and 4”. In this lesson Gabe and I show you just a few ideas to bust out of your backbeat rut.

Anyway, you’re probably here for the transcription.

And for the comment thread, now that we've identified the format, who would you like to see a collaboration with in the future?

See you soon killaz,

N

Kendrick Scott Crossstick Lick

I made a short one for you guys this week. Why? I was bored, so I’m planning a trip to LA for drum clinics, NAMM, and Korean barbecue. Also, I’ve been hard at work on my collaboration videos.

None of which is meant to imply that this week’s topic is a throwaway. Some of my most popular lessons are “shorties” I dash off before it’s onto the next. If Philly Joe elevated the crosstick lick to state-of-the-art, Kendrick Scott murdered it out. I’ve long been a fan of unorthodox crosstick techniques (Marcus? Daddy?), and I seized upon this busy week as an opportunity to showcase a few of them. I’m giving you just enough to grab the proverbial ball and run with it on your own.

Anyway, you’re probably here for the transcription.

Now let’s talk about the clinics. NAMM is the week after MLK Day, in Anaheim. The plan is to fly in on Monday, post up in LA for the week, do a clinic, then head down to the ‘heim for a day-or-two of the convention. This is not the formal announcement for the clinics, but it is the elevator pitch/proof-of-concept. As with the Asia clinics, I’m crowdsourcing this whole thing.

Best - do you have a venue and a local reach, and are you willing to promote. Shout at me!

Great - do you know of or work at a venue you’d be willing to rent me, and can you assist in getting the word out (sharing facebook posts and videos to your page, etc)?

Good, and much appreciated - do you have any ideas about people I should hit up who might be able to help me get a clinic off-the-ground, good places to stay (off-the-grid nabes with killer AirBNB deals, etc). It’s all appreciated!

If you’re in any of those categories, please hit “reply” and let’s talk! I appreciate you!!

How to Comp for Jazz Drums

Practically any place modern drummers place the hi hat in ostinato situations can trace its roots to Max Roach.

Why? It was Max who was the “grandfather” of odd meters. Want to play in 3? There’s a Max beat for that. 5? 6? 7? Check!

Which brings me to the primary subject of this week’s lesson: why does it sometimes feel awkward to play the hi hats on “2 and 4”? (This is a question I got asked in Thailand.) The reason, I realized, is that sometimes you have to play phrases that don’t conform neatly to 4 beats. Well then, where are you supposed to play the hats?

I dealt with this issue somewhat in the lesson “How to (Really) Play Jazz Drums”, and I have templates for it in my course, but it wasn’t until recently that I realized all these “logical” ways of playing the hi hat have analogs in Max Roach beats. Could studying Max be a shortcut to comping in modern music situations? As a student of Marcus Gilmore and Justin Brown, I have to say of course.

Anyway, you’re probably here for the transcription.

And for the comment thread this week, what challenges you when you’re trying to play backbeat grooves like Keith Carlock, Jojo/Mark/Zach (the KimYe or BenIfer of our time?) or Nate Wood? I’m doing the first of my collaborations of this fall/winter with Gabe of the excellent channel Drum Beats Online, and we want to tackle phrasing in modern backbeats. Hit me with your questions!

How to Steal From Max Roach

Three weeks ago, before my Asia trip began, I put out the call on Instagram: what should I make my next jazz lesson about. Responses ran the gamut, from comping at fast tempos to...coordination. And I’m sorry to say this lesson is about none of those.

But I believe it will satisfy you, because it answers the spirit of many of the questions I get about jazz drumming: “if I’ve never played legit jazz drums before, where do I begin? And what’s authentic?”

Well, it doesn’t get much more authentic than Mr. Roach. Anyway, the lick I cover in this lesson was inspired by Max, but I’ve heard Philly Joe and Jimmy Cobb play it as well. As well they should: it’s just a combination of two extremely simple rudiments. Which is sort of my point: jazz isn’t necessarily a whole different vocabulary. It’s familiar things, just in a slightly different context.

In this lesson, I expand on the ways Max used this lick, then I show you how I would use it in “modern” playing. (Though I’m sure there are those who will say “Max was modern!” and in one very important sense they’re right.)

