It kills me that the very people in congress who can't seem to pass a budget amendment are upset that they had no say in "going to war"? We're not at war we are involved in a unilateral peace mission/intervention, is it racism driving these neo cons?
I am utterly disgusted with what these people are calling politics....go figure. Don't even get me started on that nut job ho Sarah Palin, what a fuckin' nutjob!!
Our politicians are so out of touch with their constituencies it's like they are living in another world, they have no concept of what the average American is faced with suffice it to say they become confused with our dissent.
And just so you all know, when "they" talk about the richest 1% of Americans in this country they are talking about themselves. They are quite possibly THE wealthiest people in our nation, how in the hell should people with that much money be involved in OUR collective futures? They shouldn't be , period!
I hope this country starts to wake up like the rest of the world which is standing up and saying, enough is enough, to quote the movie Wyatt Earp "It all ends now..."
Monday, March 21, 2011
Wednesday, March 16, 2011
Thinking about attending Berklee?
You might want to reconsider cheaper and better alternatives, for more info send me an email...ha
Ese Quam Videri my ass! In fact, here's a new motto they should really probably adopt
Non Assis Facis Quidem
Ese Quam Videri my ass! In fact, here's a new motto they should really probably adopt
Non Assis Facis Quidem
Tuesday, March 15, 2011
Bonham "Impersonators"
If you couldn't tell by now, I am a HUGE Zep fan! And being a drummer I can't help but be very, very critical of how drummers on the web and indeed live, approach JHB's general vibe. I haven't seen one person who actually comes even close to understanding what that guy was all about, and I am not being opinionated I am merely being assertive.
Drummer are so caught up in having some sort of bead on what they think is happening and it's sad because the real genius of JHB (John Henry Bonham by the way) is being missed more and more.
I've actually seen some drummers whose approach is to muscle their way through Zep tunes and when they walk away they have a sort of confidence that they've done their part justice, but they have missed the mark utterly with regards to feel and the spectrum of emotion needed. Don't get me wrong I am not being cynical I am merely posting my observations.
What made JHB's tunes and approach great was his level of energy, not good not bad just his, and the fact that he knew those songs inside and out. If you listen to some out takes HERE you can hear John moaning and singing his part while trying to up the ante with regards to the energy of what the rest of the band is giving.
I just get a bit miffed at the drummers of today who think they could step in and fill those shoes, as Gary Burton said during my first day of attending Berklee .."Welcome to Berklee, check your ego at the door"
and if anyone knows a drummer at all you will know all about the ego....HA!!
It comes down to this.... It's not WHAT he played, rather more HOW he played it!!
If you listen to all the recordings you have of LZ both live and in studio you will hear in them some major differences being performed live versus being in the studio. Which is natural because no song should ever be played the same way twice unless your working with some mega pop star. That whole band intrinsically knew that theory...
Jimmy Page knew the difference in what was needed to record tracks but he also knew a live audience would know that it was being "mailed in" if they stuck to the same formula, and I think they knew they wouldn't have been able to "sell" a live show based on that premise.
Some bands do go out on the road and play exactly what was recorded due to some sense of "giving the people what they want" and you know what you're going to get from their shows when you purchase the ticket.
To illustrate further I'll give you an example of what I mean, if I were to play say the Sonny Rollins tune St. Thomas which has a 4 bar drum intro, it would all depend upon how I felt at the gig... did I feel like playing a samba, baion, calypso or would I play it like the original? But there's no way I'm going to play it the same way all the time, because it would grow stale and the audience would see my frustration immediately.
But if I am engaged in the FEEL of the song regardless of the "style" then it becomes something fresh and full of life.
I guess it would all depend on the audience, the room and how I was feeling!
Music is a living, breathing thing and cannot be constrained in what today's music business can understand which is units sold and marketing gimmicks. Led Zeppelin innately understood what was at stake from the beginning and followed it through to the end!
I see all these drummer sites on the web and most of the time I sit back with an open jaw...saying to myself "what the _ _ _ _??? Everything is so packaged and sanitized with a sort of overview, show me a guy who's not the greatest drummer in the world but who's got feel by the truckload and then I might pay attention.
