Deltachord

Find all the Music Gear you need here at GuitarTrader.com , from Guitars to Guitar Accessories .

Fender Guitar

My first post after my welcome message was entitled “The Big Beat: Do Drums Rule Rock?” Well, guess what? You have a unique chance now to decide for yourself because recently a new DVD has been released by Hudson Music called “Classic Rock Drum Solos.”

This DVD contains historical material that will blow your drum loving mind. Your going to see the development of rock drumming as it breaks from its jazz roots to rock’n roll to rock to hard rock and the beat goes on throbbing into its other various incarnations of “the big beat” as Fats Domino would say.

Here is the list from harmony-central.com of some of the Drummers on the DVD.

Carmine Appice (Vanilla Fudge), Ginger Baker (Cream), Don Brewer
(Grand Funk Railroad), Clive Bunker (Jethro Tull), Ron Bushy (Iron Butterfly),Ralph Jones (Bill Haley & The Comets), Gene Krupa, Lionel Hampton, Keith Moon (The Who), Sandy Nelson, Ian Paice (Deep Purple), Carl Palmer (Emerson, Lake & Palmer), Neil Peart (Rush), Cozy Powell, Danny Seraphine (Chicago), Michael Shrieve (Santana), Steve Smith (Journey), Mel Taylor (The Ventures), Jimmy Vincent (Louis Prima), and Shadow Wilson (Louis Jordan).

So if you Dig the Drums Like Crazy Man Crazy, you gotta see this DVD and hear the beat.

References
http://news.harmony-central.com/Newp/2007/Hudson-Music-Drum-Solos.html
http://www.drummercafe.com/content/view/154/9/

The base of his music is jazz, but Bobby Previte composes and plays in the musical hemispheres. He attended the University of Buffalo earning a B.A. (1973) in music.

Previte hit the jazz scene in New York in 1979, soon hooking up with many musicians including John Zorn, Wayne Horvitz, and Elliott Sharp. He has played at music festivals in London, Paris, Istanbul, Rio, Tokyo, Sydney, Copenhagen and Rome.

Bobby has received many grants including two from the New York Foundation for the Arts and three from the National Endowment for the Arts, all for composition. Previte has been a fellow at the MacDowell Colony five times. Jazziz Magazine dubbed him as one of “150 Who Moved Jazz.”

Previte was born July 16, 1959 In Naigrara Fall, NY. While still a kid he thought there was a unique night sound.

Previte told Clare O’Shea, writing for UBToday in the Spring/Summer 2004 issue that “Every time I write something, I’m inspired by that,” and he said “You can’t get out of your own skin.” He spoke of the roar that Niagara Falls made, which could be heard at night, located thirty blocks away from his childhood home.

By 2004 he had at least two dozen albums of his own to his credit and had been a contributer to about 60 other releases. He’s been in many rock and jazz bands: The Coalition of the Willing, Elliot Sharp’s Carbon, Wayne Horvitz’s President, his own fusionist quartet, which sometimes featured the two guitarists rumbling it out and others.

A quote from Peter Watrous explains.

“Looping and fierce metallic melodies snarled away at each other, only to smooth out into a country-styled riff, then into rock powerchords.” Watrous heard the guitar battle at a concert at the Knitting Factory in NY.

The Penguin Musician’s Guide says: “Bobby Previte is in many ways the archetypal 21st Century Jazz Musician: open-eared, adventurous, uncategorizable, technically flawless.”

Other interesting facts:

He is included in the Oxford “Dictionary of Jazz,”
The Penguin “Jazz, the Rough Guide”
“Jazz, The First Century,”
Oxford’s “History of Jazz,”
Schimer’s “Jazz-The Essential Album Guide”,
the “All Music Guide to Jazz,”
Francis Davis has written about Previte in “Bebop and Nothingness”
and Stuart Nicholson in “Jazz-The Modern Resurgence.”

My favorite compostion so far is The Ministry Of Truth.

