Thanks Rick that was really helpful and something I was never taught specifically. I particularly noticed the order of your hands when switching. For jazz it's always the right then left when going from brushes to sticks and the opposite when going back to brushes.I think that time where it's a mix of the two sounds really helps create a smooth sound and feeling.
He sells his drumming books on his website, Google Rick Dior, I think the website is Acousticbarn.com. His drum set and percussion book is like a textbook, well over 100 pages of material of all genres
Hi Andre I normally just turn the stick over. That works for me since I use the stick butt end out when I play any king of latin rhythm (cross rim on the SD) and traditional for everything else. You can see me do that during the video. Thanks
Excellent explanation on this topic. Thank you. Let me ask you something: I usually try to make that switch during the solo as it is developing, and it coincides when the bass player goes from "two feel" to walking bass, then two things can happen: the bass player doesn't understand and stays on "Two feel" or, the soloist suddenly ends his solo. For some reason, none of them understood the dynamics. The question is: what to do in that case? Or should we previously agree? Thank you.
Hi Miguel That's a great question. Usually a sensitive bass player will be listening and go with you when you switch and go to four but not always. There is no written rule here. If you listen to the great Bill Evans trios, most notably the one with Paul Motion and Scott Lafaro you will notice that Lafaro rarely walked in a conventional manner but just increased his interplay with Evans as did Motion, so there are different ways to approach things. That being said, usually a good soloist will audibly wind down their solo at the last chorus so you know whats going to happen. It's really just a matter of everybody listening to each other which does not always happen. Just remember that you are the accompanist in this situation so let the soloist dictate things...unless they need a kick it the ass! Thanks Rick
@@rickdior Your answer is very interesting. Thank you. Certainly the best examples can be found in all the Bill Evans trios, with drummers like Motian, Morell, La Barbera, Zigmund and Larry Bunker. Thank you very much for your reply and for all the videos you have shared.
Great vid Rick. I have a question: the brush stroke you did, where you use the rim to “vibrate” the brushes. I saw Dave Weckle do that but couldn’t replicate it. What’s the secret to that stroke?
How do you tune your 10 inch Tom? I’ve been having trouble getting a bebop tuning on mine that isn’t very high (or higher than my snare when it’s off). Yours sounds great. Love your videos man!
Hi Martin For these past several jazz videos I tuned the drums tonally...that is Floor tom=F# middle tom=A# high tom =F# (octave above floor tom) and the snare slightly lower than the high tom. This is because I was trying to demonstrate some melodic soloing. I normally tune my high tom between an E and G. It depends on the drum and heads you are using. The old Gretsch drums are on the dry side so you can tune them pretty high. In my opinion it should be higher than the snare when its off. Hope this helps. Rick
I‘m in the same age as you were when you were struggling so this was very helpful! Thank you for this great advice.
Holy shit! Your playing is JAW-DROPPING!
Thanks Michael
Outstanding! Honest egoless invaluable info.......... Thank you!
Hi Preston
Thanks for watching
Thanks Rick that was really helpful and something I was never taught specifically. I particularly noticed the order of your hands when switching. For jazz it's always the right then left when going from brushes to sticks and the opposite when going back to brushes.I think that time where it's a mix of the two sounds really helps create a smooth sound and feeling.
Excellent Rick! It’s harder than it looks though, definitely need to practice that one 😎
A great lesson which must have useful applications in the practice realm too...
killer content. just killer. thanks!
Thanks Rick, selling transcription of your lessons like jazz licks, soloing ideas would be great.
Love your work, Cheers from down under.
He sells his drumming books on his website, Google Rick Dior, I think the website is Acousticbarn.com. His drum set and percussion book is like a textbook, well over 100 pages of material of all genres
What a great idea for a video Rick! Love it.
Thanks for another wonderful video !!
Loving these videos rick!
Always checked out Kenny Washington on uptempo tunes and his switches are flawless.
That's right! I love his playing, especially with Bill Charlap.
This video really helps me a lot! Thank you so much!
And can you please list some recording that you mentioned in the video?
Great Rick, can you also demonstrate how to switch from match grip to traditional grip and opposite
Hi Andre
I normally just turn the stick over. That works for me since I use the stick butt end out when I play any king of latin rhythm (cross rim on the SD) and traditional for everything else. You can see me do that during the video.
Thanks
Excellent explanation on this topic. Thank you.
Let me ask you something: I usually try to make that switch during the solo as it is developing, and it coincides when the bass player goes from "two feel" to walking bass, then two things can happen: the bass player doesn't understand and stays on "Two feel" or, the soloist suddenly ends his solo. For some reason, none of them understood the dynamics. The question is: what to do in that case? Or should we previously agree?
Thank you.
Hi Miguel
That's a great question.
Usually a sensitive bass player will be listening and go with you when you switch and go to four but not always. There is no written rule here. If you listen to the great Bill Evans trios, most notably the one with Paul Motion and Scott Lafaro you will notice that Lafaro rarely walked in a conventional manner but just increased his interplay with Evans as did Motion, so there are different ways to approach things. That being said, usually a good soloist will audibly wind down their solo at the last chorus so you know whats going to happen.
It's really just a matter of everybody listening to each other which does not always happen. Just remember that you are the accompanist in this situation so let the soloist dictate things...unless they need a kick it the ass!
Thanks
Rick
@@rickdior Your answer is very interesting. Thank you.
Certainly the best examples can be found in all the Bill Evans trios, with drummers like Motian, Morell, La Barbera, Zigmund and Larry Bunker.
Thank you very much for your reply and for all the videos you have shared.
Great vid Rick. I have a question: the brush stroke you did, where you use the rim to “vibrate” the brushes. I saw Dave Weckle do that but couldn’t replicate it. What’s the secret to that stroke?
Hit the rim with edge of the brush closest to where the rubber meets the wires. Then bend the brush forward. It's called a flutter.
which brush u dig for soft jazz
,,,, and which skins on snare
How do you tune your 10 inch Tom? I’ve been having trouble getting a bebop tuning on mine that isn’t very high (or higher than my snare when it’s off). Yours sounds great.
Love your videos man!
Hi Martin
For these past several jazz videos I tuned the drums tonally...that is Floor tom=F# middle tom=A# high tom =F# (octave above floor tom) and the snare slightly lower than the high tom. This is because I was trying to demonstrate some melodic soloing. I normally tune my high tom between an E and G. It depends on the drum and heads you are using.
The old Gretsch drums are on the dry side so you can tune them pretty high.
In my opinion it should be higher than the snare when its off.
Hope this helps.
Rick