Anyway, you’re probably here for the transcription.

And for the comment thread this week, another “selfish” one - what’s your favorite thing to do on a long flight, and what do you most look forward to when visiting New York? (I’m going to need both in two short days;) (You can also comment about drums or the lesson;)

What I Really Think About Hand Technique

It’s been a few weeks since I waded headlong into a controversy, so I figured “what the hey?”

Maybe even more than foot technique, hand technique is the subject of debate, orthodoxies, and sacred cows. Fingers or wrists? French or German? Bounced or articulated?

At various stages in my life I’ve studied all of those approaches, and the technique I use now differs from all of them in two respects. First, it’s not a fixed approach, but rather an adaptive one. It can look like French grip with a thumb-index-finger fulcrum at times. It can look like German grip with the fulcrum in the back fingers at others. Second, it’s not a left-brain, top-down approach, but rather a backward-justification of what “feels right”.

In this video I cover the primary things a good technique is supposed to do for you and 3-dimensional spectrum of possibilities techniques can fall into. Then I share the one secret that’s responsible for most of my “success” taming the hand-technique beast.

And for the comment thread this week, I’m again inviting drama. Have you had a hand technique issue you’ve solved. How?

JP Bouvet, Purdie Shuffles, and Hertas

Whoever says I only cover famous drummers, and I that should do more lessons about how to play like yourself, is flattering me unnecessarily. I’m waaaaaaay too lazy to transcribe a new drum solo every week. Thus, most of the “non-famous-drummer” lessons have to be about just that.

Besides, I still want the core message of my channel to be “you can sound like a better version of yourself by borrowing/stealing from your heroes, then learning a superior Operating System to get their...vibe...into yours. Quite often, after I study a drummer to make a lesson about him/her, there are a few weeks of extra stuff he/she inspires, and not to make a lesson about that would be selling you guys short.

So, while this lesson isn’t directly transcribed from JP Bouvet, it is inspired by him. Two weeks ago, when I filmed this, I had just learned that indeed I’d have the privilege of performing for a room of enthusiastic drummers in Thailand, and was in a wild-eyed panic now that I had to figure out something to talk about. As such I binge watched a bunch of Real drum clinicians, and, quite frankly, JP stood out because he was the best.

If you’re worried, however, that this week’s lesson will “spoil the surprise”, don’t. After getting inspiration from JP, I took a different direction, exploring two seemingly unrelated subjects (though you’ll see that they’re actually quite closely related;)

And for the comment thread this week, I’m opening a Pandora’s Box, so Be Honest, but Be Nice;) Is there a subject you feel I’ve covered so much it’s like “alRIGHT already with the…”? Is there one that you’re just praying I’ll get to, only to be cruelly disappointed each week? (That Rat Bastard. Never again. NEVER again…”) ;) Let me know!

How to Play Like Tony Royster Part One

It’s about time.

My first memory of Tony Royster was as a youngster, alongside Dennis Chambers.

Then, with the advent of the internet, Gospel Chops, and social media, he started popping up everywhere. Fast-forward to present-day, and Royster, drumist behind Jay Z’s live apparatus and among the most sought-after clinicians on Earth, has come-of-age.

I knew as soon as I saw the deluge of covers of Show Me What You Got that I’d eventually have to do a lesson on Tony, but I wanted to wait. I wasn’t good enough as either a player or teacher to cover Tony in a meaningful way (I tried in the Faster Hands video, a process that took me weeks), and I was building a brand around learning the most important things first, and Homicidal Single Strokes seemed outside the wheelhouse.

But in the last year I’ve come to realize the point is extracting the most useful parts of every player, Bruce Lee style, and that if I could make The Royst accessible, maybe my audience would believe me that all of you, too, have the capacity to steal from the Best.

Anyway, you’re probably here for the transcription.

And for the comment thread this week, was there ever a time you thought you had everything together, then you watched another drummer and he made you feel like a rank amateur? (For me, Eric Harland, Lee Pearson, Nate Wood, Marcus...the list cotinues;) If so, who?