Listen to Previte at:

http://www.rhapsody.com/bobbyprevite

http://en.wikipedia.org/wiki/Bobby_Previte
Selected Discography
1985: Bump the Renaissance
1986: Dull Bang, Gushing Sound, Human Shriek
1987: Pushing the Envelope
1988: Claude’s Late Morning
1989: On Fire with Michel Camilo
1990: Empty Suits
1991: Music of the Moscow Circus-Moscow Circus on Stage
1991: Weather Clear Track Fast
1993: Hue and Cry
1994: Slay the Suitors
1996: Too Close to the Pole
1996: Ponga - Ponga
1997: My Man in Sydney
1998: Remixes (Ponga album)|Remixes - Ponga
1998: Dangerous Rip
1998: Latin for travellers
1999: Psychological - Ponga
1999: In the Grass
2002: Just Add Water
2002: The 23 Constellations of Joan Miró
2003: Counterclockwise
2004: Latitude - Groundtruther
2005: Longitude (album)|Longitude - Groundtruther
2006: Bobby Previte - Jamie Saft - Skerik - Live in Japan 2003 (Word Public - DVD)
2006: The Coalition of the Willing

References
http://minnesota.publicradio.org/
“The Separation”
by Karl Gehrke, Minnesota Public Radio
February 2, 2007

http://en.wikipedia.org/wiki/Bobby_Previte
http://www.bobbyprevite.com/

UBT
Being Bobby Previte
By Clare O’Shea
Spring/summer, 2004
http://www.buffalo.edu/UBT/UBT-archives/26_ubtss04/alumni_profiles/

http://query.nytimes.com/gst/fullpage.html?res=940DE5D71030F937A35751C1A96E948260
Review/Rock; Bobby Previte Leads A fusionist Quartet
The New York Times
By PETER WATROUS
Published: December 4, 1988

http://www.indiejazz.com/page.aspx?page=product_details&ProductID=1063
Charlie Hunter/Bobby Previte/DJ Logic
“Longitude” 2005

The backbeat originally referred to the backing off of the drumstick away from the drum “on even beats in Classical music,” according to allexperts.com in the article Back Beat.

As we discussed before, the backbeat is also implored in popular music such as rock and roll and rhythm and blues, though in these genres the terminology refers to the accenting of the second and fourth beats.

A mixing of the blues style with boogie woogie rhythm, done by Louis Jordan in, which he used humerous lyrics is a well known and primal example of this urbanization of the blues, which began in the 1930’s. Though RnB drew influence from gospel and jazz also.

Wikipedia states that Jerry Wexler of Billboard Magazine coined the term rhythm and blues and that it was deemed a more proper terminology after WWII, as it wasn’t considered offensive, like the term race music in the new era, but the original lingo had been coined by the black community.

References:

http://en.allexperts.com/e/b/ba/back_beat.htm
http://www.rhythmandtheblues.org.uk/pdhist2.shtml
http://en.wikipedia.org/wiki/R&B

Interesting site:

http://www.backbeatfoundation.org/

The backbeat is common in rhythm and blues and rock and roll couldn’t exist without it. So what is it? The beats 2 and 4 in a 12 or 8 bar (or measure) song ie; stressing those beats as opposed to stressing beats 1 and 3.

Another term, the upbeat is when the 4th beat comes right before the next bar. Both terms refer to a conductor moving his baton up and down.

Earl Palmer, a drummer that recorded with Fats Domino and Little Richard relates that The Fat Man by Fats Domino is the first popular song that utilized the backbeat for the entire tune. It was recorded in 1949. The style actually began in the 1940’s. The backbeat technique had been a technique in Dixieland Jazz, used in the final chorus or shout.

