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Antonio Sanchez by Michael Parillo “I’M in a Very Scary Place Right Now, Because I’M Saying No to Everything So I Can Do My Thing

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PETER ERSKINE • TOOTIE HEATH • JOHN TEMPESTA THE WORLD’S #1 DRUM MAGAZINE PRIMO WORKINGMAN’S WIN! LAST CHANCE! SNARES WIN A $9,000 4 CANOPUS/DREAM PACKAGE PAGE 69 ANTONIO THESANCHEZ TIME TO LEAD IS NOW DYLAN HOWE! DOES BOWIE, JAZZ-STYLE NASHVILLE TAKES ON NEIL PEART AUGUST 2015 8 GREAT NEW DRUMMER-LED RELEASES ENCORE: BILL EVANS WITH PAUL MOTIAN AUGUST 2015 COVER 1.indd 1 5/29/15 10:48 AM New from ritten by renowned drummer he series of exercises contained in the book guide you WJonathan Joseph (Je Beck, Joss Tthrough a fusion of African and American elements. On Stone, Richard Bona) and University of the American side, we have shu e and shu e-funk. On the Miami director of drumset studies Steve African side, we have the rhythms from Cameroon known Rucker, Exercises in African-American Funk as mangambe and bikutsi. Mastering these exercises will is designed to introduce musicians who’ve strengthen your groove, provide you with an understanding of studied jazz, R&B, rock, soul, and blues to a the three-against-four polyrhythm, give you an awareness of concept that applies West African rhythms the second partial of the triplet, and introduce you to a fresh to various genres. new way to hear and feel music. Chapter 4: Half-Time Shuffle-Funk In this chapter, we move the backbeat of the shuffle groove over to beat 3. What this does is transform the shuffle into a half-time, triplet-based funk groove, which we’ll call “shuffle-funk.” The Purdie shuffle, made famous by the legendary R&B drummer Bernard Purdie, is one version of this type of groove. The first hand pattern contains no ghost notes. The grooves become more and more dense as we add ghost notes. As in the previous exercises, the ghost notes should be played extremely soft. The primary focus of the groove is on the bass drum and the backbeat. As mentioned before, it’s very helpful in your practice to alternate between a simple groove and the more difficult exercise. For instance, you can switch between each line of the exercises and this traditional mangambe groove. 3 3 3 3 4 ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ / 4 Œ œ œ ‰ Œ œ œ ‰ ‘ ∑∑ 3 3 Although these exercises are written with 8th-note triplets for consistency, you might also conceptualize them as 16th-note triplets. That interpretation would put the backbeat on beats 2 and 4 of a bar of 4/4. So Hand Pattern 3 would look like the following. > > 3 3 3 3 3 3 3 3 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ / 4 œ œ œ œ œ œ œ œ œ œ œ œ As before, we’ll start with a simple hand pattern and gradually add ghost notes. Practice the exercises between 70 and 130 bpm. Hand Pattern 1 3 > 33> 3 ™4 ¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ 4 ™ / ™4 œ œ œ ‘‘‘™ Here are some exercises that use Hand Pattern 1 with different bass drum variations. 3 3 > 3 3 ™ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ 4 ™ / ™ œ œ ‘‘‘™ 3 3 > 3 3 ‰ ‰ ‰ ‰ 4 ™ ¿ ¿ ¿ ¿ œ¿ ¿ ¿ ¿ ™ / ™ œ œ ‘‘‘™ 33> 3 3 ¿ ‰ ¿¿ ‰ ¿ ¿ ‰ ¿¿ ‰ ¿ 4 ™ œ ™ 19 / ™ œ œ œ ‘‘‘™ African_American Funk Jonathan Joseph Inside.indd 19 3/26/15 9:19 AM 3 3 > 33 ™ ¿ ‰ ¿¿ ‰ ¿ ¿ ‰ ¿¿ ‰ ¿ 4 ™ / ™ œ œ œ ‘‘‘™ 3 3 > 3 3 ¿ ‰ ¿¿ ‰ ¿ ¿ ‰ ¿¿ ‰ ¿ 4 ™ œ ™ Chapter/ œ 6: Bikutsi œ ‘‘‘ In this chapter, we introduce the> African rhythm known as bikutsi. Bikutsi is a musical genre from Cameroon that3 features3 the 3:4 polyrhythm.3 3 It has roots in the traditional music of the Beti people, who live¿ around‰ ¿¿ the city‰ of¿ Yaoundé,¿ ‰ ¿¿ along ‰with¿ various elements of the pop-rock idiom. 