All I see is guys with headphones on and metronomes ticking away in the background which is not a bad thing if you're rockin' your own grooves BASED on the John's style which is where I live when it comes to all of this. I might go to a blues jam and sit in with the band and they'll call a slow blues tune and wouldn't you know it I'm playing I Can't Quit You Babe or using some of John's trademark grooves in a way which fits but isn't immediately noticeable. And to my way of thinking THAT is the art of what John was all about using your abilities in a way which enhance the people you are performing with.
At any rate I just had to get that off my chest, it's a "vibe" thing and if you're gonna pay your respects, do the man justice and do your homework. Bonham was a natural player with his own natural touch and inspiration, and let's face it as my instructor at Berklee used to say "... You can't teach natural"
So long for now , peace!
Drummer are so caught up in having some sort of bead on what they think is happening and it's sad because the real genius of JHB (John Henry Bonham by the way) is being missed more and more.
I've actually seen some drummers whose approach is to muscle their way through Zep tunes and when they walk away they have a sort of confidence that they've done their part justice, but they have missed the mark utterly with regards to feel and the spectrum of emotion needed. Don't get me wrong I am not being cynical I am merely posting my observations.
What made JHB's tunes and approach great was his level of energy, not good not bad just his, and the fact that he knew those songs inside and out. If you listen to some out takes HERE you can hear John moaning and singing his part while trying to up the ante with regards to the energy of what the rest of the band is giving.
I just get a bit miffed at the drummers of today who think they could step in and fill those shoes, as Gary Burton said during my first day of attending Berklee .."Welcome to Berklee, check your ego at the door"
and if anyone knows a drummer at all you will know all about the ego....HA!!
It comes down to this.... It's not WHAT he played, rather more HOW he played it!!
If you listen to all the recordings you have of LZ both live and in studio you will hear in them some major differences being performed live versus being in the studio. Which is natural because no song should ever be played the same way twice unless your working with some mega pop star. That whole band intrinsically knew that theory...
Jimmy Page knew the difference in what was needed to record tracks but he also knew a live audience would know that it was being "mailed in" if they stuck to the same formula, and I think they knew they wouldn't have been able to "sell" a live show based on that premise.
Some bands do go out on the road and play exactly what was recorded due to some sense of "giving the people what they want" and you know what you're going to get from their shows when you purchase the ticket.
To illustrate further I'll give you an example of what I mean, if I were to play say the Sonny Rollins tune St. Thomas which has a 4 bar drum intro, it would all depend upon how I felt at the gig... did I feel like playing a samba, baion, calypso or would I play it like the original? But there's no way I'm going to play it the same way all the time, because it would grow stale and the audience would see my frustration immediately.
But if I am engaged in the FEEL of the song regardless of the "style" then it becomes something fresh and full of life.
I guess it would all depend on the audience, the room and how I was feeling!
Music is a living, breathing thing and cannot be constrained in what today's music business can understand which is units sold and marketing gimmicks. Led Zeppelin innately understood what was at stake from the beginning and followed it through to the end!
I see all these drummer sites on the web and most of the time I sit back with an open jaw...saying to myself "what the _ _ _ _??? Everything is so packaged and sanitized with a sort of overview, show me a guy who's not the greatest drummer in the world but who's got feel by the truckload and then I might pay attention.
All I see is guys with headphones on and metronomes ticking away in the background which is not a bad thing if you're rockin' your own grooves BASED on the John's style which is where I live when it comes to all of this. I might go to a blues jam and sit in with the band and they'll call a slow blues tune and wouldn't you know it I'm playing I Can't Quit You Babe or using some of John's trademark grooves in a way which fits but isn't immediately noticeable. And to my way of thinking THAT is the art of what John was all about using your abilities in a way which enhance the people you are performing with.
At any rate I just had to get that off my chest, it's a "vibe" thing and if you're gonna pay your respects, do the man justice and do your homework. Bonham was a natural player with his own natural touch and inspiration, and let's face it as my instructor at Berklee used to say "... You can't teach natural"
So long for now , peace!
Thursday, January 7, 2010
Work for drummers in these difficult times!
Hey guys,
Just wanted to share with you some outlets of creative employment I've been experimenting with as of late.
The old tried and true method of going to jam sessions to let other musicians know of your availability seems to be a thing of the past, and it's a shame because that was always a very good test of mettle, if you will.
