Hi Everyone, and a very Happy New Year from a snowy Berlin in Germany.
The Wishbone Ash tour of 2007 has been very successful so far with better and more sold out performances than ever.
So many good nights thanks to enthusiastic audiences and the band performances. For pure on stage vibe with a fabulous over enthusiastic 1000 people, the Fabrik in Hamburg was probably one of the best.
We shot a film of the concert for dvd release, which should be available sometime later in the year. It definitly was a great night I can tell you, and will be delightfully interesting to see again when it comes out.
I had every intention of practicing on this tour.
I had my drums set up in the garage at home over the christmas holiday time, and trying to get in at least an hour a day practice time. It was my intention to keep it up while touring- even on my pad. But road travel prevailed!
While I was drumming at home I was enjoying a non strict series of lots of rythmic jamming with myself.
Starting with a basic 4/4 at a moderate tempo and after awhile when the groove was swinging I'd move it into 6/8, then 12/8 keeping the time constant and not really filling out. After awhile it felt amazing. In fact - It felt as though I'd been bustin' chops. One thing it assured me of was that I have good groove and can swing with it too.
I got together with my friend and drumming guru, Kofi Baker. He's Gingers son of course, and a drum nut! He is the business and means it when he plays. He showed me a couple of African style rhythms.
For example the hi hat foot playing 6's, over the kick on the 4's. then playing off beat toms. Very much a Ginger Baker trademark, and with a little patience magic can be achieved!
I'lll move back onto rudiments when I get back home after this tour. It always works!
I have a couple of friends that I get together with back in OC. We meet usually once a week and just jam!
Taking it right out too. I think we'll maybe record and make some song ideas come alive soon.
I have some stories I told a couple of musician friends that they found interestingly amusing.
One was when I got booked by a regular producer friend of mine, Tot Taylor, to do session in Abbey Road studios for a Japanese film soundtrack. I was being brought in as a percussion addition to a piece that was in a later part of the session. And the London Symphony Orchestra themselves performing the music.
About 45 musicians in all. And the conductor and Japanese arranger as well as the film director and his entourage.
I quizzed Tot about the reading involved when he was initially booking me. (I was a better sight reader several years back, sad but true to say) He told me the part I was required for was like a lament and had a military snare part to it. And that I should only bring a small section of my drums. "Ok, sounds like a good job".
When I got there, they orchestra were having there lunch break at the restaurant in the studio. It was like the busiest place ever. I got my equipment in and miked before they got back so no time was wasted. Every musician is on musician union rates, so it adds a lot if you don't keep a drill.
When they all came back the conductor came over and introduced himself. I recognised the tuned percussion player to my right as Frank Ricotti. Frank's probably played on every motion picture soundtrack there is and was, as well as many huge hits. An excellent professional! Next to him was one of Irelands top Boudhran player. I was in good company.
Eventually after a couple of level checks the conductor started to get everyone in place and playing. The first thing that struck me was that everyone seemed to be out of time. It took me a moment to realise that this was an alien situation to me. I was used to being in control with the timing on a session, in this setting the conductor is. Everyone looks to him. Myself included.
Not all music is as metronomic and kind of straight forward as rock pop and even jazz for that matter.
Then there was the look I got from the conductor when the piece started and I came in on my part. I was obviously too loud!
I stared closer at my part and it did not read fortissimo (loud, louder) Yikes! I'm sweating, 'do not lose your cool'. 'The whole orchestra is not looking at you', and 'I am not holding up a session which is costing thousands by the minute'.
After a take I heard the arranger ask me if I'd come in on the right place. I swallowed, 'I think so' I said down the mike. I could hear the Japanese arranger barking in the background. And then I heard "sorry, our mistake, it's good"!
I learned and very quickly a lot in a couple of minutes that maybe some drum and many other players never get the chance to experience. the motto is "Dont Panic"! and I'm glad to say that was not the last time I worked with that conductor and orchestra.
Anyway I hope that amused you a little. There's lots more to tell too, like playing to a click track for the first time on a Mickie Most session.. ha ha!
Stay tuned.
Ray
|