Jeff Hamilton is absolutely one of the greats. Just an observation that I've made over many many years as a drummer : A lot of drummers say, and really believe, that when they play "spang-spangalang" on the ride cymbal they're only striking once and letting the stick bounce the other 2 times. But if you look closely at Jeff's hand you can see what I've always maintained : he's actually doing throw-finger-finger. Meaning that the initial stroke is a throw, followed by two quick strokes on the lift, executed with the middle and ring fingers. We all do it (well, most of us) but it's hard to recognize at tempo.
The other masters don't generally mention this in their seminars, probably because they think it is too obvious, but being physically relaxed and staying relaxed is a prerequisite for playing effectively-in fact if you are not loose, it is difficult to play well, especially before an audience when you must keep the band together. Only practie loose. Stop if you feel tension.
Totally agree. I'd be tempted to accuse you of only referring to the cymbal in technical terms, ie focusin on the method and not the effect on the music, but it's actually the theme of this whole video. The technical aspect is the how and not the why but the how is the subject of this discussion. The why is another topic but what you commented on was the how and actually your point about walking away when you feel tension is a real experience for anyone who has tried this at all. It is why I can play this style and timing today but I only wish I had friends like you in my youth advising me like you do others here today. You are right in my opinion and in my experience. Once tension is felt let the stick go and rest the arm. The threshold increases but not by working through pain barriers. Like you recommend, it's by developing relaxed form habits. The music question I mention above can be addressed later in a student who has the technical stuff developed. The danger I warn younger students of is that technique is not the bible for playing musically. The music is the personality you bring to the sound and rhythm which can often mean augmentation of a drilled form. Ie breaking a former rule. But your insight on tension and not fighting through that is perfect advice for new comers and I'm adding on top that the final technique is only a means to longevity of playing but not the music one ought eventually acquire. I have you get drumming friends who explain their musical ideas through their technique which for me is erroneous and misleading. I'm not accusing you of that but on the contrary accusing myself of almost accusing you of that until I properly read your comment. To sum up, your advice on knowing when to break from practice is a hugely valuable lesson that I'll be glad to share with my own students. I'll cite you as my source when asked btw
I knew drummer, John Von ohlen about that same time. I had a red sparkle Slingerland set & I lived blocks from the 500 track. The more loose , (like a Rag Doll), the better. The mechanics should never be straining you. Relaxation is the best way to let the music live or pass trough you...
Get the CD of Diana Krall playing in Paris. He is fantastic. Giant audience with full orchestra and yet he still plays this exact small set of drums and cymbals. Fantastic!
haha ... wrong , Stefan ... if you think achieving that level of relaxation comes in a month or two I am guessing you are pretty young and haven't been playing very long . I have been playing for almost 40 years and trust me , it isn't a month or two process .
Been gigging for many, many years and have always tried to avoid drum solos. Not sure why, but I always tighten up playing a solo before an audience. I am never uptight about playing before a crowd, big or small, but a solo is a whole other story,
+raphael aurand ...actually it´s a REMO Gold Crown Bebop Kit Jeff plays. He uses Remo Fiberskyn 3 Diplomat Heads on all Drums (on Bass Drum Fiberskyn both batter and resonant) - no Fiberskyn Ambassadors, they are too thick.
Ben Carney I was talking to my teacher about Jack Dejohnette. His body movement seems so stiff, but it's some of the most fluid and groovy playing out there.
There's no one way to do it. What works for Brian Blade isn't going to work for everyone. Brian is *far and away* my favorite drummer, but having seen him live a few times, my back hurts just watching him. I want him to take Pilates or something.
If you look at the ride symbol long enough it looks inside out. Weird optical illusion and now I can't unsee it
Wow!!!!
Whoa ya it looks like it's facing us! Haha crazy good catch
lol wow
There was no reason you had to tell us that
@@Wuschi2001 😂😂😂
Jeff Hamilton is absolutely one of the greats. Just an observation that I've made over many many years as a drummer : A lot of drummers say, and really believe, that when they play "spang-spangalang" on the ride cymbal they're only striking once and letting the stick bounce the other 2 times. But if you look closely at Jeff's hand you can see what I've always maintained : he's actually doing throw-finger-finger. Meaning that the initial stroke is a throw, followed by two quick strokes on the lift, executed with the middle and ring fingers. We all do it (well, most of us) but it's hard to recognize at tempo.
666 U2WB s a z cE
Rodney Johnston : I couldn’t have said it any better.
Jeff Hamilton is an amazing drummer. I saw a YT video with Buddy Rich playing with a quartet in 1959 where he plays a similar lick. Great lesson.
The other masters don't generally mention this in their seminars, probably because they think it is too obvious, but being physically relaxed and staying relaxed is a prerequisite for playing effectively-in fact if you are not loose, it is difficult to play well, especially before an audience when you must keep the band together. Only practie loose. Stop if you feel tension.