How to (Really) Play The Kick Drum

This week's lesson was supposed to be tony royster. (Don't worry - the tony lesson is coming soon.) Then I got an email from one of my coaching students. I'm paraphrasing, but it was something like "please explain the kick drum in detail."

Which leads me to an obvious point about my tendencies given a choice between another hour of careful transcription, or a swiftly organized presentation on something that's second nature followed by an extended happy hour, and a deeper point about how some of the most valuable insights are lost on the "teacher", who takes them for-granted.

In any case, it turns out I have a story to tell, as a guy who used to play exclusively heel-down, who's recently come over to the Dark Side.

Anyway, you’re probably here for the transcription.

And for the comment thread this week, the obvious question: agree with the lesson or disagree? Are you a died-in-the-wool heel-downer (don't be a Downer;), or do you swear the jojo heel-toe technique is the only game in town? Learn me!

Drum Solo Lick I (Think I) Invented

There’s a strong possibility I stole this from Eric Harland. But what’s really original?

People are always asking for an Eric lesson, and sure, I’ll circle around to Eric, but the truth is Eric’s in so much of what I play. (How to play jazz Part 2, for instance.)

But the reason I had Eric on the brain this week is I’ve been buckling down on my drum solos. How do you build a really great solo from scratch? How to you escalate intensity? A good deal of my free material on soloing can be found in my Mark Guiliana Part 2 video, but in this session I’m going to give you something “quick and dirty” you can cop straight from me, that will help add an edge to your next drum solo.

Anyway, you’re probably here for the transcription.

And for the comment thread this week, a little “market research” - have you attended a drum clinic in the last year? If who, who, and what did you feel you getting out of the event that you couldn’t find just by watching the person’s videos. [If you think I’m mining for material for my clinics, your mom didn’t raise any dummies;)]

How to Play Like Chris Dave Pt. 2

Am I as good as my word? Part two of the Chris Dave deep dive is ready.

To reiterate, my goal for you after you’ve studied both these videos is not that you’ll have a verbatim Chris Dave lick to pull out of your toolbox when the moment’s right, but rather that you’ll start to hear “Chris-Dave-esque” things naturally, when it makes musical sense, and be able to play your own phrases in Chris’ style.

Like most of the drummers I cover on the channel, Chris has a repertoire deep enough to render any attempt to wrap your arms around it not only woefully inadequate, but a Quixotic affront to humility writ large. Whiiiich is pretty much the 80/20 Bat Signal. At-the-ready to answer, foolheartedly, the call, I attempt in this week’s lesson to give you some Hot Licks to supplement the beats we learned last week, including the Money Lick from the Kanye Flashing Lights cover. Importantly, though, not just licks - I attempt to get underneath to what Chris may have practiced, so that you can improvise your own.

Anyway, you’re probably here for the transcription.

And for the comment thread this week, a fun one - if you could be stuck by lightening and play exactly like Chris Dave with zero practice, but you could never again know True Love, would you take the Devil’s Bargain? (I feel like I know some Juilliard students who took this bargain - whaaaaaaaaat. JK I love you guys;) Leave a comment below!

How to Play Like Chris Dave Part One

I suspect this one will cause controversy. In fact, it already has.

Any attempt to wade into an area so thoroughly explored by other drummers, let alone try to speak intelligently about somebody who’s inspired so much emotion, is bound to provoke some disagreement. And nobody since maybe Elvin Jones has broken with drum tradition so powerfully as Chris.

So let me be clear - I’m not taking a stand on exactly what Chris plays. In this lesson at least. I’ll leave that to others (one of whom I link to in the lesson). True - in Part 2, which releases this Sunday, I include one exact transcription. In general, though, I’m most concerned with what they practiced to be able to improvise the things they play, and how we can steal the Root and use it to come up with our own licks.

In this lesson, I deal with one facet of Chris’ playing - his feel. In particular, two beats from his now famous drum cover medley.

Anyway, you’re probably here for the transcription.

And for your comments, a less obvious question: if you’re a Chris fan like me, what convention of drumming did Chris give you permission to rethink? Leave a comment below!