SLAGWERKKRANT POSTORDERS
door Tierolff Muziekcentrale

Klik hier en bestel online op de website van Slagwerkkrant Postorders Slagwerkkrant Postorders is een initiatief van Slagwerkkrant, tegenwoordig geheel verzorgd door Tierolff Muziekcentrale in Roosendaal. De website van Slagwerkkrant Postorders is eveneens ondergebracht bij die van Tierolff. Daar kan je online boeken en video's bestellen. Kies voor de zoekfunctie of kies voor het downloaden van de volledige catalogus van Slagwerkkrant Postorders (2,8Mb)

DE VOLLEDIG HERZIENE DRUK VAN DE DRUMMETHODE IS UIT.
Nu met cd 'Hans Eijkenaar speelt de Drummethode'
De Drummethode is hét boek voor de beginnende drummer en voor iedereen die zijn stijlen en technieken wil bijspijkeren. De Drummethode heeft in de afgelopen jaren ruim 3000 exemplaren verkocht. Het boek is een compilatie van de uitgebreide cursus die in Slagwerkkrant-edities 7 tot en met 27 werd gepubliceerd. Het is een kennismaking met allerlei drumstijlen- en technieken en bedoeld voor beginnende drummers, of drummers die hun tekortkomingen willen bijvijlen. Bij elke nieuwe druk kreeg het boek een update. De vierde druk is nu uit, voor het eerst inclusief cd. Op Hans Eijkenaar speelt de Drummethode wordt vrijwel alles uit het boek voorgespeeld: alle technieken en stijlvoorbeelden en daarnaast een drietal inspirerende improvisaties door Eijkenaar. Het boek is bovendien helemaal aan de actualiteit aangepast. Hans Eijkenaar schreef ook een aantal nieuwe pagina's: drum 'n' bass, afro-cubaans en braziliaans en leverde een aantal r&b- en hiphopgrooves voor de pagina's rock-fusion-dance. De drummethode is uniek wegens tekst en uitleg van de lesstof in de kantlijn, zodat het boek desgewenst begrijpelijk is. Op de cd Hans Eijkenaar speelt de Drummethode vind je: * 98 tracks * 111 grooves * alle basistechnieken * lekkere fills * en drie inspirerende improviaties op basis van de grooves en technieken uit het boek * schitterende drumsound! Adviesprijs De Drummethode € 19,95, inclusief cd. Bestel 'm via Slagwerkkrant op deze website: klik hier, of bel Slagwerkkrant 020-6755308. Of bestel 'm via Slagwerkkrant Postorders, 0165-541255. Of haal 'm bij de betere muziekboekhandelaar.

JOHNNY RABB BOEK EN VIDEO'S BIJ SLAGWERKKRANT POSTORDERS
Johnny Rabb lanceert revolutionaire speeltechnieken en hippe, coole grooves in zijn zo'n beetje allemaal tegelijkertijd uitgebrachte boek- en vidoeserie. Nu te koop via Slagwerkkrant Postorders! Johnny Rabb market zichzelf heel Amerikaans, maar de kwaliteit is tegelijkertijd verbluffend. Waar je echt stijl van achterover zal slaan, is zijn video Freehand technique. Niet de allerbeste studiokwaliteit, niet heel erg lang, maar wel een sensationeel nieuwe techniek: hij demonstreert zijn eenhandsroffeltechniek, inventief toegepast in grooves en fills. Moet je gewoon zien! De video Rhythm Saw techniques toont zijn andere uitvinding. Met zijn eigen geribbelde Johnny Rabb Rhythm Saw-stok, jawel, kan hij scratch-effecten op drums imiteren. Erg leuk dus wel. De video Hiphouse groove, tot slot, is gericht op de grooves die je met al die technische grappen kunt gaan maken. Je ziet, we gaan gewoon lekker mee in Rabb's marketingtaal, maar zo vaak kom je zoiets revolutionairs niet tegen, toch? En dan is er nog het 152 pagina’s dikke boek Jungle/drum n' bass, met 2 cd's, waarin Rabb al zijn kunsten in noten en begeleidende teksten systematisch en zorgvuldig uitlegt. Als je dit allemaal beheerst, zul je de eerste zijn in de Benelux!
The freehand technique video €45,00
Rhythmsaw techniques video € 29,00
Hiphouse groove € 45,00
Jungle/drum 'n' bass € 39,63.
Surf naar Slagwerkkrant Postorders en bestel online!

