And the permutations continue around the set, as Smith explores a million and one ways to dissect, expand, and enlighten the groove with popping floor tom slams, swirling snare ruffs, abrupt cymbal shouts, and disruptive time trails. A star is born.
And the permutations continue around the set, as Smith explores a million and one ways to dissect, expand, and enlighten the groove with popping floor tom slams, swirling snare ruffs, abrupt cymbal shouts, and disruptive time trails. A star is born. In , he was the featured artist in residence at his alma mater, James Madison University, where he received a B.
When Kinfolk was released, MD offered you an inside feature, but you held out for a cover. What gave you the confidence to know you would get the cover eventually?
And since MD did a feature on me previously, and this is the time for me to really expand…. So social media numbers translate into lessons? They saw that these videos were going viral, into the thousands and even millions of views.
Eventually my numbers—because so many drummers are following me, and they share it and reshare it—the view count rises exponentially. Last time I checked, that video had 3. A couple things happened at once. The video thing was happening and social media was taking off as I was releasing this record.
There was some overlap, and I thought: This is reaching enough people that I should try to make as big an impact with an issue as I can. But most people into Kinfolk are jazz fans, music fans anyway. What is it about the pocket that fascinates audiences? And these guys and girls would play amazing fill after amazing fill. The other thing, in some of the videos the unexpected happens. That might be part of why people are gravitating toward these videos.
I was told Omar and James just showed up and played and came up with parts. That record reminded everyone of that feel. Robinson is on the record too.
The influences for me were later: Omar and Steve Gadd and Harvey Mason. Eventually the 16th-note idea will come in. We play basically the same set every night, and I have to find different ways of playing the music to keep it interesting. What is the Fearless Flyers project we see on Instagram? Jack Stratton produces Vulfpeck and Fearless Flyers. Every song is recorded in real time and every song gets a video. So we did six songs, six videos. The first video got 5 million views.
They saw me playing the 16th-note grooves and wanted to focus on that for many of the tracks. The music is funky, like an L. I like that the guys are plugged in to a history and a lineage.
You were playing hi-hat-based pocket grooves during our first ModernDrummer interview. And the jazz drummers I really like are the funkiest guys. His drumming made me want to dance. Playing the pocket stuff is all about trying to get to that feeling. I was always thinking about the groove first—before the chops. Smoothing the Pocket MD: We live in the grid world, where everything is recorded on Pro Tools. But music felt better before Pro Tools.
The music was breathing, there were human beings making it. When I do deviate and add stuff, I want to drift as far as I can without losing the time. The drummer had to maintain that 16th-note flow with the right hand on the hi-hat and the 2-and-4 backbeat. Is that a lost art?
But playing one-handed 16th-note hi-hat creates a different sound, a different motion. I think of all the Barry White songs with Ed Greene. The way those 16th-note slow jams would breathe…and you could tell he was using one hand. Talk about a guy who has a sound! Even recording your parents for interludes about your family on Kinfolk is highly personal.
Would I want to hear this music? As a fan, would I want to hear this story? Do I care about this? Does it make sense in the narrative of the record to have interludes with my parents?
If you can find a way to make listeners care about a story as much as the music, then you can really pull them in and give them a reason to invest. How do you make playing the 16th-note flow seamless and comfortable? When students ask, I go back to those marching band warm-ups, playing sequential exercises. Eight on each hand, or sixteen on each hand. Trying to accent the downbeats. I find a way to negotiate it. It depends on the tempo. He would open it up and get that really beautiful sound on the hi-hat.
It was in his hands; he would get this snare drum sound that no one else could get. Are younger drummers coming out of Chris Dave? Ground zero would seem to be Dennis Chambers for the gospel-chops drummers and beyond.
Those are like the holy grail. Students Then and Now MD: What do most students want from you? First, we put the sticks away and listen to some music. Robinson with Michael Jackson. I refer them back to the music. When teaching pocket, do you instruct students on how to make the groove happen with and without a metronome? I encourage the students to record themselves—which I always did. I have them play with and without the click. Nine times out of ten their time is more accurate with the click; but when they get off the click and just play, their personality comes out.
How do you bridge that, express yourself with the click track? And I always have students play along with records. Play along with drummers that have great time—where, even if they rush, the feel is right. To what do you credit your consistency of sound and groove? I credit a lot of my playing to marching band, symphonic band, learning to read music, and learning and practicing the rudiments every day.
That makes me check in. Do you recall your marching band exercises? I would start soft and go really loud and then try to come back down. Make sure you can articulate all the rudiments no matter the dynamic level, so you can hear all the strokes. I would start around a quarter note equals or I studied StickControl, Haskell W.
I still do this: It opens up your brain. Do you have a pre-gig warm-up? Slow and loud, fast and soft. Your Instagram popularity is impressive. People will also post the videos on their YouTube accounts.
Get them in some trouble. Gretchen Parlato provides the vocal. Kinfolk earned you a Grammy nomination. I wanted everyone on Kinfolk to show their personality.
The first couple tunes with Brazilian percussion…what a great band on that record! Did you envision Kinfolk as a journey?
I took a little journey to the unknown / And I come back changed, I can feel it in my bones / I fucked with the forces that our eyes can't see / Now the darkness got. Read more...
Pages in category "Heavy metal festivals in Canada". The following 6 pages are in this category, out of 6 total. This list may not reflect recent changes (learn. Read more...
Find the song tempo, key and time signature for The Middle by Jimmy Eat World. Read more...
The general scheme words
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