At LAST! This is what I want to learn. Please have more jazz lessons that are as good as the ones Steve Lyman are giving us here OR have Steve back many more times.
This guy is zen. It's so good to hear a beautiful kit played so respectfully and efficiently. "I'm not dependent on phrases starting on a downbeat to keep my place". Wise words.
This kind of groove, i always had it in my head since child, but never had the hability to put into the drum. So that really gives me a nostalgic feeling, this solo.
I think a good example of a master of Textural drum soloing and playing in general is Brian Blade. Marcus Gilmore too of course, but I immediately thought of the countless Brian Blade moments that felt transcendent and genius to my ear, but in essence were nothing groundbreaking necessarily chops-wise, but the story being told and the mastery of his textural space on his kit is INSANE. His whole sound sounds so intentional and conscious the entire time. Great lesson Stevely Man!
Hey Steve! I played with Ben Johnson, Dave & Joe, Sam Bevin, in SLC around 20 years ago. As the drummer guy with the fro. Don't know if you remember. I used to play the 9th & 9th coffee shop with Doug and others before it moved. Saw you on the cover of Drumhead & was like "ALRIGHT STEVE!!" Bought it. Great interview and hangs with Jimmy Chamberlain. Love the stuff your doing for Drummeo & how far you've come 😲.
I always wonder why people sounds like I’ve started on a big dangerous quest into the universe of lord of the rings or narnia when I say I’ve started exploring jazz as a beginner, then I watch this and understand that they think about modern jazz and bebop while I think about big band drumming, cause this? Yes this is difficult jazz drumming for sure! I wouldn’t know where to begin, this is a high level of jazz soloing 🤩🤩
Hello, I would like to see classes on how to follow a jazz theme, from beginning to end, with all its parts, bridges etc. So far there are thousands of videos that teach to play the drums in jazz from the technical but none that explains and shows on a subject part by part from beginning to end and I think it is a good opportunity to teach that. Greetings from Argentina, thanks!
This was amazing! I hate to say so little about such a brilliant performance and technique but all I can say is this is exactly what I've been looking for and more, to expand my abilities. I'm blown away.
Reminds me of Mark Guiliana with more cymbals. Love it. My sound has always been these type of hats. I have always had my home kit setup with these holy style crashes as hats. I need to revisit that
Love this lesson. More drumming vocabulary has been added to my playing :). Reminds me a little of Jojo Mayer kind of drumming since he also plays something jazzy.
As far as being melodic and harmonious goes, I have my 5 toms and 18-inch bass drum tuned to an E minor 7 chord/arpeggio. (E-B-E-G-B-D) All combinations of those intervals are in harmony with each other.
Ari and Jim his Professors! thats why his contemporary jazz approach is killing so that set up, can anyone please tell if that Legend dry ride is a bit flat shaped and aprox weight??? sounds awesome!
Great video! Is a Craviotto kit really worth it? I would love one but is it worth the money? It sounds great obviously. After hearing it here I just don't hear much difference between Craviotto or Yamaha, Mapex or Gretsch or anything else really. Maybe I'm being an idiot. I work at a drum shop and worked at a different one for 17 years. I've tuned hundreds of kits. Minor differences in the high end kits. Very minor. Eye opening for sure. It all depends on heads, tuning and how it's being played.
I really like this lesson from the gentleman on the drums. It is odd to me that the gentleman behind the computer is so greatly misunderstanding what he is driving at here for the first half. Perhaps they could have had a conversation before the recording of the video to become aligned here.
gaps (silences) are underutilized, and they heighten the drama of the playing, like a pregnant pause when speaking. non-vocalists and non-wind instrumentalists (like drummers, pianists, string players) can greatly benefit from "taking breaths" on their instruments, otherwise known as "cantabile" (singing style) what i don''t understand is - how does he not get his sticks caught in the holes of his hi hat?
always wondered why I see jazz drummers switching between traditional grip and matched. I'm noticing this guy does it a lot for playing different velocity of notes. matched for louder, and traditional for much quieter taps/ghost notes. is that it or is there more to it than better control for louder vs quieter notes?
