aw. i just noticed that the subject byline is no longer a feature. i liked that little thing! it's where i was gonna put the 'vs. steve gadd' thing. oh, well, i'll live...

anyhow, i'd mentioned that at the steve gadd clinic, everyone asked ridiculously stupid questions. everyone except one 9-year old boy who queried steve about his approach to developing a solo.

steve said a few things [most of which i honestly forgot; it was very cold in the auditorium and i had to pee really bad and couldn't focus by that point], but then he brought up the context of trading solos alongside another drummer, and what he'd do in that situation.

specifically, how he would choose to come into his solo when the other drummer just came off of [landed with] an explosive ending.

i'll tell you what steve said in a sec, but first let's get your responses.

so -- how would you come in when a drummer just ended his/her solo on a powerful 'high note'?


if i could solo [gettin' there, gettin' there...], i'd chime in with an equally bombastic opening, then i'd work to bring it down in intensity, then i'd bring it back up and end with a big flourish.

Are we talking about "trading fours" back and forth with this other drummer, or playing one extended solo following the conclusion of this other drummer's extended solo?

I don't do much soloing onstage with other drummers, but speaking as a vibes player:

Trading fours (with any musician(s), actually), hopefully all of the players would help to create an "arc" in terms of the energy of the music, so that even though the players are trading solos back and forth, the whole section has a sense of direction and growth to it.

If I'm following another player's longer solo, and he (she) ends with a big "bang," I'd probably scale the energy back a bit - let things breathe following the conclusion of his (her) solo, and at the same time, give myself somewhere to build from.  Or, maybe I'd "bring it down to nothing" to start out, in terms of volume and number of notes played, just to add some contrast. 

It also depends upon the style of music being played.  There's no one way to do it.

lol! good one, mr. a.  how did that whole sitch come about, anyway? i recall you saying you had done it; curious about how it came to be.   i would've done a 'depends' thing myself

james dubyah  -- i meant playing one extended solo following the conclusion of someone else's extended solo

route 3 -- this is not you following up a gadd solo [i'm not that cruel]; just you following up a drummer whose solo ended on a very powerful note.

Sorry to whinge.....
But how many times do you think a solo/duet comes up in the drumming world?

Rant pt2....
You saw Steve Gadd in clinic and the biggest thing you came away with was his thoughts on soloing? 

Cool.

I played a solo duet once and my opposite number dominated, walked all over me, was on a big ego trip, and was just out to show he (a relative unknown) could blow away a 'name' drummer.
However, I enjoyed Mr A's tale.
Back to real music for me.
(taking chill pill) 

ok, james and j skins get to go to gadd camp.

that's the approach steve said he'd most likely take in that sitch.

i chose the opposite, because knowing me, i'd be all amped up, and it'd be hard for me to start at a mellow point. i also like the idea of mirroring what just came before me [sorta like tarzan letting go of the first and jumping on to the next vine].

but if it was just me playing, i'd start off mellow. but probably with a groove to get me into it, not just a fill or snare thing. always feels weird to start on the drums first.

How about adding a jazz pattern after the solo?   

When everything have been so loud, so furious, and so energetic; I think it would be nice to add a smooth and flowing jazz pattern after it all to surprise the audiences abit.

My 2 cents.