4 ™ œ ™ The/ characteristicœ rhythm of the bikutsiœ is a groupingœ of triplets‘‘‘ in a four-note pattern. Elements of this chapter are directly related to Chapters 1 and 2. If you aren’t clear on the 3:4 polyrhythm, please review those chapters. 3 3 > 3 3 > > > ‰3 ‰3 ‰3 ¿¿ ‰3 ¿ 4 ™ ¿ ¿¿ ¿ œ¿ ™ / ™ œ œ œ œ ‘‘‘™ 4 ¿ ‰ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ‰ ¿ ¿ / 4 33> 3 3 Here’s an example of a bikutsi-pop drumset rhythm. ¿ ‰ ¿¿ ‰> ¿> ¿ ‰ >¿¿ ‰ ¿ 4 ™ > 3 3 œ 33 / ™ œ œ œ œ œ ‘‘‘ 4 ¿ ‰ ¿ ¿ œ¿ ‰ ¿ ¿ ¿ ‰ ¿ ¿ / 4 œ œ œ œ œ By moving the snare accent to beat 3, we can create a simple bikutsi shuffle-funk pattern. > 3 >3 > 33> 4 ¿ ‰ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ‰ ¿ ¿ / 4 œ œ œ œ Here’s a shuffle-funk variation with the bass drum on the first beat only. > 3 >3 > 33> ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 4 ‰ ‰ œ¿ ‰ 4 œ Œ Œ Œ We can also open the hi-hat where the accents occur. > > > 3 >3 > 33> 3 >3 > 33 O ¿ ¿ O ¿ O ¿ ¿ O ¿ ¿ O ¿ O ¿ ¿ 4 ‰ ‰ œ¿ ‰ 4 ‰ ‰ œ¿ ‰ 4 / 4 œ œ œ œ 4 œ Œ Œ Œ 4 Here’s the same variation with the bass drum on the first beat only. > 3 >3 > 33> 4 O ‰ ¿ ¿ O ‰ œ¿ ¿ O ‰ ¿ ¿ 4 œ Œ Œ Œ 45 African_American Funk Jonathan Joseph Inside.indd 45 3/26/15 9:19 AM Check out a video of concepts and exercises included in the book at moderndrummer.com, and order a copy today—for only $14.95. 10 Modern Drummer August 2015 Exercises in African-American Funk FULL PAGE AD .indd 10 6/4/15 3:07 PM 12 Modern Drummer June 2014 Cover_2_AUGUST 2015.indd 12 5/29/15 10:41 AM June 2014 Modern Drummer 1 001_005_AUGUST_ 2015.indd 1 5/29/15 9:08 AM 22 2 2 2222222222 22222222222222 2 2222222222222222 2. 222222 2222 22 22222 # ################ 888888888 88888888888888888888888 888888888888888888888888888888888888888888888888888 88888888888888888888 88888888888888888888888888888888888888888888888888888888888888888888888888888888888888888 888888888888888 % 8888888888888888888888888888888888888888888888888888888888888888888888888 888888888888888888888 8888888888888888888 88888 8888888888888888888888888888 % 88888 8 88888 INFINITE 8888888888888888888 88888888888888888888888888 % 88888888888888 POSSIBILITIES As drummers ourselves, we!r e constantly striving to !nd ways to create ########### # ## # ## ## # # # # # # # # ### # ## # ## # # ## # # # # ## # ## # # # # ### ######### ####### # # # ## # # # # ## # ## # # # 88#883 ! 88 # # # # ## 88888 # # # # # fresh sounds and take our music to new places. The American Classic! 888 8"8 888#888! 88 % 88 Barrel tip 5A and 5B are just the latest in an array of hundreds of sticks, #################### #######888888888888888888 % 8888888888888888888888888888 88888888888 mallets and implements each designed for a speci!c musical purpose and 888888888888888888888888888888 888888888888888888888888888888888888888888888 8888888888888888 vetted by the world! s top players. Try something new. See where it takes you. Go to VicFirth.com/SoundChoices for some fresh ideas to take your sound to the next level. 8 8888888888 88888 88888888888888880 VICFIRTH.COM ©2015 Vic Firth Company 2 Modern Drummer June 2014 001_005_AUGUST_ 2015.indd 2 5/29/15 9:08 AM 001_005_AUGUST_ 2015.indd 4 5/29/15 9:08 AM On Location At The Legendary Fame Studios, Muscle Shoals, AL VINTAGE HYBRID. @ABCDE&4CD9AD@FEGC? !"#$%&'(&)*$&#'+(%&)*")&,"%$&*-#)'./&'(&*+(%.