This is a good question. I've asked many drummers about this, and though I haven't found an exact consensus, my perspective is this: Each grip has physical advantages. Matched, obviously, can close the gap best between the sound of each of your hands. Traditional inherently puts less downward force on your stick with each stroke as well as less friction on the way up, which can benefit quieter hits and technically bounce longer and more evenly. However, a good drummer can render the inherent advantages of a grip moot by developing the opposite grip to a point where is it no longer significantly (significantly meaning in the context of music, and not your physical limit) "weaker" in any respect. Thusly, the physical advantage of a grip is not why a player would use one over another at the highest level of drumming (this doesn't mean to say that one drummer might use a grip simply because they are physically stronger with it). Instead, a drummer should associate different "sounds" with each grip--this includes things as nebulous as the mood and story of your playing as well as things as specific as genres and licks/chops. If you consider each grip a separate tool in your arsenal, you're actually mentally creating two unique presets for yourself to embody as you play. This ultimately widens your drumming vocabulary even though it involves no physical change beyond flipping your stick around. Now, I am by no means at such a level where I fully imbue this concept. When I watch Lyman play, however, I think something similar to this is what's going through his head. I hope I've helped to answer your question!
yes it is i wonder if its a ludwig supralite? but i wonder that, compared to the craviatto awesomeness and $$$$, why choose such an inexpensive albeit great sounding snare...
Ok it is. I see the ludwig badge once he starts playing. I have the same snare, its a ludwig supralite 14X8. Im letting the secret go but who cares lol.
Yep the most annoying bassdrum sound in the history of Drumeo - listening on a 5.1 surround set - u can not escape the "thump" . Had to Eq my mixer to a compete Low freq cuttof! Further comment on this lesson, I HATE condensed playing in the likes of this kind of "jazz" drumming. Prefer the energy of a Tony Wiliams, far more than the "I am sitting behind a desk -playing style - U cannnot fool me , by playing a lot of timed technical notes without a certain degree of explicit DYNAMICS .
Forgot how good this was
At LAST! This is what I want to learn. Please have more jazz lessons that are as good as the ones Steve Lyman are giving us here OR have Steve back many more times.
This guy is zen. It's so good to hear a beautiful kit played so respectfully and efficiently. "I'm not dependent on phrases starting on a downbeat to keep my place". Wise words.
more jazz!!! it’s the only thing drumeo is missing!!! jazz drumming is big these days
This kind of groove, i always had it in my head since child, but never had the hability to put into the drum. So that really gives me a nostalgic feeling, this solo.
Please, more jazz videos🔥🔥🔥
Wow, could be Mark Guilianas lost brother from another mother..
The parallels are astonishing.
I think a good example of a master of Textural drum soloing and playing in general is Brian Blade. Marcus Gilmore too of course, but I immediately thought of the countless Brian Blade moments that felt transcendent and genius to my ear, but in essence were nothing groundbreaking necessarily chops-wise, but the story being told and the mastery of his textural space on his kit is INSANE. His whole sound sounds so intentional and conscious the entire time. Great lesson Stevely Man!
Also, Ed Thigpen.
That's how I feel about Dave Weckl... Especially back in the day. Mullet Dave...
I mean.... why is he so underrated??!!!
really underrrated player playing underrated cymbals....
@@jorgevillegas6855 bet that
Hey Steve! I played with Ben Johnson, Dave & Joe, Sam Bevin, in SLC around 20 years ago. As the drummer guy with the fro. Don't know if you remember. I used to play the 9th & 9th coffee shop with Doug and others before it moved. Saw you on the cover of Drumhead & was like "ALRIGHT STEVE!!" Bought it. Great interview and hangs with Jimmy Chamberlain. Love the stuff your doing for Drummeo & how far you've come 😲.
well that's a great lesson. so grateful this stuff is free
woah! I can actually hear the melody! amazing
I always wonder why people sounds like I’ve started on a big dangerous quest into the universe of lord of the rings or narnia when I say I’ve started exploring jazz as a beginner, then I watch this and understand that they think about modern jazz and bebop while I think about big band drumming, cause this? Yes this is difficult jazz drumming for sure! I wouldn’t know where to begin, this is a high level of jazz soloing 🤩🤩
This was wicked. Definitely opened some new doors to peak through. Love how it is about sound and art and not just chops.
Hello, I would like to see classes on how to follow a jazz theme, from beginning to end, with all its parts, bridges etc. So far there are thousands of videos that teach to play the drums in jazz from the technical but none that explains and shows on a subject part by part from beginning to end and I think it is a good opportunity to teach that. Greetings from Argentina, thanks!
I feel simply listening to some jazz could sort this out actively listen and pay attention to the drums and overall song structure
That’s not a drum lesson. It’s a music lesson. Learn to read charts, learn to follow bandleaders. Listen to the greats and emulate them.
