the point about transcriptions having a tendency to be “one really long rudiment” for ill equipped players is do spot on! I’ve done some basic transcriptions in the past and have yet to really even explore the concepts therein b/c i just wasn’t that kind of player at the time + didn’t have the idea to investigate and understand the concepts within a transcription on a deeper level. Saw an interview of Greb lovingly scrutinizing newer players moving from concept to concept and asking “but what have you mastered?” And that changed my perspective totally. Now I’m focusing on some core concepts and not letting them go until it’s beyond in my bones, permutations and all. Couldn’t help but think of that quote watching this, Great Stuff!
so cool to see JP continue to grow and evolve as a musician and share his experience on the drum set. I always loved his playing but what impresses me most is how eloquent he is when discussing drums/teaching/everything. He will always be a legend for the "I filled in for Matt Halpern gig vlog" that bit around 27 minutes about "you hear cool drums in your head (as a beginner/intermediate) but there's not any actual detail/discreteness to the phrasing" is huge, I experienced this revisiting the guitar after years of playing drums. I would hear shred lines in my head and then try to learn them by ear, but without the rhythmic vocab (or technique) to properly plan out the phrases... good luck.
JP Helped me understand why the things i liked sounded so good, and how they were built. I really thought they were all Martian alien stuff, but the way he puts them into simple words and steps. No over complicated or abstract stuff that i thought it was some elite kind of “feeling”. He gives you a roadmap. Most advanced teachers are soooo far advanced that they forget that students have not yet internalized sounds or melodies. JP understood this.
I appreciate the Darren King mention. I feel like his unique drumming voice is underrepresented in the online drum space. I am definitely going to check out that course now!
@@8020drummer if you don’t play along to James gadson on kissin my love can you really learn to groove one handed 16th notes…next…on 20/80guitar who wishes he was a drummer Love all your videos. Been watching for years
I’m quite confused with the use of the word “improvisation” in this conversation and opinion. In my world, music / drummer improvisers are not “plug and play - transcription- licks players. I’m speaking about old school improvisers, Derek Bailey, Peter Brotzman, Tony Oxley, Cecil Taylor, Milford Graves, Han Bennink, Rashid Ali. Teaching students improvisation based on licks, preconceived motifs etc, is not improvisation. Maybe this is the new thing in American formalized music. European musicians have been improvising since the 60s. As you live in NYC, John Zorn and that scene was active decades ago at venues like The Tonic and Knitting Factory. Years ago, young musicians started playing “noise” improvised sound based on the casual concept that anything goes. Most couldn’t tell you the notes in a c major scale. So be it, I’m not at all against “any” individuals right to express their intrinsic art. I am offended that the concept and art form of “improvisation” is diluted and interpreted into something it’s not. Drummers soloing over a comp is not improvisation, it’s soloing over the form. Creating new styles, forms, Melodie’s, rhythms, textures etc. is improvisation, in my opinion. At 74, I’m unapologetic about this. Many of the above mentioned struggled their complete careers with the goal to play “free improvised” music. 🎉Gigs were and continue to be “far and few” for musicians in that very small genre. Even teaching the concept of “improvisation” should include a warning sign. Bandleaders and listeners don’t want to hear sound and music they’re unfamiliar with. Steve Gadd, Keith Carlock, as great as they are, they’re not improvisers. On the other hand, Chris Dave and Mark Guiliana are a different story. Ari Hoenig is an improviser. I comment all drummers for their talents and goal to play. Being an entrepreneur in the drumming world is commendable.
the point about transcriptions having a tendency to be “one really long rudiment” for ill equipped players is do spot on! I’ve done some basic transcriptions in the past and have yet to really even explore the concepts therein b/c i just wasn’t that kind of player at the time + didn’t have the idea to investigate and understand the concepts within a transcription on a deeper level.
