Are Jazz Guys feathering...

Drum Play

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Do you still feather the bass drum at fast tempo's like 280bpm?
 

JDA

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no but it's 'at the ready ' yes
it's a feeling - that remains constant- but you're not "playing" a set "part"
 

Drum Play

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Ok, i asked because at about 200 it gets really hard to maintain the hands and left foot while feathering the bass drum.
 

the sheriff

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That's Idris Muhammad in the vid

The determining factor for me is whether or not the technical pressure of trying to feather at a fast tempo is going to affect the feel. Past a certain point, I leave it out.

Feathering is an essential skill, but it must be balanced correctly. Even a little bit too loud and pointed and you're going to make enemies of bass players. The phrase "felt more than heard" literally applies.
 

Michael Beechey

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when Jo Jo Mayer was researching bass pedals etc...he went back to the golden years when players had the chops to do four on the floor all night at fast tempos...he developed his current foot dvd and his pedal to be able to replicate those vintage chops, that have passed out of fashion these days
 

photobeat

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I have been working on John Riley's "Out in the Open" which is about 300bpm. Super light Kick on 1 and 3 (hat 2 and 4) helps me keep time much better.

From what I have read big band was more 4 on the floor to support pre electric and amplified bass. For Bop, not as necessary.
 

the sheriff

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But, all the bop drummers played 4 on the bass drum, albeit softer than drummers of the big band era. Basically every drummer before Elvin did. Listen to Max Roach carefully - he does it even when soloing.

The problem with playing only on 1 & 3, imo, is that it implies a 2 feel. Some guys do that, but to me it's better to match up with the bass player or just leave the feathering out.
 
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hardbat

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I seem to remember an old Downbeat magazine in which several top drummers were interviewed all at once, in a room. I think I remember Art Blakey, Shelly Manne, and several others, and a very young Tony Williams. Part of the interview became an argument between Tony and the rest of the drummers, over the bass drum. Everyone said you had to have a (very) light 4 on the bass drum, but Tony was saying he didn't play the bass drum at all except for accents. The rest of them thought he was crazy. Now what Tony was advocating is pretty much standard.

I would never feather 1 and 3 unless I wanted a 2-beat feel. If I couldn't keep up all four, I'd leave it out completely. And even when I can keep up all four, I'd consider leaving it out depending on the musical style.
 

Michael Beechey

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hardbat said:
I seem to remember an old Downbeat magazine in which several top drummers were interviewed all at once, in a room. I think I remember Art Blakey, Shelly Manne, and several others, and a very young Tony Williams. Part of the interview became an argument between Tony and the rest of the drummers, over the bass drum. Everyone said you had to have a (very) light 4 on the bass drum, but Tony was saying he didn't play the bass drum at all except for accents. The rest of them thought he was crazy. Now what Tony was advocating is pretty much standard.
I always wondered how much woodshedding tony had to do to get that 4 on floor with left foot at up tempos feeling so flawless...I assume that other than creative genius he was like most of us, having to work on technical challenges...like he did his push pull ride style
 

photobeat

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You would not really hear it if you were next to my kit. It is so light. Meant to support the bass in sound but not definition. I am talking about a 300 bpm tune so not a 2 beat feel at all being so light and fast.


the sheriff said:
But, all the bop drummers played 4 on the bass drum, albeit softer than drummers of the big band era. Basically every drummer before Elvin did. Listen to Max Roach carefully - he does it even when soloing.

The problem with playing only on 1 & 3, imo, is that it implies a 2 feel. Some guys do that, but to me it's better to match up with the bass player or just leave the feathering out.
 

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