I’ve been intrigued by drums, drummers, and drumming since the age of 12 when my sister gave me some brushes and told me to swish them around on a vinyl album sleeve. I was fortunate to begin my drumming career at the top, which gave me options as to how I could manage whatever came next. I spent 41 years playing the music I wanted with whom I wanted and where and when I wanted, in an endless search for the unusual and the unlikely. This brought me into contact with the great, the good, and the downright hopeless, from all of whom I learned that life isn’t about ‘finding’ things or ‘finding yourself,’ it’s about creating things and thus creating yourself.
My book is a study of creativity in the context of expert popular music instrumental performance. What do expert drummers do? Why do they do it? Is there anything creative about it? If so, how might that creativity inform their practice and that of others in related artistic spheres?
Applying ideas from cultural psychology to findings from research into the creative behaviors of expert drummers, I demonstrate the ways in which these people experience creativity in music performance and offer fresh insights into in-the-moment interactional processes in music. I draw on the perceptions of a group of internationally renowned, peak-career professionals and my own experience to introduce and guide the reader through the many dimensions of creativity in drummer performance.
If you want to know about drummers, Brennan’s book will guide you through the cultural, psychological, economic, technological, and entrepreneurial shifts which have collectively drawn the perimeter of the ballpark on which today’s drummers must perform. Now that we can all agree that drums are real instruments, that drummers are real musicians, and drumming is a real art form, this book provides an instrument-led social history that accords the subject an appropriate level of dignity and respect. Compulsory reading for the inquisitive citizen.
The drum kit has provided the pulse of popular music from before the dawn of jazz up to the present day pop charts. Kick It, a provocative social history of the instrument, looks closely at key innovators in the development of the drum kit: inventors and manufacturers like the Ludwig and Zildjian dynasties, jazz icons like Gene Krupa and Max Roach, rock stars from Ringo Starr to Keith Moon, and popular artists who haven't always got their dues as drummers, such as Karen Carpenter and J Dilla. Tackling the history of race relations, global migration, and the changing tension between…
Drummers may have their own distinct culture, but in common with most musicians, they prioritize mastering their instrument. Unhappily that can lead to hours of enforced purgatory as limbs and fingers are bullied into behaving correctly on demand. Mind and fear can hold back progress. Werner argues persuasively that mindfulness, self-love, and patience can achieve better results. The suspension of ego, intellect, and judgement; the letting go of perfectionism; the surrendering and accepting of ‘whatever comes out’ are all surer paths to the goal of effortless mastery. It’s an essential read for teachers and autodidacts alike.
Playing music should be as simple and natural as drawing a breath, yet most musicians are hindered by self-consciousness, apprehension, self-doubt, and stress. Before we can truly express our inner self, we must first learn to be at peace and overcome the distractions that can make performance difficult. Kenny's remarkable work deals directly with these hindrances, and presents ways to let our natural creative powers flow freely with minimal stress and effort. Includes an inspiring Includes Online Downloadable code of meditations designed to initiate positive thought. This book has become a favorite of many musicians who credit it with changing…
This biography of a person that many consider to be the greatest drummer that we’ve had so far, is excellent on several fronts. First, it is written by a long-standing friend and roommate Mel Tormé. Tormé was there when it happened, and as a highly rated jazz singer experienced in Rich’s world, he is able to help us understand why it happened. Second, it speaks volumes about American music and entertainment in the context of the Swing era. Rich could be mean, prickly, and arrogant, and then turn on a dime into a sweetheart. It says much for their friendship that, despite periods of estrangement, it was able to withstand such vacillations. I interviewed the drummer in his Dorchester hotel suite in London in 1968 and I got the sweetheart. Finally, as Jerry Lewis says on the back cover, the book is “written by a champ about a champ”.
Mel Tormé is world renowned as a leading jazz vocalist. He has performed in MGM musicals, co-wrote one of the enduring Christmas classics, "The Christmas Song (Chestnuts Roasting on an Open Fire)," and was recently profiled in Life magazine as one of the greatest living jazz singers. But Tormé has also written five books, including The Other Side of the Rainbow, Tormé's account of his year working on the Judy Garland television show--considered the best portrait of Garland ever written. In this book, Tormé writes a brilliant biography of his friend of forty years--the drummer Buddy Rich. Buddy Rich was…
This book is about collective collaboration and how musicians learn to improvise. Berliner interviews more than fifty professional musicians from whom it’s clear that improvisation requires a very high level of musical and social cooperation. He explores the alternative ways - aural, visual, kinetic, verbal, emotional, and theoretical - in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in improvisation.
Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to music outside of performance, and the complexities of composing in the moment leads to a clearer understanding of jazz improvisation as a language, an aesthetic, and a tradition. It’s a dense read and you’ll need to want to know something about jazz. But then, if you want to know about kit drumming, you’ll need to know something about jazz.
This unprecedented journey to the heart of the jazz tradition is both fascinating and enlightening.
This text reveals how musicians, both individually and collectively, learn to improvise. It aims to illuminate the distinctive creative processes that comprise improvisation. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner demonstrates that a lifetime of preparation lies behind the skilled improviser's every note. Berliner's integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic and a tradition. The product of…
Many of the best drummers write, or otherwise initiate, their own music for the very best reason: because they have to. This book is an oral history of Panamanian drummer Billy Cobham at the height of his powers, preparing his oeuvre for a 17-piece big band engagement under the guidance of British arranger and trumpeter Guy Barker. The gig is a 6-night run at London’s Ronnie Scott’s Club. Author Brian Gruber hangs out with the band for the duration to capture the verbal and musical fruits of an improvised series of encounters with elite performers. While the story pivots around the drummer, it is nevertheless an excellent multi-viewpoint guide over six decades as to how musicians collaborate and survive in an ever-changing music landscape.
Few musicians have transformed a genre like Panama-born, New York-raised Billy Cobham. "SIX DAYS AT RONNIE SCOTT’S: Billy Cobham on Jazz Fusion and the Act of Creation" is a one-of-a-kind oral history of a legend’s life work. From his early days with Horace Silver and Dreams to the epochal Bitches Brew sessions with Miles Davis to the breakthrough Mahavishnu Orchestra and beyond, here is a first-ever deep dive into six decades of musical innovation. The book’s setting is six days at iconic London jazz club Ronnie Scott’s, as Britain’s hottest arranger Guy Barker orchestrates and leads a big band performing…
Me and The Times offers a fresh perspective on those pre-internet days when the Sunday sections of The New York Times shaped the country’s political and cultural conversation. Starting in 1967, Robert Stock edited seven of those sections over 30 years, innovating and troublemaking all the way.
His memoir is rich in anecdotes and admissions. At The Times, Jan Morris threw a manuscript at him, he shared an embarrassing moment with Jacqueline Kennedy, and he got the paper sued for $1 million. Along the way, Rod Laver challenged Stock to a tennis match, he played a clarinet duet with superstar Richard Stoltzman, and he shared a Mafia-spiced brunch with Jerry Orbach.
Me and The Times: My wild ride from elevator operator to New York Times editor, columnist, and change agent (1967-97)
An intimate, unvarnished look at the making of the Sunday sections of The New York Times in their pre-internet heyday, back when they shaped the country’s political and cultural conversation.
Over 30 years, Robert Stock edited seven of those sections, innovating, and troublemaking all the way – getting the paper sued for $1 million, locking horns with legendary editors Abe Rosenthal and Max Frankel, and publishing articles that sent the publisher Punch Sulzberger up the wall.
On one level, his memoir tracks Stock’s amazing career from his elevator job at Bonwit Teller to his accidental entry into journalism to his…
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