Anyone here study with Bob Guilotti?

russgold

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I'm sad that I didn't get to study with him in Boston and now, tragically it's too late. I'd love to have some insight from one of his students if there's anyone here thats studied with him.
Thanks!!
 

Paaaaaatina

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I'm sad that I didn't get to study with him in Boston and now, tragically it's too late. I'd love to have some insight from one of his students if there's anyone here thats studied with him.
Thanks!!
Yes I studied with him for 2 years while in the umass Amherst jazz department. Incredible teacher, drummer and human.
 

Paaaaaatina

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This would have been ‘03-‘05 range. He was big on Garibaldi’s ‘future sounds’ and permutations. He taught the Syncopation book inside out, upside down and backwards. His playing is very melodic and he would play/teach Charlie Parker’s omnibook solos note for note, orchestrated for drum kit. His ‘wig out’ warm up is on YouTube I believe. Not surprisingly he had a ton of energy and passion. His approach to practice was very regimented so his playing could be completely free. He was playing a five piece birch Eames kit with a 19” bass drum at the time.
 

russgold

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This would have been ‘03-‘05 range. He was big on Garibaldi’s ‘future sounds’ and permutations. He taught the Syncopation book inside out, upside down and backwards. His playing is very melodic and he would play/teach Charlie Parker’s omnibook solos note for note, orchestrated for drum kit. His ‘wig out’ warm up is on YouTube I believe. Not surprisingly he had a ton of energy and passion. His approach to practice was very regimented so his playing could be completely free. He was playing a five piece birch Eames kit with a 19” bass drum at the time.
Very cool. Thanks for the reply. I’m most interested in the kit interpretation of the Omnibook stuff. If you wouldn’t mind, could you write some more about that? I’d love to work on that!
thanks!!
 

Paaaaaatina

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Very cool. Thanks for the reply. I’m most interested in the kit interpretation of the Omnibook stuff. If you wouldn’t mind, could you write some more about that? I’d love to work on that!
thanks!!
Yeah pick a tune and learn to sing it and play the melody/bird’s solo on snare with accents. Then begin to interpret/move it around the kit. Easier said then done of course. The devil is in the details and the nuances in phrasing and how you chose to orchestrate it. I think I started with ‘moose the mooch’. Playing a 5 piece like Bob usually did can allow for a greater melodic range.
 

russgold

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Yeah pick a tune and learn to sing it and play the melody/bird’s solo on snare with accents. Then begin to interpret/move it around the kit. Easier said then done of course. The devil is in the details and the nuances in phrasing and how you chose to orchestrate it. I think I started with ‘moose the mooch’. Playing a 5 piece like Bob usually did can allow for a greater melodic range.
That’s awesome. Thanks so much for the details. Gonna give that a whirl.
 

jmele2

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Yes I studied with him for 2 years while in the umass Amherst jazz department. Incredible teacher, drummer and human.
Woah- hey fellow UMass Amherst jazz guy. I was a few years before you, but nice to meet you on here.

Bob was a great teacher for sure. A legend in the Boston area for his playing and teaching!

J
 

russgold

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Woah- hey fellow UMass Amherst jazz guy. I was a few years before you, but nice to meet you on here.

Bob was a great teacher for sure. A legend in the Boston area for his playing and teaching!

J
When were you guys there? I graduated Berklee in 84 and hung around Boston until around 92.
 

thenuge

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I didn’t study with him, but saw him with the Fringe as much as possible. Very eye opening. They (as well as Joe Maneri) taught me that free music is exactly the same as music in time; that you still have play with people and not against them. Lots of notes/minimal notes doesn’t matter. They still have to be the right notes with the right energy behind them.
 


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