It was an honor to be included in a group of guys that got to play with Buddy’s band and also to work with Neil Peart as the producer. Cathy Rich invited us play and to pick anything in Buddy’s book…I prepared and it was a blast. The idea was for all these different drummers to do THEIR take on the songs they picked, and not try to be Buddy or something they weren’t. I asked the guys who they liked and they mentioned Matt Sorum…they dug his interpretation. The band was so very pleasant and supportive, which made things very comfortable. The session was done at The Power Station in NYC…they were there for 2 weeks doing drummer after drummer. Neil’s drums were set up and he would practice between sessions for his turn, which I believe was the last one of all of us. Not long after that I did a gig w the band at The Manhattan Center in NYC. Manu Katche recorded right before me…also the same weekend as my performance at the Modern Drummer Festival. Getting to play with such a historic band and have them be so easy to work with made for a very memorable experience. Quite a weekend, one I’ll never forget!
I once attended a master class with you in the early 90's, and you gave me great advice on my jazz playing. I asked you what was wrong with my left hand, you listened for a minute and then answered, "Your right hand." Seeing the puzzled look on my face, you explained to me that my left hand wasn't going to be driving the band, and that my right hand time needed to be way more consistent in order for it to matter. It was the most "Mr. Miyagi" thing any teacher ever told me, and I thank you so much for it.
@@audibletapehiss3764 You’re welcome! I had the good fortune of taking a lesson from John Riley once and for one hour I played quarter notes on the ride cymbal, while he was explaining to me how that simple thing is the foundation for driving a band. Eye and ear opening to say the least…!!!
David is showing how versatile he is, playing traditional big band style. He is an incredible jazz/funk fusion player, though - just listen to an old Tower Of Power album - his playing is so tight and totally in sync it's like a machine.
If you've got a tight & versatile & flexible & skilful & musical drummer & who is also very susceptible to the mood & the vibe of each piece ...then you are golden!!! AND he is definitely one of them !AND he's got his style!
Very cool seeing a guy like DG playing this song. The guys that played on this project are all so versatile. The BR band was awesome on this track as well.
Saxes: Andy Fusco (Lead), Dave D'Angelo, Steve Marcus, Walt Weiskopf, Jack Stuckey (B) Bones: John Mosca, Rick Trager, George Gesslein Tpts: Dave Stahl, Ross Konikoff, Greg Gisbert, Scott Wendholt B: Chuck Bergeron, P: Jon Werking, D: David Garibaldi
Robert Dore No doubt that he's one of the most soulful players around :) By the way did you know that Buddy himself actually liked DG:s style of playing?! David is also a super nice guy been fortuned to have met him a few times.
Nice!! Dave did you ever wish you were in the Tonight Show band? My Dad was a huge big band jazz aficionado and always kept me up to date on his favorite guys. Stan Kenton was one. 🥰🥰. Yer one of the greats dude. 🤩🤩🤩
Cool that you mention Stan Kenton. My dad took me to see him play back in '74 or '75. He was gone a few years later, but damn, what a show that was! The "Kenton in Hi-Fi" album from '56 is a masterpiece and I still listen to it all the time.
I played this exact arrangement in my high school jazz band. We played it slower and here it sounds like the trumpets changed a part or two to make it a little less boring. So it's not the exact same arrangement but it's very, very close. We played it at a contest in Gatlinburg, TN in the spring of 1989. It even has the same sax soli. That's right, soli.
Nice! In my high school in 1989 in Berkeley, CA, we played Nutville, Waltz of the Mushroom Hunters and Time Check from Buddy, Pools and Northbeach Breakdown from Woody among other tunes. Good times!
+aletsiko It's LrllRllRllKRL played as 16th notes. Starts on 2 on the Snare, ends on 1 on the high Tom, followed by a crash on the and of 1. Hope that helps.
I don't understand this comment. The ride cymbal is in triplets, this fill is in sixteenth notes, so it clearly breaks up the rhythm of the ride cymbal - which is what makes it interesting in the first place. This fill (just like almost any fill) is a combination of a)rhythm b) sticking and c)orchestration all of which I explained. The way I understand your comment is: "Hey, just play whatever you like with any sticking, orchestration and rhythm as long as it swings." That just doesn't answer the question.