Spoorboekje Russ Miller's Transitions & Drum set crash course
Op de pagina Slagwerkkrant Postorders in Slagwerkkrant mei-juni 2001 wordt de release aangekondigd van Russ Miller's boek Transitions, en de video Drumset crash course, die dit boek en zijn vorige gelijknamige boek begeleidt. Hier vind je het spoorboekje dat de video begeleidt - nergens anders te vinden dan op deze Slagwerkkrant-website!

Russ Miller - Drumset crash course (Warner video - meer dan 2 uur)
Part 1 Developing musicianship
0-12 min. a. timekeeping - meter
subdivisions: straight eights 1/8 - 1/16 - 1/8 triplet - 1/16 triplet
developing your feel
12-15 min. b. dynamics
external dynamics
internal dynamics
15-18 min. c. note placement
spot-on
playing behind
playing ahead

Part 2 Developing your physical ability
18-19 min. a. facility
19-24 min. b. independence
two limb independence
three imb independence
four limb independence

24-27 min. song Beimcaleria (4 limb example)

Part 3 The crash course format
27-29 min. 5 part style analysis:
1. style history
2. drum set mix
3. basic groove
4. groove variations
5. fill/solo ideas
29-36 min. rock drumming, incl. playalong
36-46 min. R&B drumming, incl. song spiritual thang
46-54 min. hiphop drumming, incl. song beggin'
54-1.01 min. second line drumming, incl. song go-jo
1.01-1.11 min. jazz drumming, incl. playalong
1.11-1.17 min. fusion drumming, incl. song frigiano
1.17-1.23 min. ballad concepts, incl. song in a night
1.23-1.34 min. afro-cuban drumming, incl. song salseado
1.34-1.40 min. 6/8 afro-cuban, incl. song mestizo
1.41-1.45 min. afro-braziian drumming, incl. samba playalong
1.45-1.50 min. baiao drumming, incl. song high tide

Part 4 The casual date
1.50-1.53 min. bossa nova
1.53-1.54 min. chachacha
1.54-1.55 mni. rhumba
1.55-1.57 min. calypso
1.57-1.58 min. reggae dropgroove
1.58-1.59 min. 4 on the floor reggae
1.59-2.01 min. reggae playalong
2.01-2.02 min. tambora
2.02-2.03 min. country

Drumset crash course duurt zo meer dan twee uur en in dit tijdsbestek komt een enorme hoeveelheid studiemateriaal langs, op en prettige manier gebracht door Miller. De analytische benadering maakt deze video tot de beste lesvideo die dit jaar verschenen is. Veelvuldig kijken maar!

Russ Miller's boek Drum set crash course is een van die zeldzaam systematische boeken die ingaan op allerlei stijlen van drums spelen. Een opvoeding tot allround drummer zullen we maar zeggen, met inachtname per stijl van: 1) historie 2) drumsetmix 3) basisgroove 4) groovevariaties 5) fill- en solo-idee'n. En dat voor rock, r&b, hiphop, second-line, jazz, fusion, ballads, afro-cuban 4/4 en 6/8, afro-braziliaans, baiao, bossa, calypso, country en reggae.

Het gloednieuwe boek van Russ Miller heet Transitions en is een opnieuw zeer systematisch werk om onafhankelijk met twee, drie en vier ledematen te leren spelen.
Russ Miller - Drumset crash course, bk/cd 87.35
Russ Miller - Transitions, bk/cd 69.85
Russ Miller - Drum set crash course, video 89.95
Te bestellen bij Slagwerkkrant Postorders. Klik hier.