So, I've come up with some new ways of finding work although not very conventional they seem to be working quite well especially in these lean times.
The first avenue I worked on was the "worship" gigs, these are gigs which seem to be quite abundant if you're willing to travel distances and show up consistently.
The average amount I've made is $200 for 2, 1 hour services now this won't make you rich but it will pay that cell phone bill or fill the gas tank for a few weeks while you're trying to find that ever elusive "steady" gig.
Another method I've been developing is "gulp" playing for free...I know, I know...just hear me out.
I've always been one to say if you've got the goods you should be paid a fair and equitable fee for those services however, we are in quite a economic pickle when it comes to music these days.
There are so many bands out there now with the DIY approach to making music, whereby any money being made goes into a band "kitty" which pays for gas, food and lodging if needed. You can negotiate with these groups for a small stipend to cover your expenses of getting your kit to the gig and while it won't be enough to really make any money the return is two fold.
Say this band decides they really dig your approach to their music this could lead to a recording, which is very important for you to start doing by the way, and it could also lead to mini tours, or a full blown national or even international tour.
I wanted to share these ideas with you because I know we are all struggling to make it, and I don't mean "make it" in the sense of being millionaires, but keep in mind you SHOULD be getting paid something.
I once did a gig with a reggae band at a bar in the Boston area for a pitcher of beer and a plate of chicken and rice which led to me getting a gig with a R&B band which was working 6 nights per week and they were right around the corner from where I was living.
Keep your heads up and don't despair, you deserve all the universe has to offer...
and your worth it!!
Just wanted to share with you some outlets of creative employment I've been experimenting with as of late.
The old tried and true method of going to jam sessions to let other musicians know of your availability seems to be a thing of the past, and it's a shame because that was always a very good test of mettle, if you will.
So, I've come up with some new ways of finding work although not very conventional they seem to be working quite well especially in these lean times.
The first avenue I worked on was the "worship" gigs, these are gigs which seem to be quite abundant if you're willing to travel distances and show up consistently.
The average amount I've made is $200 for 2, 1 hour services now this won't make you rich but it will pay that cell phone bill or fill the gas tank for a few weeks while you're trying to find that ever elusive "steady" gig.
Another method I've been developing is "gulp" playing for free...I know, I know...just hear me out.
I've always been one to say if you've got the goods you should be paid a fair and equitable fee for those services however, we are in quite a economic pickle when it comes to music these days.
There are so many bands out there now with the DIY approach to making music, whereby any money being made goes into a band "kitty" which pays for gas, food and lodging if needed. You can negotiate with these groups for a small stipend to cover your expenses of getting your kit to the gig and while it won't be enough to really make any money the return is two fold.
Say this band decides they really dig your approach to their music this could lead to a recording, which is very important for you to start doing by the way, and it could also lead to mini tours, or a full blown national or even international tour.
I wanted to share these ideas with you because I know we are all struggling to make it, and I don't mean "make it" in the sense of being millionaires, but keep in mind you SHOULD be getting paid something.
I once did a gig with a reggae band at a bar in the Boston area for a pitcher of beer and a plate of chicken and rice which led to me getting a gig with a R&B band which was working 6 nights per week and they were right around the corner from where I was living.
Keep your heads up and don't despair, you deserve all the universe has to offer...
and your worth it!!
Foot Technique
What are you views? Drummer are always asking me "..what's the best technique for the bass drum?"
My answer would be whatever works best for you! I've always played with my heel up but I've studied with some jazz guys who say "heel down, always heel down". I just feel it lacks the power needed especially when you're playing in a club with no mic system at all. But, even in the studio I play heel up and have never had a producer or engineer say anything remotely adverse to the sound of the bass drum. I usually get complimented that my bass drum sounds so good, so go figure.
All in all I'd say it's a matter of personal comfort and taste, but I do have to admit when I am playing with a trio or in any combo setting I do notice I don't need to work that hard and guess what? Most of the time in that setting, my heel is down!!!
Weigh in and give your opinion guys, and thanks for joining!! Feel free to tell me about your experiences and share ideas if you're willing.
Have a great weekend!
Dan Dever
My answer would be whatever works best for you! I've always played with my heel up but I've studied with some jazz guys who say "heel down, always heel down". I just feel it lacks the power needed especially when you're playing in a club with no mic system at all. But, even in the studio I play heel up and have never had a producer or engineer say anything remotely adverse to the sound of the bass drum. I usually get complimented that my bass drum sounds so good, so go figure.
