Oh, I could go on and on
about this clinic recording,
his avoiding certain obvious
avoiding of subject matter,
like purposely avoiding the
question regarding the blues
shuffle and how, upon view,
we can see how the stick is
actually interacting with the
surface of his/that splashy
ride... but we respect him.
He could have talked about
the Lopsy Lu-shuffle and then
answered the blues question
easily. He could be like that.
Having had the personal ex-
perience with him, I cannot
help but put the emotion of
of it, all, together in the bag,
which was just the opposite
of what it it was like for him
hearing from Miles that every
thing he did was "right". It
was not confidence building
in the least. While I found
myself changing direction in
the/my grip, it was without
what I thought could have
been a clearer concept of
the actual technique, which
he made sound as though
required no fulcrum.
On Black Dots: you had to
hit them hard to get a tone
out of them and he did not
mention how the heads were
"used as targeting for practice".
We all know the CS Black Dot's
deadening effect of the sound
that emanates from the drum.
You heard some earnest speak
regarding engineer's and the
sounds of that era that could
get in the way of the "sound
of the kit". Those of us that
were working in the studio at
the time remember what it was
like to sometimes not have any
say in how the drums were go-
ing to sound. It was a huge
issue. I think we hear more
of the kits, today, btw.
Again, I could go on but I do
not want to serve "sour grapes".
Clearly, he was Tony and he
chose to present himself in
that way, which may have
seemed arrogant to me but I
believe there are more ways
than one to train a dog.
Regards,
P
PS: I am sure we are going to
be talking more about this.
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