Did you ever figure it out? I started playing at jazz jams about 6 months ago and I’m always lost
he is awesome! Now bring in Drummeo his teachers: Ari Hoening and Jim Black!!
This was amazing! I hate to say so little about such a brilliant performance and technique but all I can say is this is exactly what I've been looking for and more, to expand my abilities. I'm blown away.
Reminds me of Mark Guiliana with more cymbals. Love it.
My sound has always been these type of hats. I have always had my home kit setup with these holy style crashes as hats. I need to revisit that
Makes think of ari hoenig. Damon its his teacher. I love this concept of having notes in front of you. Dan Weiss is killing it too
Those Craviotto's sound AMAZING!
How on earth can people gave 3 thumbs down to this incredible lesson?
4 to be exact
Russian troll bots
@@garcia9903 Yup, what a pity ehh......... :(
@@tomedilus these 4 people are exactly why the world is going crazy
12🤔
Thank you for this. More jazz lessons like this, please!
Love this lesson. More drumming vocabulary has been added to my playing :).
Reminds me a little of Jojo Mayer kind of drumming since he also plays something jazzy.
Man. Drumeo has absolutely different vibe without Jared or Dave
Better, worse, or just different ?
*RHYTHMIC Playing ♥️🌻 3:44
All Drumeo videos should have a little kick drum and hi hat foot window on the screen at all times a drummer is playing.
Holy moly! I enjoyed that immensely. Incredible insight. Thanks a million drumeo.
He really sounds like Mark Guiliana!! Great stuffs anyway.
cyril gelly kind of looks like him too lol
I think Steve is better. Its more natural, and his feeling is more relaxing.
Very good drummer, this was a useful lesson. Thanks to Drumeo!
As far as being melodic and harmonious goes, I have my 5 toms and 18-inch bass drum tuned to an E minor 7 chord/arpeggio.
(E-B-E-G-B-D)
All combinations of those intervals are in harmony with each other.
I tune my 4 piece kit to a sus2 chord (E-B-E-F#) as there are no 3rds, 6ths, or 7ths, meaning it doesn't have a minor or major sound.
Beautiful, just beautiful.
What a good sounding hats
And he nailed it
absolutely beautiful lesson
This video deserves more attention! Great teaching!
a lot of guiliana and nate wood! amazing! saludos desde mexico! 🇲🇽
Ari and Jim his Professors! thats why his contemporary jazz approach is killing so that set up, can anyone please tell if that Legend dry ride is a bit flat shaped and aprox weight??? sounds awesome!
I wish they will have Jim an Ari at drummeo...
This is an masterpiece
Great video! Is a Craviotto kit really worth it? I would love one but is it worth the money? It sounds great obviously. After hearing it here I just don't hear much difference between Craviotto or Yamaha, Mapex or Gretsch or anything else really. Maybe I'm being an idiot. I work at a drum shop and worked at a different one for 17 years. I've tuned hundreds of kits. Minor differences in the high end kits. Very minor. Eye opening for sure. It all depends on heads, tuning and how it's being played.
sooo many deep concepts
LYMAN IS THE MAN!!!
24:00 is fire
this guy is just awesome
When I was young : why isn't the snare following the rhythm? Now I'm old : just love it that the snare plays anything but 2 and 4.
OMG Im absolutely baffled
Nice vid thanks for everything
This guy is great... Wow 👍
This dude is sick!
AWESOME TEACHER, AWESOME VID
Jim Black!! Wow would love lessons from him myself
I really like this lesson from the gentleman on the drums. It is odd to me that the gentleman behind the computer is so greatly misunderstanding what he is driving at here for the first half. Perhaps they could have had a conversation before the recording of the video to become aligned here.
Lots of the drumeo guys are completely clueless hence why they bring more knowledgeable cats into their videos
A very dedicated musician. Steve es un tipo inspirador.
gaps (silences) are underutilized, and they heighten the drama of the playing, like a pregnant pause when speaking. non-vocalists and non-wind instrumentalists (like drummers, pianists, string players) can greatly benefit from "taking breaths" on their instruments, otherwise known as "cantabile" (singing style)
what i don''t understand is - how does he not get his sticks caught in the holes of his hi hat?
Mano.
Parabéns
Mestre mesmo
This conversation reminds me of Frank Zappa or rather something that Frank said he said talking about music is like dancing about architecture.
Like Marc Guiliana……could be his brother! Great player….thanks for this video…..