Well, this clearly is a sticking thing. It doesn't have anything to do with the ride pattern - are we talking about different fills? I've worked extensively out of Davids books and they are basically all about stickings - like exactly this type of stuff. You should check them out, they are great and give deep insight in his playing. I'm not saying fills shouldn't be in the pocket btw. Of course they should.
You don't think about them while playing. You think about them while practising so you don't have to think about them while playing. That's my take on it at least. IMO if you don't work on stickings you will sooner or later end up playing the same things over and over. This discussion seems to go in circles, so I'll leave it at that. The original question has been answered in the first comment already anyway.
DG is a great drummer, but this is a cold, skilled, mechanical performance. He had two takes to get it right, and nailed it. If he had a chance to play this tune every night for two weeks it would really start sounding ferocious.
Yup. To swing a big Jazz band you have to play the ride cymbal on top of the beat. DG plays it in the center of the time and that gives it the performance that you mentioned.
This is one time where, I couldn't stand David's interpretation. Great band as always. I know a hundred people that could have killed it. Putting all modesty aside, myself included...
Pretty much a straight chart read. Any decent high school or college stage band drummer could have played this note for note. The point of these vids is to inject the individuals style into the piece and that was lacking.
cpu554 Well the point of jazz drumming is not always to highlight the drummer by playing complex fills after every 4 bars, doing so makes you look like an amateur jazz drummer. its to highlight the soloists and the band. If you watch, every one of the drummer's hits in this video is well placed and accents what the band is playing. When the solos happen, he drops out, allowing the soloist to be focused on. Any fool can play hard fills with enough practice.
The Stuffed Lemme put it to you this way,if I'd never heard the chart before, Buddy was playing and I didn't know who the drummer was,i would guess that it was Buddy because of the drumming style. The way that this one was done ,given the same situation,it could have been any generic drummer from A to Z. Having played in stage band ,there are those of us that remember you got records of the new charts being played precisely as they were written by the book for reference. Why would I bother buying a recording if everybody that recorded it sounded exactly the same? The point of these recordings is for these famous drummers to inject their styles into the playing. I saw Jeff Berlin in San Jose at the Cabaret ,it was a small crowd and Jeff just smiled and said look,we know why you're here,and that's to watch us burn on our axes,so pull your chairs down front cause we get it. Same difference.
It was an honor to be included in a group of guys that got to play with Buddy’s band and also to work with Neil Peart as the producer. Cathy Rich invited us play and to pick anything in Buddy’s book…I prepared and it was a blast. The idea was for all these different drummers to do THEIR take on the songs they picked, and not try to be Buddy or something they weren’t. I asked the guys who they liked and they mentioned Matt Sorum…they dug his interpretation. The band was so very pleasant and supportive, which made things very comfortable. The session was done at The Power Station in NYC…they were there for 2 weeks doing drummer after drummer. Neil’s drums were set up and he would practice between sessions for his turn, which I believe was the last one of all of us. Not long after that I did a gig w the band at The Manhattan Center in NYC. Manu Katche recorded right before me…also the same weekend as my performance at the Modern Drummer Festival. Getting to play with such a historic band and have them be so easy to work with made for a very memorable experience. Quite a weekend, one I’ll never forget!
You did a great job covering a swinging chart. Played that chart in both HS and college. Loved it. You did Buddy proud.
Lovely playing David. Very crisp cymbal sound. What are these cymbals for the track?
I once attended a master class with you in the early 90's, and you gave me great advice on my jazz playing. I asked you what was wrong with my left hand, you listened for a minute and then answered, "Your right hand." Seeing the puzzled look on my face, you explained to me that my left hand wasn't going to be driving the band, and that my right hand time needed to be way more consistent in order for it to matter. It was the most "Mr. Miyagi" thing any teacher ever told me, and I thank you so much for it.