Saw an interview of Greb lovingly scrutinizing newer players moving from concept to concept and asking “but what have you mastered?” And that changed my perspective totally. Now I’m focusing on some core concepts and not letting them go until it’s beyond in my bones, permutations and all. Couldn’t help but think of that quote watching this, Great Stuff!
so cool to see JP continue to grow and evolve as a musician and share his experience on the drum set. I always loved his playing but what impresses me most is how eloquent he is when discussing drums/teaching/everything. He will always be a legend for the "I filled in for Matt Halpern gig vlog"
that bit around 27 minutes about "you hear cool drums in your head (as a beginner/intermediate) but there's not any actual detail/discreteness to the phrasing" is huge, I experienced this revisiting the guitar after years of playing drums. I would hear shred lines in my head and then try to learn them by ear, but without the rhythmic vocab (or technique) to properly plan out the phrases... good luck.
Much love from the Funch family to JP!! Very inspiring to hear you two share improv philosophies
Really enjoyed this.
JP Helped me understand why the things i liked sounded so good, and how they were built. I really thought they were all Martian alien stuff, but the way he puts them into simple words and steps. No over complicated or abstract stuff that i thought it was some elite kind of “feeling”. He gives you a roadmap. Most advanced teachers are soooo far advanced that they forget that students have not yet internalized sounds or melodies. JP understood this.
So good, amazing to hear Nate and JP talk. Such enthusiasm for drums, how to play, how to get better,
Great work Nate. These podcast are amazing. Congrats!
I appreciate the Darren King mention. I feel like his unique drumming voice is underrepresented in the online drum space. I am definitely going to check out that course now!
JP's insights are next level 🔥🔥🔥
This conversation is very interesting. ....i think 80/20 Drummer podcast interview series would be so sick
Big respect for Japes.
You should try and get Bruce Becker. He’s my teacher, and the chats we have are honestly awesome.
That point about practising something twice a day rather than once...
I had a Skype lesson with JP many years ago and I remember him telling me about this.
“I never play to music” not sure how I feel about this
When did he say that?
@1:26
I’m not saying it’s good or bad
I’m saying I don’t know I feel about that
@@alexanderednie1205 ah. Well different strokes. He sure sounds good with his band.
@@8020drummer if you don’t play along to James gadson on kissin my love can you really learn to groove one handed 16th notes…next…on 20/80guitar who wishes he was a drummer
Love all your videos. Been watching for years
Great
I’m quite confused with the use of the word “improvisation” in this conversation and opinion. In my world, music / drummer improvisers are not “plug and play - transcription- licks players. I’m speaking about old school improvisers, Derek Bailey, Peter Brotzman, Tony Oxley, Cecil Taylor, Milford Graves, Han Bennink, Rashid Ali. Teaching students improvisation based on licks, preconceived motifs etc, is not improvisation. Maybe this is the new thing in American formalized music. European musicians have been improvising since the 60s. As you live in NYC, John Zorn and that scene was active decades ago at venues like The Tonic and Knitting Factory. Years ago, young musicians started playing “noise” improvised sound based on the casual concept that anything goes. Most couldn’t tell you the notes in a c major scale. So be it, I’m not at all against “any” individuals right to express their intrinsic art. I am offended that the concept and art form of “improvisation” is diluted and interpreted into something it’s not. Drummers soloing over a comp is not improvisation, it’s soloing over the form. Creating new styles, forms, Melodie’s, rhythms, textures etc. is improvisation, in my opinion. At 74, I’m unapologetic about this. Many of the above mentioned struggled their complete careers with the goal to play “free improvised” music. 🎉Gigs were and continue to be “far and few” for musicians in that very small genre. Even teaching the concept of “improvisation” should include a warning sign. Bandleaders and listeners don’t want to hear sound and music they’re unfamiliar with. Steve Gadd, Keith Carlock, as great as they are, they’re not improvisers. On the other hand, Chris Dave and Mark Guiliana are a different story. Ari Hoenig is an improviser. I comment all drummers for their talents and goal to play. Being an entrepreneur in the drumming world is commendable.
I was the 88th person to hit the like button