Studio Drummer – A Jeff Porcaro Lesson

June 9, 2014

I had the opportunity years ago to meet Jeff Porcaro on a Toto show we were backing up.  And let me say straight out, that this is not a self-stroke in any sense… It was a lesson to me.
A lesson in person-hood.
We were backing up Toto for a couple of shows…we met after our set in a quiet dressing room and he was as clear and real a human as a human could be.  No hype, no bullshit at all.

We got talking and I was struck by some key things about him.  He had a true humility and deference about him.. but at the same time he had  a supreme quiet confidence about his truly massive strengths.  Yet intuitively, he still had that honest self defacing attitude about what he perceived to be his weaknesses. “Ah my hands are weak man!” .. he said to me.  And went on!

It was a bit weird to listen to because it was him…all the hits he’d played on that I’d grown up with and the beautiful deft subtleties (and strength of hands) of his playing.  And yet he was more than happy to share the foibles LOL!

Like I said though, it was like… dude… ‘you played on much of the soundtrack of my life!  There was a real disconnect there for me that I still understand to this day.

Yet at the same time he was genuinely complimentary and interested in my thoughts.. (you can spot the fakers.)   He liked my playing and gave me the ultimate whole hearted compliment I’ve ever had as a player.  Coming from him it still is very special.

the overall thing that struck me is this.

The people that contribute most to the art or instrument can often be the most humble of people.  They would rather listen to another player and dig them ( and as a result glean from them).  I read many an article of Jeff’s where he would defer anything he did to another great drummer, such as the Rosanna groove to Bernard Purdie.  ‘ I borrowed this from this guy, this from that guy.’

Like another musical hero once said… “The more you do know about music, the more you realize you don’t know anything”.

There’s a good lesson in that.

Jeff was a great studio drummer and by all reports a very cool human too.. Listen to his Steely Dan tracks, Toto or anything Jay Graydon produced, Dire Straits, Michael Jackson, etc… on and on…he played on hundreds of hits.

 

 

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Studio Drummer – Hi Hat Can Be A Very Musical Instrument

May 3, 2014

The hi hat is a ‘musical instrument’ so treat it like one, approach it like one.

 

*FIRST RULE IS DO NOT BOUNCE YOUR FOOT ON THE HI HAT WHEN YOU ARE PLAYING A CONSISTENT CLOSED OR SEMI CLOSED HI HAT PHRASE.*

 

When we were touring with Toto I got the chance to stand at the back of the stage and watch Jeff Porcaro play.  The stage was at about my head level since there were risers toward the back of the stage so my head level was right at his foot level.  I’ve always loved his textures. He was a beautiful studio player with great nuances in his playing, truly one of the all time greats.  His kick foot was a slamming heel up technique!  It was a beautiful fat kick presence but his hi hat foot?

 

Heel down and his foot was dead still!

 

If he was playing a closed or semi closed pattern on the hat his foot never moved unless he was making very subtle and specific adjustments.  That was a great lesson to me.  I also got to meet Jeff and hang a bit.  He was an awesome guy, very humble!  He also gave me the greatest drumming compliment of my entire life.  He said to me “your time is a motherfucker man!”  We lost a lot of music they day we lost him.

 

So what you’re doing by bouncing your foot is constantly changing the tension of the hats, which is affecting the sound and emotion that you’re producing. 

 

Think of a piano player. You don’t see a piano player stomping on the dampening pedal or keeping time on it either.  The pedal serves a specific function on both instruments, in our case it’s tension and cymbal decay. 

Of course if you’re playing something that involves opening or closing or if it’s a foot hat pattern then this rule doesn’t apply.

 

But creating a high end, very consistent kick, snare and hi hat groove involves being very much aware and in control of the hi hat subtleties and texture!  The same of course applies kick and snare and to ride cymbal technique and all the subtleties surrounding that as well.

 

I’d encourage you to study some great players here. Steve Gadd is another outstanding example. Listen to the use of the hi hat and his command of the instrument.  Also listen to the great players use of tip and shank techniques utilizing the sticks to create different groove soundscapes.

 

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