Favorite Jack DeJonette cymbal set?

Neal Pert

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Honestly? No preference. If I had to pick a set for ME to use, I would probably pick the Encores or more likely the current ones, but only if they were available to me without the hideous new Sabian logos. :D
 

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Here's a later Sound Creation near commercial setting 1982

I´ve been looking for this for years! Thank you!
There was a clip of "don´t stop the carnival" on yt that I´ve fallen in love with - and then it dissapeared. I´ve asked on forums and even wrote to Montreal looking for a chance to get it into my hands. And now it´s back :)
 
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Thanks for your thoughts. Always great to get insights into the background, the cultural context etc.

However, in the statement I quoted above I would prefer a wording such as “it’s easy to miss out on the whole picture when focusing on technical exercises”, or “there’s a certain danger in..” because I don’t think this necessarily happens when looking at a certain aspect. You can go back and forth between the details and the whole, just like with a picture.
The works of great musicians, composers or improvisers have been subject of analysis for centuries: Bach, Beethoven, Charlie Parker, John Coltrane etc. I’m sure you don’t mean to negate the value of the works of all the scholars, teachers, musicians etc. that have dealt with details of their heroes’ music.
Semantics. (But I think we ARE agreeing here.) So (for you) I'll add "If you try to SIMPLY break it down into exercises....

I'll NEVER disparage or negate the process of breaking down or analyzing someone's approach in music, art, or whatever.... But you HAVE to take that process and BALANCE it with the why (cultural and musical context,) and the where it comes from (as far as musical inspiration,) that's all I was saying. And I believe THIS is what most people miss. The "exersises" (for lack of a better term) are the "easy" part, the why and the where, are the hard parts!

I tell students all of the time, "It's easy to get into a drummer's hands, it's much harder to get into their head."

I think that's sort of what Jon Christensen was getting at as well when he says this, "With some other players, it is too obvious that they are playing things they already know—things they have been practicing."

Regarding Jack, I always get the impression that he is "playing" ideas that have come from the music happening around him in the present tense, not from ideas that he has practiced beforehand. That brings us back to Jack's comments about LISTENING.

Regarding someone like Coltrane, if you break him down to Slonimsky's book (which he spent a lot of time with, and was a revelation to him) you are missing the context. It's the same way that I feel about listening to Jack without a pretty clear understanding-analysis of the Avant Garde drummers, and he talked about that with me. Similarly, many saxophonists study Charlie Parker without EVER trying to get inside of Buster Smith's playing with the Blue Devils (and beyond) which (in my opinion) is a mistake.

And I can't believe that I forgot about my favorite Jack DeJohnette music (and cymbal sounds, if we are going to separate them.) 1969. What cymbals were they?



MSG
 

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Bam!
Amazing drum solo. Whew!


 

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RIDDIM

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I was just going to post a thread about him and Paiste. Any good videos/albums during that era? I'm particularly interested hearing him with Swiss pies.
Be careful what you wish for:

These are all SC Darks, from what I can tell.
 
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