jazz_drummer2003
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« on: October 07, 2003, 01:27 PM » |
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i was just listening to "pennies from heaven" off the dave brubeck quartet at carnegie hall cd and absolutely love the sound of his drums. you can really here them in the trading fours part near the end of the song. anybody know what he uses here (drums/skins) and/or how to get that sound out of a drum kit?  ? |
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diddle
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« Reply #1 on: October 07, 2003, 07:01 PM » |
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I love Joe Morello's sound. To get that "jazzy sound" from your drumkit, try using single-ply heads, tuned tight, with top & bottom heads tuned to same pitch.
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Joe
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« Reply #2 on: October 07, 2003, 07:45 PM » |
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No cite, but I remember reading some article in which the author's friend (with perfect pitch) deduced that Morello's snare was tuned to an E* on top and an F on bottom. IIRCFTDC (If I recall correctly from the Drummer Cafe  ), the jazzy sound evolved from drummers with small drums (for portability) who didn't wish to change their heads often enough (for financial reasons?) and cranked them to compensate for their wear. A tradition was born. However, I wouldn't think that Morello's drums were/are tensioned that tightly; I could be wrong. That said, you can play jazz on cardboard boxes (or, at least, drums that sound that way) if you please. It's all in the meter and feel, as far as I'm concerned, even though the appropriate drum is nice. *At least, as close as a drum can get to E (or F). |
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I'm not a particularly slow player, yet I don't play fast. I play half-fast.
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jokerjkny
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« Reply #3 on: October 07, 2003, 10:20 PM » |
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IMHO, a set of Aquarian Jack DeJohnette heads rock for all things jazz. Aquarian's Modern Vintage are incredible, too. get 'em all at www.interstatemusic.com |
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...this aint no time fo' jibba jabba!
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Plowboy
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« Reply #4 on: October 08, 2003, 08:16 AM » |
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Joe uses single-ply Ambassadors - coated on the top, clear on the bottom. He does not tune to any specific notes on the snare or the other drums. He does tune the drums fairly tight. The batter heads are tuned slightly higher in pitch than the resonant heads. The batter bd head has a felt strip running up-and-down and 3" in on the left side. Joe has a mole-skin patch on the batter bd head where the beater hits the head. He tunes the snare as follows. The reso. head is tuned tighter than the batter head. They are tuned in the same interval as the first two notes of "Here Comes the Bride".
Hope this helps. I have been studying with Joe for five years and have seen him play live a number times. His drums always sound like thunder (they really remind me of John Bonham's drum sound). He is the best advertisement for DW drums I have seen.
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SteamRhino
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« Reply #5 on: October 08, 2003, 10:28 AM » |
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There's a dramatic difference between Joe's studio sound and live sound. On the Carnegie Hall recording, the miking was ambient and took full advantage of the accoustics of the hardboards on that big open stage.
I think that recording came closest to any he's done to capture his REAL sound which is huge and technical at the same time. I especially like the Bohnam reference. Makes sense.
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paul
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« Reply #6 on: October 10, 2003, 03:28 PM » |
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Something else should be noted here. Morello was not playing a "bebop" set on those recordings with Brubeck. He had a 14x22, 9x13, 16x16 setup, and a wooden mallet on the bass drum pedal.
I still think "Far More Drums", from the "Time Further Out" album, is one of the top 3 drum solos ever recorded.
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The presence of those seeking the truth is infinitely preferable to the presence of those who think they've found it. - Terry Pratchett My drum page |
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hippie
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« Reply #7 on: October 13, 2003, 03:32 AM » |
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I still think "Far More Drums", from the "Time Further Out" album, is one of the top 3 drum solos ever recorded.
I'll second that.  |
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diddle
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« Reply #8 on: October 13, 2003, 10:44 AM » |
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Plowboy, That's really cool that you take lessons from Joe. I consider him a benchmark for jazz drumming. I have pictures of him hanging in my drum room. Isn't he about 82 now? I'd love to hear more about Joe and your experiences learning from him.
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hippie
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« Reply #9 on: October 13, 2003, 05:50 PM » |
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Plowboy, That's really cool that you take lessons from Joe. I consider him a benchmark for jazz drumming. I have pictures of him hanging in my drum room. Isn't he about 82 now? I'd love to hear more about Joe and your experiences learning from him.