Amazing!
awesome - really good job ;))
love it!!
someone please teach me, how did he tune his snare to that tone? ive been trying so hard to get that
always wondered why I see jazz drummers switching between traditional grip and matched. I'm noticing this guy does it a lot for playing different velocity of notes.
matched for louder, and traditional for much quieter taps/ghost notes. is that it or is there more to it than better control for louder vs quieter notes?
This is a good question. I've asked many drummers about this, and though I haven't found an exact consensus, my perspective is this:
Each grip has physical advantages. Matched, obviously, can close the gap best between the sound of each of your hands. Traditional inherently puts less downward force on your stick with each stroke as well as less friction on the way up, which can benefit quieter hits and technically bounce longer and more evenly. However, a good drummer can render the inherent advantages of a grip moot by developing the opposite grip to a point where is it no longer significantly (significantly meaning in the context of music, and not your physical limit) "weaker" in any respect. Thusly, the physical advantage of a grip is not why a player would use one over another at the highest level of drumming (this doesn't mean to say that one drummer might use a grip simply because they are physically stronger with it).
Instead, a drummer should associate different "sounds" with each grip--this includes things as nebulous as the mood and story of your playing as well as things as specific as genres and licks/chops. If you consider each grip a separate tool in your arsenal, you're actually mentally creating two unique presets for yourself to embody as you play. This ultimately widens your drumming vocabulary even though it involves no physical change beyond flipping your stick around.
Now, I am by no means at such a level where I fully imbue this concept. When I watch Lyman play, however, I think something similar to this is what's going through his head.
I hope I've helped to answer your question!
@@tatemccartney7444I know this was written a long time ago, but it was such a good answer that I wanted to give you a 🫡
Steve studied with Ari? Well done, Steve!
Great stuff
Good!
Killer Snare!
yes it is i wonder if its a ludwig supralite? but i wonder that, compared to the craviatto awesomeness and $$$$, why choose such an inexpensive albeit great sounding snare...
Ok it is. I see the ludwig badge once he starts playing. I have the same snare, its a ludwig supralite 14X8. Im letting the secret go but who cares lol.
Exiting!
Can anyone tell me what his cymbal set up is here please? Especially the two rides.
Thanks.
Grahame Cope I know the main ride is an Istanbul Mehmet Legend Dry
Interesting choice on the mehmets. Is that bass dum dampened or is that just the tuning. Sounds really good. Craviotto maples!
Such beautiful playing in Pulsar and it all got droned out by all the drumming. Sad.
Amazing
Ultra cool..
Great ❤
Suggestion for drumeo specials, aric improta , Steve Holmes. BTW this guy is freaking unbelievable. That first song was the shit.
Finally!🙏🙏🙏
Wooow!!! amazing ♥️🌻
Can you make a sequel about InEars for drummers?
steve you just made talk this drums
35. 40 very usefull exercise , thanks
21:00
I dig this 👍🏾
Nice
good!!
Absolutely loved the lesson! But damn, that bass drum sound started to drive me nuts a few minutes in.
Yep the most annoying bassdrum sound in the history of Drumeo - listening on a 5.1 surround set - u can not escape the "thump" . Had to Eq my mixer to a compete Low freq cuttof! Further comment on this lesson, I HATE condensed playing in the likes of this kind of "jazz" drumming. Prefer the energy of a Tony Wiliams, far more than the "I am sitting behind a desk -playing style - U cannnot fool me , by playing a lot of timed technical notes without a certain degree of explicit DYNAMICS .
I think it’s a case of the bass drum overloading the channel. It almost sounds like it’s clipping or something
so damn good .... so much to like here
Amazing!!! Anybody could please give informations about the remote hihat stand?
I think pearl makes one (a mini hihat mount on bass drum)
@@christopherpederson1021 thanx, very kind. However I think (after some researces) it's the Yamaha CHH930.
What are the Mic's? Fantastic sound.
This was synced 0:31
What notes does Steve tune his drums to?
does sb know what that amazing istanbul RIDE is?
Mehmet Legend dry 22”
Where I can find that list he mentioned?
Those cymbals sound smoky
Please sent me the list, thank you.
Wow
Anyone know what Ride he's using?
Chris James Istanbul Mehmet Legend Dry
I think the most difficult part in drumming is Jazz
fuck ! some tricks I just heard and this wave according solo
8:35
Can’t believe people are comparing him with mark guiliana....
Why cant you believe that? The influence is obvious
But can he play smoke on the water?
👍
Where do you get Swiss cheese hi hat , 39 % milk FET