Totally agree. I'd be tempted to accuse you of only referring to the cymbal in technical terms, ie focusin on the method and not the effect on the music, but it's actually the theme of this whole video. The technical aspect is the how and not the why but the how is the subject of this discussion. The why is another topic but what you commented on was the how and actually your point about walking away when you feel tension is a real experience for anyone who has tried this at all. It is why I can play this style and timing today but I only wish I had friends like you in my youth advising me like you do others here today. You are right in my opinion and in my experience. Once tension is felt let the stick go and rest the arm. The threshold increases but not by working through pain barriers. Like you recommend, it's by developing relaxed form habits. The music question I mention above can be addressed later in a student who has the technical stuff developed. The danger I warn younger students of is that technique is not the bible for playing musically. The music is the personality you bring to the sound and rhythm which can often mean augmentation of a drilled form. Ie breaking a former rule. But your insight on tension and not fighting through that is perfect advice for new comers and I'm adding on top that the final technique is only a means to longevity of playing but not the music one ought eventually acquire. I have you get drumming friends who explain their musical ideas through their technique which for me is erroneous and misleading. I'm not accusing you of that but on the contrary accusing myself of almost accusing you of that until I properly read your comment. To sum up, your advice on knowing when to break from practice is a hugely valuable lesson that I'll be glad to share with my own students. I'll cite you as my source when asked btw
I knew drummer, John Von ohlen about that same time. I had a red sparkle Slingerland set & I lived blocks from the 500 track. The more loose , (like a Rag Doll), the better. The mechanics should never be straining you. Relaxation is the best way to let the music live or pass trough you...
Nice info, but suggestion.....adjust camera angle so we can actually see the guys hand as he demonstrates on a ride cymbal.
no google plus I
Hamilton is brilliant! Always learn from watching him.
One of the greatest jazz artists especially on brushes ❤👍👍
Love his small kits.
So easy to cart around..
These kind of quick tips are valuable information. .great learning tools. Thanks! !
Great sharing of knowledge and insight...
Get the CD of Diana Krall playing in Paris. He is fantastic. Giant audience with full orchestra and yet he still plays this exact small set of drums and cymbals. Fantastic!
Very interesting. Thanks Jeff! You're my most favorite jazz drummer!!
Brilliant❗️I wish these vids were longer but thank you‼️
That’s was great. I needed to hear that. Thanks. !!
That touch.. just wow!
great lesson for any level
is this a one-mic only set-up for the drum? sounds pretty good
such a basic concept ... incredibly difficult to achieve
haha ... wrong , Stefan ... if you think achieving that level of relaxation comes in a month or two I am guessing you are pretty young and haven't been playing very long . I have been playing for almost 40 years and trust me , it isn't a month or two process .
Could you in future videos on the drums maybe film from above or behind the kit so you can clearly see the hands? thanks
Number 1 jazz drummer
Good drummer👍
Jeff is great!
What about Archie Bell & The Drells?
If you dont tense up your sound will tighten up playa
still playing those old Remo's!
Actually, He just designed his own kit with mapex recently, because Remo stopped making drums even for their own artists!
He'll always play remo fiberskyn heads through. Top and bottom!
Been gigging for many, many years and have always tried to avoid drum solos. Not sure why, but I always tighten up playing a solo before an audience. I am never uptight about playing before a crowd, big or small, but a solo is a whole other story,
Thank you sir!!! 1 shangalang shangalang shangalang
That was good!
most important information for all drummers
the zone man.... when you're there you know it.
Pleaaaaaaaaaaaaaaaase can someone tell me what are those drumheads that he has on this Yamaha kit? Craving for them
+raphael aurand ...actually it´s a REMO Gold Crown Bebop Kit Jeff plays. He uses Remo Fiberskyn 3 Diplomat Heads on all Drums (on Bass Drum Fiberskyn both batter and resonant) - no Fiberskyn Ambassadors, they are too thick.
god bless u Bernard !
👍🏽🔥🔥👍🏽
Good advice but right now I'm thinking of how Brian Blade plays...His body always seems to be super stiff
Ben Carney I was talking to my teacher about Jack Dejohnette. His body movement seems so stiff, but it's some of the most fluid and groovy playing out there.
There's no one way to do it. What works for Brian Blade isn't going to work for everyone. Brian is *far and away* my favorite drummer, but having seen him live a few times, my back hurts just watching him. I want him to take Pilates or something.
don't get me started on ari hoenig
Matt Garstka's drumming posture is straighter than my casual sitting posture.
I have to admit, I tighten up when the guys around me are hitting clams! 🤪
Sweep the leg, sweep the leg, sweep the leg
Don't forget Jeff's time with the Gene Harris Trio.
elvin jones put the accent on the middle beat - day GA day, day GA day.
Von Ohlen!
Hey drummers.. Watch this.. Easy!
i'm gonna tatoo your words
Too many matched grip single strokers out there. Come on kids, join us!
I mean, I thought both fills sounded pretty good
I was fortunate to get a lesson from Kenny Clarke who more or less invented that ride pattern.
Whiplash brought me here