@@audibletapehiss3764 You’re welcome! I had the good fortune of taking a lesson from John Riley once and for one hour I played quarter notes on the ride cymbal, while he was explaining to me how that simple thing is the foundation for driving a band. Eye and ear opening to say the least…!!!
Great work Dave. Very tasteful and crisp. You play really draws you into the song.
he nailed this practically note for note!!!l Garibaldi is a monster!!
I freaking LOVE the sax soli in this chart!
David is showing how versatile he is, playing traditional big band style. He is an incredible jazz/funk fusion player, though - just listen to an old Tower Of Power album - his playing is so tight and totally in sync it's like a machine.
Cheshire Cat
If you've got a tight & versatile & flexible & skilful & musical drummer & who is also very susceptible to the mood & the vibe of each piece ...then you are golden!!! AND he is definitely one of them !AND he's got his style!
Steve Marcus is burning for Buddy if you ask me! Dayum!
i love the trombone guy.. he's really feelin' the sax solo..hahaha nice man!
Very cool seeing a guy like DG playing this song. The guys that played on this project are all so versatile. The BR band was awesome on this track as well.
my favorate drummer all my life.
Saxes: Andy Fusco (Lead), Dave D'Angelo, Steve Marcus, Walt Weiskopf, Jack Stuckey (B)
Bones: John Mosca, Rick Trager, George Gesslein
Tpts: Dave Stahl, Ross Konikoff, Greg Gisbert, Scott Wendholt
B: Chuck Bergeron, P: Jon Werking, D: David Garibaldi
Thanks for the credits! The sax player sounds so o o good!!!
In a simple way and ever ! What a great !
Awesome!
Yeah, amazing take. Damn awesome hearing the tenor player from way the F back then!!! Damn can still play his ass off.
Well david played it very cool and safe...more chill than burn...
Playing this song in middle school jazz band. This. Song. Is. Awesome.
Great composition by Don Menza!!!
I'm a big fan of Davids'...T O P...🤘
Steve Marcus.One of the long time players with Buddy.Possibly 12 years.
Cool seeing DG playing swing here i think he's does a good job here :)
+Daniel Olson He swings his ass off here :-) such a soulful player
Robert Dore No doubt that he's one of the most soulful players around :) By the way did you know that Buddy himself actually liked DG:s style of playing?! David is also a super nice guy been fortuned to have met him a few times.
That sax player proves that a person can really play their ax beautifully, no matter how silly they look.
Those YRC's sound sooo good =)
Kick ass sax
Pretty good, Dave.
Nice!! Dave did you ever wish you were in the Tonight Show band? My Dad was a huge big band jazz aficionado and always kept me up to date on his favorite guys. Stan Kenton was one. 🥰🥰. Yer one of the greats dude. 🤩🤩🤩
Cool that you mention Stan Kenton. My dad took me to see him play back in '74 or '75. He was gone a few years later, but damn, what a show that was! The "Kenton in Hi-Fi" album from '56 is a masterpiece and I still listen to it all the time.
Great solo by Steve Marcus!
The sax man is knowed !
Buzz Osborne playing the sax solo !!! That's not what I expected!!!!
Marcus channeling his inner Radegaast. Still, such a jam.
I played this exact arrangement in my high school jazz band. We played it slower and here it sounds like the trumpets changed a part or two to make it a little less boring. So it's not the exact same arrangement but it's very, very close. We played it at a contest in Gatlinburg, TN in the spring of 1989. It even has the same sax soli. That's right, soli.
Nice! In my high school in 1989 in Berkeley, CA, we played Nutville, Waltz of the Mushroom Hunters and Time Check from Buddy, Pools and Northbeach Breakdown from Woody among other tunes. Good times!
Oh REALLLLLLLLY! HAAAAAAAAAAAAAAAAAAAAAA!!!!
Dave Weckl signature maple with 2 snare bed.. it's strange to think but it's very similar!!
Dave Gari. lo màximo !
Nah JD you heard right It's ol uncle Neil!
sounded like Neil Peart at the beginning but i'm probably just tripin
That was Neil. He was the producer. An off season project for him.
Which snare is it then?
Missing snare part certain part of the music.
I wanna hear David yell at the band like a buddy used to.