References:

http://en.wikipedia.org/wiki/Back_beat#_note-grove2

http://en.wikipedia.org/wiki/Earl_Palmer

To hear Fats Domino:

http://www.rhapsody.com/fatsdomino

To hear Little Richard:

http://www.rhapsody.com/littlerichard/theessentiallittlerichard

To hear Earl Palmer:

http://www.rhapsody.com/earlpalmer

Paul Hester was born January 8, 1989 in Blackwood, Victoria, Australia. Fortunately, his mother played the jazz style of drumming and he incorporated burshes into his pop rock style. Though he used the brushes on soft/slow songs, he played harder and radically on faster songs.

James Briggs of imdb.com writes that Hester had written a note in his journal at age eight stating he wanted to be a famous rock drummer and Briggs calls Hester an eccentric drum prodigy.

The brush technique has rarely been used in rock drumming, especially since the years when some drummers began to think of themselves as rock drummers. But many of the first rock drummers had been jazz drummers and therefore, knew how to use brushes.

Derek K. Miller of penmachine.com says that Hester was superb in his brush technique and gives examples of Sister Madly on Temple of Low Men (1988) and Four Seasons in One Day from Woodface (1991) to hear his skilled brush work.

Hester formed Chez in 1982, which became Deckchairs Overboard. Their hits were Shout (1983) and Carried Away (1983).

Later in 1983, Hester started drumming for Split Enz, after an audition recommened by Rob Hirst of Midnight Oil. In 1984, Split Enz disbanded and Hester stayed with Neil Finn when he formed Crowded House, first named The Mullanes.

Stephen Holden of the New York Times describes the song Chocolate Cake by Crowded House as “propelled by the impeccably snappy drumming of Paul Hester.”

He stayed with Crowded House until 1994, when his first daughter was born. Later, he was involved in a band called Largest Living Things and was Chef Paul for the children’s show The Wiggles.

For More Information:

http://en.wikipedia.org/wiki/Paul_Hester
http://www.imdb.com/name/nm0381687/bio
http://www.penmachine.com/musicpages/17drummers.html
http://hem.passagen.se/honga/database/d/deckchairsoverboard.html
http://movies2.nytimes.com/mem/movies/review.html?res=9D0CEED71431F933A25753C1A967958260

N.Y. TIMES REVIEW
Pop and Jazz in Review
Print Save By STEPHEN HOLDEN
Published: October 10, 1991, Thursday

To hear Crowded House go to:

http://www.rhapsody.com/crowdedhouse

Drum Tab

http://www.i-drum.com/

Brush Lessons

http://www.rockdrummingsystem.com/underground/drum-lessons/

Why Use Brushes?

http://home.att.net/~drums01/brushes.html

Let the beat roll on. First, a brief evolution of the drums in popular music to set the scene.

Marshal Maley at 411drums.com notes that the drumset started to evolve in the 1890’s. The effect of New Orlean’s music in particular, pushed this development. Drummers changed John Philip Sousa’s drum format, thus, double drumming was invented. Next, they experimented with ways to play the bass drum without hands. Maley says that Dee Dee Chandler is the first one to play with a bass pedal in the latter 1880’s or early 1890’s.

Kevin Brown at x8drums.com states that the basic drum kit started in the 1930’s were designed simply with bass and foot pedal, a snare drum, tom-toms, a hi-hat cymbal, and one or two sets of hanging cymbals.

The New Orleans drummers in particular “put that swing” in their drumming. In the 40’s dance music punctuated the “backbeat” on the snare drum. In the 50’s rock drumming began and in the 60’s rock drumming emerged fully.

William Ludwig invented the first medal pedal, which began the Ludwig Drum Company. His brother, a drummer, had such a hard pounding style that he invented a good wooden pedal, but William said, “we can make a better one with metal.”

Back to our question, without the beat there is no rock or its cousin called alternative. As a singing duo once said, “And the beat goes on…”

Digg this, check out my articles at http://www.guitarnoise.com

• A Giant Guitarist To Note
• Legendary House
• Judy Collins- Biography of a Child Prodigy

For More Information:

http://www.411drums.com/drums-history.htm
http://www.pas.org/Resources/FUN/MaleyDrumset.cfm
http://www.x8drums.com/history-drums.asp