Extra Engelstalige informatie over de video
CLASSIC JAZZ DRUMMERS: SWING AND BEYOND
Zie voor discografie van de drummers: www.hudsonmusic.com

ARTIST BIOGRAPHIES By Joel Klauber and Dr. Bruce Klauber WARREN
(in opdracht van videoproducent Hudson Music geschreven - oorspronkelijk verschenen op de website van Hudson Music).

"BABY" DODDS (1898-1959): Though Baby Dodds' main body of work took place in the 1920s with Louis Armstrong and other New Orleans groups, he remains one of the most influential drummers who ever lived. He was a favorite and an inspiration to generations of percussionists, from Gene Krupa to Max Roach. This silent footage of Dodds was synched up to actual Dodds quasi-instructional recordings, and gives us a rare glimpse into the methods of a legend at work.

"BIG" SID CATLETT (1910-1951): Catlett's playing spanned a number of eras, including his work with the Louis Armstrong big band shown here, Armstrong's small group of all-stars and with Charlie Parker and Dizzy Gillespie. Still spoken of with reverence today, Catlett was one of the only swing-era drummers to make the transition to be-bop.

RAY BAUDUC (1906-1988): Bauduc became famous as a member of Bob Crosby's Bobcats, where he recorded the famed "Big Noise From Winnetka" with Crosby bassist Bob Haggart. One of the major swing and dixie drummers and a key figure in the dixieland revival moment of the mid-forties, Bauduc made some concessions to modernism by the early 1950s. Here, with Jack Tegarden's small group, Bauduc uses the ride cymbal.

GENE KRUPA (1909-1973): Krupa, the man who made the drums a solo instrument, made this film short in 1940, less than two years after he left Benny Goodman's orchestra. The early Krupa band really didn't find an identity until a year later when Roy Eldridge and Anita O'Day joined the band. "Jungle Madness" is a bow towards Krupa's hit with Goodman, "Sing, Sing, Sing," complete with tom-tomming, clarinet work from Sam Musiker and trumpet solos by Shorty Sherock.

LIONEL HAMPTON (born 1908): Hamp started out as a drummer before he switched to vibraphone, and his wild drumming and stick twirling remained a Hampton feature wherever he appeared. The drummer driving the band in the background is Curley Hamner, who was with Hamp for decades, and provided the heavy, r&b-oriented shuffle/backbeat that the leader favored (note the 15" hi-hats) that in many ways was a precursor to rock and roll. Hamner, in fact, during time outs with the band, played on many early r&b records, some for the legendary, Chicago-based Miracle Records. Hamner is also listed as co-composer to two of Lionel Hampton's biggest hits, "Hey-Ba-Ba-Re-Bop" and "Hamp's Boogie Woogie." Guest bop vocalist on this wild clip is none other than Betty Carter, known then as "Betty Be-bop."

GUS JOHNSON (1913-2000): The ever-adaptable and formally schooled Johnson came to Count Basie fold after a three-year stint with Earl "Fatha" Hines. This 1951 clip was filmed during the two-year period when Basie had to break up his big band in favor of a small group for economic reasons. Johnson, equally at home with swing or bop as he demonstrates here with soloists Clark Terry, Buddy DeFranco and Wardell Gray, stayed with Basie when the Count re-formed his big band in 1952. It has often been said that Johnson was the best drummer Basie had since "Papa" Jo Jones.

PANAMA FRANCIS (born 1918): Francis had been playing drums in Cab Calloway's famed big band since 1947, and stayed on when the leader broke down to the small group featured here, called "The Cabaliers," the following year. Francis was at home in virtually every musical format, whether in the bop-flavored drumming heard here, as a master swing drummer with The Savoy Sultans in the early 1970s and 1980s, and as among the first of the jazz drummers to crossover to rock and rhythm and blues studio work. He appeared on hundreds of early rock records, including a few by Buddy Holly. Trumpeter here is Jonah Jones, who later went on to some degree of fame as leader of a popular quintet specializing in pop tunes played with a shuffle beat, and muted trumpet lead.