$%#&'0&.$1'.%-(2#3& 4$".5&-#&6.'+%&)'&.$7-().'%+1$&-)#&5$2$(%"./&8''%&9-:$.25"##&%.+,& ;&65/&<"6+.&:5$(%&1'(#).+1)-'(& =-)*&"&*"(%&"665-$%&-(($.&5"/$.&'0& >$".(&,'.$&")&6$".5%.+,?1', 001_005_AUGUST_ 2015.indd 5 6/1/15 9:04 AM CONTENTS Volume 39 • Number 7 On the Cover 36 Antonio Sanchez by Michael Parillo “I’m in a very scary place right now, because I’m saying no to everything so I can do my thing. But I’m determined to get my product out because I believe in what I’m doing.” Riding high on his Birdman score and sporting an inspired pair of new releases, this drummer is ready to soar to bandleader glory. Cover and contents photos by Rahav Segev Features 16 Catching Up With… Albert “Tootie” Heath /// Bryan Adams’ Mickey Curry /// Blues Traveler’s Brendan Hill 20 Get Good: Anger Management Dealing with tough people without losing your cool. by Juels Thomas 54 Adam Christgau The ! ne art of ! ne-tuning for the situation. by Ilya Stemkovsky 58 Dylan Howe Deconstructing Bowie with an ear to jazz. by Ken Micallef 60 Jay Postones Technique and transformation with Tesseract. by Ben Meyer 64 A Di" erent View: Merrill Garbus Tune-Yards’ founder is led by the sound of drumming. by Will Romano 66 Setting Sights: John Tempesta The rock journeyman takes Motor Sister for a Ride. by David Ciauro Education Equipment Departments 50 Jazz Drummer’s Workshop 24 Product Close-Up 8 An Editor’s Overview Antonio Sanchez Bone Custom Drums Grousers Anonymous The Meridian Suite Mineral Maple Drumset by Adam Budofsky by Terry Branam Zildjian FX Series China Trashes, Volcano Cup Zil-Bel, and Spiral Stacker 10 Readers’ Platform 68 Basics Fidock 6x13 Heartbreaker Series Snare Beware of the Chi-Ga-Da! Remo Powerstroke 77 and 14 News Exercises for Harnessing a Powerful Powerstroke 3 Black Dot Drumheads Funk/Fusion Sticking 22 It’s Questionable by Rich Redmond 30 Electronic Review Mind Matters: Why Am I Avoiding Ultimate Ears Pro UE-11 In-Ear Monitors Practice? • Dashboard Practice Pads 70 Strictly Technique Pata# a# a Hemiolas 32 Shop Talk 84 Showcase Straight and Alternating Versions Get the Most Beat for Your Buck Featuring Drum Market Over Half-Note Triplets 4 Options for Building a Primo Snare by Bill Bachman Collection on a Workingman’s Budget 88 Critique by Nate Bauman 72 Rock ’n’ Jazz Clinic 92 Backbeats The Paradiddle Challenge 34 Gearing Up Nashville Drummers Jam • Unlocking Keith Carlock–Type Peter Erskine Carlos Vega Memorial Concert Hand/Foot Interplay by Daniel Bédard 82 New and Notable 96 Kit of the Month Conga Color 74 Around the World Traditional Percussion on Drumset Part 4: Cajon by Arturo Stable 80 Concepts 76 Rock Perspectives Nothing Happens When Progressive Drumming Essentials You’re Comfortable Part 2: Demystifying Polyrhythms Setting Goals for Maximum Growth by Aaron Edgar by Russ Miller page 69 006_TOC_August 2015.indd 6 6/4/15 3:03 PM 006_TOC_August 2015.indd 7 5/29/15 9:09 AM AN EDITOR’S OVERVIEW MODERNDRUMMER Founder MODERN DRUMMER ADVISORY BOARD: Ronald Spagnardi Kenny Aronoff, Eddie Bayers, Bill Bruford, Grousers Harry Cangany, Dennis DeLucia, Les 1943–2003 DeMerle, Peter Erskine, Vic Firth, Bob Gatzen, Danny Gottlieb, Jim Keltner, Anonymous Publisher/CEO Paul Leim, Peter Magadini, George Marsh, Isabel Spagnardi Rod Morgenstein, Andy Newmark, ost of us who spend a good Neil Peart, Steve Smith, Billy Ward, Dave Weckl, Paul Wertico.
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  • Downbeat.Com December 2014 U.K. £3.50

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