Hey guys, I'm wondering whose pumped for Tommy Igoe's new Groove Essentails 2? It's going to be so good, he's got 53 new grooves, and the kit that he's using on this one is so ridiculous. If anyone has used Groove Essentials 1, you know it was worth every penny. I've learned more from that DVD/CD/BOOK! than any teacher has ever taught me. Also for people who dub themselves as advanced players, I challenge anyone one of you to try to play the song "Endure" in one take as Tommy did. Anyways, it's going to be great.. everyone should look for it in August.

-EML.

Yeah man, its going to be so sick. You can check out pictures of his beautiful new drum set on WWW.TOMMYIGOE.COM, just go to the topic "Groove Essentials." I still cant find out why he's using Evans now .

-EML.

Oh no man, the face was just because I was confused on why, I'm not sad, or angry because he uses Evans. I also use Evans and Remo. I was just wondering  why he changed, thats all. Oh and I've had a teacher before, but couldnt afford it anymore, so I havent had a lot of lessons. I would have a teacher if I had the money. Thanks Chris, everyone in the forum is teaching me a lot. It sounds like I have tons and tons to learn.

-EML.

Yeah i totally agree. Ok, so I have a question...would a teacher who teaches at Guitar Center or Daddys Junky music be concidered a good teacher? Because thats what I had before. Thanks again man.

-EML

Yeah man, again i agree. Me old teacher and I got along just fine, the only thing that i can say frustrated me was that when I went back to lessons(this happened 3 times), he would make me start everything over again so back to the absolute basics. Although I progressed decently without him, but he still made me start over. And the only thing that worries me about getting a job is that I will never have time to practice, that's why i was thinking of getting an electric drum set...somehow. I dont know if thats a wise choice, because I heard they can ruin learning growth.

-EML.

Yeah man, I just dont know of any pro's around Boston, but I'm sure there are tons.

Dude, I read this over and I'm sorry, I have to disagree. I know I'm not as experienced as you might be or been playing as long, but wouldn't you say odd meter grooves can be essential? Doesn't it depend on the situation your involved in? Essential should be spread throughout a variety of things. Essential to me means its something you have to know, what if your are put in a situation at a studio where you will have to play some crazy Latin/afro-cuban groove and you have to know how to play it, and then jump back into a simple swing. It's all fusion man, and for that, I feel Tommy Igoe did and outstanding job. I'm actually still using it, and am far from done.

I can think of a few members here that I would happily buy a DVD from about Top 40 style drumming, should they ever decide to make one.  (hint-hint)   

Disagreed.  (respectfully of course)    There are many here on this forum alone that have learned volumes from you, myself included.  The information presented by pros like yourself, Bermuda, Mr. A, Bart, David Crigger, Billy Ward, etc... has proved beyond valuable to me and many others.

One topic I would LOVE to see would be the thought process behind choosing between different gear in the studio.  For example, if a particular song came up that prompted you to use your Craviotto snare instead of your Black Beauty, what is the thought process behind that?  Would your Camco's work better for that session, or would the Noble & Cooleys?  Again, just another example. 

Next topic would be pattern choices within a basic pop/rock song.  Why did you come up with that pattern for the kick drum?  Why did you hit that snare on the & of 4?  Why did you not go to the ride for that chorus?  (remember that thread?)

There are more topics I could come up with as possible DVD chapters, but that's the idea.   

I think you have the goods to deliver a DVD of this style drumming, Chris.  Seriously.

Oh wait... You don't freeze up in front of a video camera, do you?      



 

There's another chapter topic... How much of the time in the studio do you actually get to play a part that you would naturally come up with? vs. How many times the artist or producer already has something in mind and makes you stick with that idea?  Then demonstrate what part you had in mind vs. what part you actually had to play. 

You already share this information freely with us all the time here (THANKS!).  To actually see it happen as it went down in a high-stakes studio environment (like the situation you just described) would be invaluable.  Probably not very feasible, I realize, but still would be most instructive.

I dunno, just random thoughts bouncing around in my thick skull.  Very interesting slant this thread has taken.