I'll second that. |
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Joe
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« Reply #10 on: October 13, 2003, 06:36 PM » |
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Third. |
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I'm not a particularly slow player, yet I don't play fast. I play half-fast.
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SteamRhino
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« Reply #11 on: October 15, 2003, 04:50 AM » |
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werd  |
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Chris
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\o/
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« Reply #12 on: October 15, 2003, 05:19 AM » |
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I have been studying with Joe for five years
respect. |
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I hit things.
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Plowboy
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« Reply #13 on: October 16, 2003, 08:39 AM » |
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Joe just turned 73 in July. It's funny about Joe not using the "bebop" kit. He doesn't believe in using a floor tom for a kick drum as he would put it. I agree about the drum sound on the Carnegie Hall recordings. They are killer. BTW, Joe had the flu during those shows. Studying with Joe is like studying with your great uncle. He is a kind soul, an absolute gentleman and one of the most humble people you will ever meet. He knows as much about drum gear and construction as he does about playing. He also knows about modern day drummers. The two (out of the many) things I've learned from Joe is technique and playing musically. He stripped down my technique and we started essentially from scratch. Joe also emphasises playing musically in all types of situations whether it is rock, jazz, classical etc. Musicalilty always superceeds chops which many of us forget. Joe also believes that speed is not essential, consistancy in your playing is much more important. The speed will always develop through practice. He would rather see you play evenly at slower tempos than play sloppily at faster tempos. His imagination with exercises is endless, especially with pages 5, 6 and 7 of Stick Control. I'm on my second copy of this book because the first copy fell apart. I have been exposed to so much, but there is so much more to learn. Someone should write a biography on Joe because of his impact on the drumming community. Joe is currently working on another book and video. His web address www.joemorello.net |
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sapazi
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« Reply #14 on: October 16, 2003, 10:32 AM » |
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2003 - 1929 = 74 ...  |
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Plowboy
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« Reply #15 on: October 16, 2003, 12:59 PM » |
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Pardon me for the mistake. I stand corrected. Guess I need a new calculator....
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Joe
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« Reply #16 on: October 16, 2003, 02:36 PM » |
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2003 - 1929 = 74 ... Pardon me for the mistake. I stand corrected. Guess I need a new calculator....
Well, if you didn't spend time on such piddling matters as his tuning, the fact that he's opposed to 'bebop'-style drumkits, his preference for control over speed, his imagination with excercises (as well as his versatility), you would have gotten that one right! |
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I'm not a particularly slow player, yet I don't play fast. I play half-fast.
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Plowboy
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« Reply #17 on: October 17, 2003, 05:15 AM » |
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Oh, there's one in every crowd...LOL..
BTW, I saw Joe last night for a lesson and he informed me that he will be appearing at Shanghai Jazz in Madison, N.J. on November 5th. There are two shows - 7pm-8pm and 9pm-10pm. If anyone here if is from the N.Y./N.J./P.A. area make the trip to see him. It is well worth the effort.
The band smokes and he has a wicked sense of humor. Joe likes to talk in between songs. The last time my wife and I saw his quartet he had Buddy's old piano player playing with him.
BTW, DW just sent him a new kit in a silver sparkle broken glass wrap. The drums are absolutely gorgeous. They twinkle (yes like little stars in the night) under the lights.
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JeepnDrummer
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« Reply #18 on: October 21, 2003, 10:29 PM » |
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You did suggest that he visit this site, right? |
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Joe
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« Reply #19 on: October 22, 2003, 12:14 AM » |
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I'd also like to add that I like the way he plays 4/4 with brushes; rather than play a pattern such as this:
Left hand: whhhhiiiiiiiiiiisssssssssssssssssssssss sssssssssssssssshh
Right hand: PAT pat pat PAT pat pat PAT pat pat PAT pat pat
he seems to go:
Left hand: whiiishh whiiiiishh whiiiiishh whiiiiishh whiiiiishh
Right hand: pat PAT pat PAT pat PAT pat PAT
I know this is gratuitous use of onomatopoeia; the second example is easily audible in "Strange Meadow Lark" by Dave Brubeck.
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I'm not a particularly slow player, yet I don't play fast. I play half-fast.
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