I’ve been using thumb on top technique and not even holding the right stick tightly. But then about 30 minutes into the second set a cramp or something set in and pinned thumb to palm. It improvised with a different grip not using thumb at all. And everything went back to normal. Anyone else experience this?

Can you guys recommend some good 16” crashes? Right now I’m using a B8 pro medium crash with a couple pieces of tape. It sounds good but I want something a bit darker and heavier. The brand doesn’t matter to me. I’m also considering hammering it.

could anybody give me some feedback with this?

I’m trying to follow the form and structure of this song and really going crazy, any help? I think it’s AABA but has like intro every time but some times it’s skipped

Hi everyone,

I’m currently watching the parc floral concert of Brad Mehldau and I love the sound of Jorge’s cymbals. Does anyone know what brand is he using? Specially in his Brad Mehldau era.
Thanks!

Shalom

One of my fav tunes. Check it out.

Clip from my gig a couple nights ago in Montreal. Anyone else like calling this tune?

Self-taught saxophonist here (who can play a little drums)...

I've always had pretty solid timing but recently came to realise there is some oddities in the way I count time; so I've been working through Robert Starer's 'basic rhythmic training' with a conga to try and iron them out and wrap my head around the 'rhythmic theory' so to speak. This has led me to listening a little more analytically for different rhythmic feels and grooves.

I was listening to 'Many Mansions' from Sonny Sharrock's 'Ask The Ages' (great album if you don't know it) and basically I'm just curious as to why I hear/feel this groove as two bars of 3/4 and one of 2/4... I get that obviously just adds up to two bars of 4/4, but I'm looking to learn what it is making me hear the groove in that way. 12/8? Triplets?

Hope you get what I'm getting at!..

Thanks,

https://www.youtube.com/watch?v=1TYiOhMEKzs

From The Brubeck Collection Facebook page:

“Happy birthday to Joe Morello! (1928 - 2011)

Born on July 17, 1928 in Springfield, Massachusetts, Morello began studying violin and piano as a boy, but did not start playing the drums until the age of 15. By age 17, Morello was working with jazz guitarist Sal Salvador and eventually moved to New York City in 1952 to pursue work as a musician.

During this time, Morello went on to play with musicians including Marian McPartland, Johnny Smith, and Stan Kenton.
Joe Morello’s addition to the rhythm section officially in 1956, along with bassist Eugene Wright’s arrival in 1958, formed the “Classic Quartet” lineup which expanded the group’s possibilities in experimenting with complex rhythms. Morello played with The Dave Brubeck Quartet until they disbanded in 1967.

Morello’s career went on to include becoming a bandleader, clinician, teacher, and author of several drum books. Morello received many awards throughout his career including Playboy magazine’s best drummer award for seven years in a row, Down Beat magazine’s best drummer award five years in a row, and election to both the Modern Drummer magazine Hall of Fame in 1988 and the Percussive Arts Society Hall of Fame in 1993.”

*Castilian Drums* from the quartet’s 1963 live album is my choice to show off Mr. Morello’s talents, hope you enjoy it.

One of my fav Aphex twin song ! Hope you’ll like this acoustic rendition

I'm still a noob learning, these past couple months I've been trying to refine my right foot technique and it seems to be working out. I've set my pedal pretty light (low foot board, 45 degrees on the beater, medium tension spring) mainly because I play heel down now but I still do practice all my material in regards to my foot with the other techniques just to be thorough.

I thought that was enough.. But today I had an incident where I played on a friends kit and the pedal was set up pretty extreme in regards to spring tension and beater angle, my heel down was useless and all my other techniques were either too flaccid or too slow to make the beats I wanted to play, I was pretty much air balling the drum head at times, everything on the pedal just felt wrong to me.

This had me rethinking my progress and questioning an area of my right foot practice I hadn't thought of before which was deliberately making the pedal harder to play in order to be much stronger and firm on beats. Is this a good idea at all? Switching pedals out to a higher setting one during bass drum practice or will it hinder my technique on my usual settings? I spent so much time getting to these settings and getting my heel down good it almost seems backwards to me. But then again practicing rudiments on brushes for minutes on end did the trick with 0 caveats so why shouldn't this?

When it comes to beater height, angle, and tension is there any reason you'd increase or decrease any one of those things to practice certain areas of technique be it strength, precision, speed? A lot of words for what seems like a simple question but I've gone back and forth with my right foot for some time now and its driving me nuts.

Join us LIVE on YouTube every Wednesday from the 51st St Speakeasy Jazz Night! This world class show includes a featured guest each week, showcasing their original compositions and arrangements, along with their favorite songbook standards.

Subscribe to my YouTube channel @kendrikmckinney to watch at 8:30PM Central each week!

Tonight’s performance features the great Zac Lee on trombone!

#jazz #bebop #livestream #livemusic #trombone #piano #drummer

Just taught it to myself and want to gauge how good I am. I’m kinda a rookie at jazz. I’ve also not learned the solo and prolly won’t. Finally, what should my next step be.

I bought this used Istanbul Agop Sultan 21” Ride a few months ago and I’m thinking of selling/trading it so I’d love all the wisdom I can get from the pros of this group!

It is a lovely sounding and looking ride, yet it just doesn’t fit the jazz sound I’m looking for 100%. Preferable, I want a thinner, crashable ride, like a zildjian k dry.

My question is, what is a realistic price point for this ride? I can’t find much about it online because it’s a sultan with a white label, which apparently is rare to find. Is it of equivalent worth to a zildjian k dry or a bosphorus Turk?

Other than the tiny dent shown on the second picture, there is no keyhole or scratches.

Looking forward to hearing anything y’all may know about this ride!

Can someone help me get this notation right? I want the drummer to nail those first three ensemble hits, with the 3rd one going into a fill that sets into up the 4th ensemble hit. The fourth hit will be the introduction of the swing groove again.

It looks like a great source for jazz piano but I haven't been able to find much from folks on their drum lessons.

I’m looking to connect with jazz drummers who enjoy actual playing more than polishing videos for social media.

Over the past year I’ve been running real‑time online jazz sessions using JackTrip. Not “send me your stems,” not “collab in the DAW,” but live ensemble playing — swing, mainstream, Latin, gypsy, whatever people bring. It’s not perfect, but it’s real music in real time.

We’ve had sessions with 2 players and sessions with 9. The fun part is the interaction: listening, reacting, pushing the time, shaping the tune together. It’s surprisingly close to the feeling of a small group rehearsal — just without the travel.

I’m posting here because drummers are the hardest to find for this kind of thing. Many are skeptical about online playing (understandably), but the ones who try it often end up enjoying the challenge. You don’t need to be a tech wizard — just an interface, decent internet, and the willingness to explore.

This is not a paid gig. It’s a community experiment that keeps growing. If you’re curious about how real‑time online jazz actually feels from the drum chair, I can share short clips from recent sessions so you can judge the vibe for yourself.

If you’ve ever wondered whether online jazz can swing, or if you just want to play with new people without leaving home, I’d be glad to talk.