Nice. Does anyone know who the bass player is?
Chuck Berghofer, I think.
@@joeday4293 Wrong Chuck, it's Chuck Bergeron.
Can somebody explain to me the fill in 4:48 please? :D
It's awesome and I can't figure it out
+aletsiko It's LrllRllRllKRL played as 16th notes. Starts on 2 on the Snare, ends on 1 on the high Tom, followed by a crash on the and of 1. Hope that helps.
+DrSticktrick Perfect! Thanks a lot!
I don't understand this comment. The ride cymbal is in triplets, this fill is in sixteenth notes, so it clearly breaks up the rhythm of the ride cymbal - which is what makes it interesting in the first place. This fill (just like almost any fill) is a combination of a)rhythm b) sticking and c)orchestration all of which I explained. The way I understand your comment is: "Hey, just play whatever you like with any sticking, orchestration and rhythm as long as it swings." That just doesn't answer the question.
Well, this clearly is a sticking thing. It doesn't have anything to do with the ride pattern - are we talking about different fills? I've worked extensively out of Davids books and they are basically all about stickings - like exactly this type of stuff. You should check them out, they are great and give deep insight in his playing. I'm not saying fills shouldn't be in the pocket btw. Of course they should.
You don't think about them while playing. You think about them while practising so you don't have to think about them while playing. That's my take on it at least. IMO if you don't work on stickings you will sooner or later end up playing the same things over and over. This discussion seems to go in circles, so I'll leave it at that. The original question has been answered in the first comment already anyway.
I do Jack.
This wasn’t outstanding but I️ do think he is one of the most underrated drummers out there. You just never hear about him
@tattoo39369 lol the rolling stone list is bullshit
Yeah total chill...throw in some cuts bud
DG is a great drummer, but this is a cold, skilled, mechanical performance. He had two takes to get it right, and nailed it. If he had a chance to play this tune every night for two weeks it would really start sounding ferocious.
Yup. To swing a big Jazz band you have to play the ride cymbal on top of the beat. DG plays it in the center of the time and that gives it the performance that you mentioned.
@@farshimelt perhaps Mike Clark would have been a better pick
drewper73, if you found this chart to be boring...I think your jazz band might not have been playing it right.
Oh I thought he'd be playing his brass piccolo snare... :-/
yes all the below commentators could have EASILY done it better.......bahaaaaaaaaa
Love David Garibaldi. But this doesn't swing. (At least the drums don't).
This is one time where, I couldn't stand David's interpretation. Great band as always. I know a hundred people that could have killed it. Putting all modesty aside, myself included...
stiff
Way too tight. No bounce or swing. Not his bag. Good try!
Stop posting on the internet. Do you even know who David Garibaldi is?
kinda have to agree here.
Pretty much a straight chart read.
Any decent high school or college stage band drummer could have played this note for note.
The point of these vids is to inject the individuals style into the piece and that was lacking.
cpu554 Well the point of jazz drumming is not always to highlight the drummer by playing complex fills after every 4 bars, doing so makes you look like an amateur jazz drummer. its to highlight the soloists and the band. If you watch, every one of the drummer's hits in this video is well placed and accents what the band is playing. When the solos happen, he drops out, allowing the soloist to be focused on. Any fool can play hard fills with enough practice.
The Stuffed Lemme put it to you this way,if I'd never heard the chart before, Buddy was playing and I didn't know who the drummer was,i would guess that it was Buddy because of the drumming style.
The way that this one was done ,given the same situation,it could have been any generic drummer from A to Z.
Having played in stage band ,there are those of us that remember you got records of the new charts being played precisely as they were written by the book for reference.
Why would I bother buying a recording if everybody that recorded it sounded exactly the same?
The point of these recordings is for these famous drummers to inject their styles into the playing.
I saw Jeff Berlin in San Jose at the Cabaret ,it was a small crowd and Jeff just smiled and said look,we know why you're here,and that's to watch us burn on our axes,so pull your chairs down front cause we get it.
Same difference.
Swing seems foreign to him & doesn't have flow, more triplets! Stick to that funk you do all so well!