All in all I'd say it's a matter of personal comfort and taste, but I do have to admit when I am playing with a trio or in any combo setting I do notice I don't need to work that hard and guess what? Most of the time in that setting, my heel is down!!!
Weigh in and give your opinion guys, and thanks for joining!! Feel free to tell me about your experiences and share ideas if you're willing.
Have a great weekend!
Dan Dever
Monday, December 7, 2009
Work for Drummers in these lean times!
Hey guys,
Just wanted to share with you some outlets of creative employment I've been experimenting with as of late.
The old tried and true method of going to jam sessions to let other musicians know of your availability seems to be a thing of the past, and it's a shame because that was always a very good test of mettle, if you will.
So, I've come up with some new ways of finding work although not very conventional they seem to be working quite well especially in these lean times.
The first avenue I worked on was the "worship" gigs, these are gigs which seem to be quite abundant if you're willing to travel distances and show up consistently. The average amount I've made is $200 for 2, 1 hour services now this won't make you rich but it will pay that cell phone bill or fill the gas tank for a few weeks while you're trying to find that ever elusive "steady" gig.
Another method I've been developing is "gulp" playing for free...I know, I know...just hear me out.
I've always been one to say if you've got the goods you should be paid a fair and equitable fee for those services however, we are in quite a economic pickle when it comes to music these days.
There are so many bands out there now with the DIY approach to making music, whereby any money being made goes into a band "kitty" which pays for gas, food and lodging if needed. You can negotiate with these groups for a small stipend to cover your expenses of getting your kit to the gig and while it won't be enough to really make any money the return is two fold.
Say this band decides they really dig your approach to their music this could lead to a recording, which is very important for you to start doing by the way, and it could also lead to mini tours, or a full blown national or even international tour.
I wanted to share these ideas with you because I know we are all struggling to make it, and I don't mean "make it" in the sense of being millionaires, but keep in mind you SHOULD be getting paid something.
I once did a gig with a reggae band at a bar in the Boston area for a pitcher of beer and a plate of chicken and rice which led to me getting a gig with a R&B band which was working 6 nights per week and they were right around the corner from where I was living.
Keep your heads up and don't despair, you deserve all the universe has to offer...and your worth it!!
Merry Christmas to all!!
Rhythmically Yours,
Dan
Just wanted to share with you some outlets of creative employment I've been experimenting with as of late.
The old tried and true method of going to jam sessions to let other musicians know of your availability seems to be a thing of the past, and it's a shame because that was always a very good test of mettle, if you will.
So, I've come up with some new ways of finding work although not very conventional they seem to be working quite well especially in these lean times.
The first avenue I worked on was the "worship" gigs, these are gigs which seem to be quite abundant if you're willing to travel distances and show up consistently. The average amount I've made is $200 for 2, 1 hour services now this won't make you rich but it will pay that cell phone bill or fill the gas tank for a few weeks while you're trying to find that ever elusive "steady" gig.
Another method I've been developing is "gulp" playing for free...I know, I know...just hear me out.
I've always been one to say if you've got the goods you should be paid a fair and equitable fee for those services however, we are in quite a economic pickle when it comes to music these days.
There are so many bands out there now with the DIY approach to making music, whereby any money being made goes into a band "kitty" which pays for gas, food and lodging if needed. You can negotiate with these groups for a small stipend to cover your expenses of getting your kit to the gig and while it won't be enough to really make any money the return is two fold.
Say this band decides they really dig your approach to their music this could lead to a recording, which is very important for you to start doing by the way, and it could also lead to mini tours, or a full blown national or even international tour.
I wanted to share these ideas with you because I know we are all struggling to make it, and I don't mean "make it" in the sense of being millionaires, but keep in mind you SHOULD be getting paid something.
I once did a gig with a reggae band at a bar in the Boston area for a pitcher of beer and a plate of chicken and rice which led to me getting a gig with a R&B band which was working 6 nights per week and they were right around the corner from where I was living.
Keep your heads up and don't despair, you deserve all the universe has to offer...and your worth it!!
Merry Christmas to all!!
Rhythmically Yours,
Dan
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