JOE HARRIS (born 1926): Classically trained, Harris was one of the first drummers to grasp the complexities of be-bop drumming and played for Dizzy Gillespie (including the famed Gillespie/Charlie Parker concert at Carnegie Hall) from 1946 to 1948. Harris is versed in symphonic work, tympany, Latin rhythms, and taught at the University of Pittsburgh from 1972 to 1986. Note his relaxed work as a timekeeper, melodic soloist and understated technical work on this bop standard, "Salt Peanuts," one of the fastest tempos ever counted off in any era. A rare glimpse of one of the legendary orchestras in jazz history--and a drummer who is an unsung hero--in full cry.

BUDDY RICH (1917-1987): The various 1940s big bands of "the world's greatest drummer" were short-lived affairs, as times were just not good for big bands in the late 1940s. Though sporting bop soloists like Terry Gibbs, Zoot Sims, Al Cohn, Johnny Mandel and Allan Eager, Rich's ensembles, as well as the master's playing, veered between swing and bop. Here, he trots out the old drum feature he made famous during his Tommy Dorsey days, "Not So Quiet Please." Whatever the style or era, his technique is incredibly timeless. Note how the film switches from "canned" to "live" sound at the beginning of Rich's solo.

KENNY CLARKE (1914-1985): Clarke virtually invented modern jazz drumming, as the first player to use the ride cymbal for timekeeping and the left hand and right foot for accents, as early as 1937 when he was with the Teddy Hill band. One of the top figures in be-bop's development, he is responsible in some way, shape and form for the way every percussionist plays today. Though not known as an extended soloist, these two clips show he had technique to spare. Each of the drum breaks stand as mini-melodic sonatas for percussion.

STAN LEVEY (born 1925): Levey, a left-hander, was one of the very few white drummers involved in the formative years of be-bop and accepted as one of bop's most important drummers, along with Clarke and Max Roach. He joined Charlie Parker's group as early as 1944 and played with the famed Parker/Gillespie group a year later. He moved to the west coast in 1954, joining the Howard Rumsey group shown here, and was a major figure in what was called "west coast jazz" or "the cool school." Levey's crisp, melodic style continued to have more in common with bop than cool, and he inspired every group he ever played in. Sadly, for the music world, he retired from drumming in the late 1960s to devote his creative energies to photography.

JOE MORELLO (born 1928): Morello, among the most outstanding technicians ever produced by jazz, first worked with pianist Marian McPartland before gaining international fame with Dave Brubeck from 1956 to 1967. Like Buddy Rich, Morello's style spans all styles and eras, as shown on this brief drum solo taken from "Take Five," still considered the best-selling single jazz recording ever made. He was a pioneer in playing odd meters (this solo is in 5/4 time) and was one of the first drummers to become active in jazz education as a teacher and a clinician.

HAROLD JONES (born 1940): Jones was classically trained at the American Conservatory in Chicago. His playing on Eddie Harris' version of "Exodus" helped make that single a bestseller. But Jones really blossomed with Count Basie. Basie had been through quite a few drummers since Sonny Payne left in 1965, but when Jones joined up in 1967, he proved to be just the drummer Basie was looking for. Jones remained until 1972, and through the course of his tenure with The Count, helped spark and revitalize that organization via now-legendary recordings of Sammy Nestico arrangements. Jones is the quintessential big-band drummer with a crisp, clean sound notable for the high-pitched snare drum crack. He wastes no element of motion, has near-perfect time, sets up figures beautifully, is a driving accompanist, and plays wonderful fills only when necessary. It's no surprise that Jones later became the drummer of choice of famed singers Sarah Vaughan and later, Natalie Cole.

PHILLY JOE JONES (1923-1985): One of only three pieces of known existing film of a drummer who continues to be among the most influential who ever lived. These "home movies" were shot in a New York night club in the late 1970s, possibly during Jones' tenure as leader of his Tadd Dameron tribute band, Dameronia. Jones had a long history in jazz with the likes of Dexter Gordon, Charlie Parker and Dizzy Gillespie before really coming to international prominence with Miles Davis from 1955 to 1958. "The explosiveness of his playing and the subtlety of his cross-rhythms helped to expand the role of drums in jazz," one historian noted. Jones, as seen here, was also quite the dapper showman, as well as melodic, technically able, humorous and a subtle soloist. Philly Joe, by the way, was one of Buddy Rich's favorites.

FRANKIE DUNLOP (born 1928): Dunlop, an underrated and unsung giant of jazz percussion, was probably the best drummer Thelonious Monk ever had next to Art Blakey. Dunlop spent three years with Monk, from 1960 to 1963; drove the Maynard Ferguson big band from 1958 to 1960; and worked with just about every jazz legend from every era, including Charlie Mingus, Duke Ellington, Sonny Rollins, Earl Hines and Lionel Hampton. Dunlop's melodic sensitivity and ability as a true improviser at virtually every tempo are very much in evidence in this beautifully crafted drum solo. Surprisingly, Gene Krupa was so taken with Dunlop's playing, that he engineered Dunlop's first drum endorsement deal with the Slingerland company.

LOUIS BELLSON (born 1924): Bellson will be recorded in history as the man who first used two bass drums as a part of the drum kit (in the mid-1940s), as well as an astounding soloist and driving timekeeper. In fact, the Gretsch drum company (Louis is using Gretsch drums in this clip) was said to be the only outfit that would build Bellson a two-bass setup. His skills as an accompanist in groups of all sizes are underrated, however, as he drove the orchestras of Ellington, Goodman, Basie and all the rest, including dozens of smaller groups. Bellson is also a superb arranger and composer and was among the first to actively become involved in the jazz education movement. "The world's greatest drummer," as Duke Ellington described him, is seen and heard here in his pristine prime, proving that only Buddy Rich could equal him in terms of technique.

"PAPA" JOE JONES (1911-1985): If Max Roach and Kenny Clarke are considered the fathers of modern drumming, than Jonathan "Jo" Jones has to be the godfather. By way of his work with Count Basie's band from 1936 to 1944 and 1946 to 1948, Jones redefined the concept of a drummer. He lightened up on the four-beats-to-the-bar standard of bass drum playing, was possibly the first to use the ride cymbal as the main timekeeping accessory, and did things with the hi-hats that are still being studied today. Jones' ability as a melodic and humorous soloist reminds one of a virtuoso tap dancer who makes everything look easy. Jones continues to be a major influence on everyone who played--and plays--drums.

DON LAMOND (born 1921): Lamond's contribution to jazz drumming came mainly during his years with Woody Herman's famed First and Second "Herds," from 1945 (replacing Dave Tough) to 1949. Though he named Sid Catlett and Buddy Rich as influences, Lamond's "big band bop" style was quite original. He dropped bombs in the most unlikely places, simplified fills to the bare bones, but swung that band like no other. "It wasn't Woody Herman's band," vibist Terry Gibbs said. "It was Don's band." In this rare clip with the showmanly Hampton and speedy Bellson, Lamond more than holds his own technique-wise. In fact, those few who have seen this film believe that Lamond emerged as the winner!

SONNY PAYNE (1926-1979): Payne's considerable skills as a rhythm player and big band accompanist have been overshadowed by his reputation as a soloist and stick-twirling showman. This clip, however, helps demonstrate just what Payne could do for a big band and why he was the drummer of choice for Frank Sinatra, and after his stint with Basie, with Harry James until 1973. Payne couldn't have had a better teacher, either. His father was the legendary Chris Columbo, and Basie told Columbo that Sonny Payne was the best drummer he ever had. Payne does apply his natural knack for showmanship even when serving as an accompanist, but note the ease, drive and enthusiasm he brings to this chart.