How do you relate to those that beat the skins...?

[Highlander]

Something Scott was saying recently (passing comment) made me think about a recent audition I attended, and back to various bands I've played with over the years...

I have always found that "eye-contact" is an important factor in building a relationship with your partner-in-rhythm; but what works for you...?

There is something about the "learning-curve" you go through: the drummer looking for the "toe-tap" or the "drop/rise" of the neck; how we may "hug" the bass pedal; the accentuation we may take on the snare or a cymbal strike... eventually, if we are lucky, it becomes like a "symbiosis", that "playing without thinking", but how did you get there...? What do you look for...? What makes a good drummer...? How do/did you form that "symbiotic" relationship...?

[godofthunder]

Kenny I agree eye contact at least in the beginning is very important. I have found over the years though that either you click with a drummer or you don't. Some are pure magic to work with and others are torture ! Sort of like women. It is difficult to explain what seperates one from the other. For me one thing that helps make things work is if the drummer doesn't follow me on every little run I do, if he does it's like chasing a rabbit down a hole. Rhythmicly it is always fun to work out little bits between the bass and drum but I like it best when the beat is steady and I can play around. Lastly it usually takes time to learn each others style to really click.

[Basshappi]

GOT pretty much nails my opinions. I would just say that I can forgive a host of sins as long as a drummers time is rock solid. If it isn't then one of us has got to go.

[Pilgrim]

I'm fortunate in that I've never had to work to lock up with the drummer in our surf group.  He has been playing since the 60's and his feel for the music and mine seem to be a great match.  I really only need to look his way if we start to wobble a bit.

[Hornisse]

GOT pretty much nails my opinions. I would just say that I can forgive a host of sins as long as a drummers time is rock solid. If it isn't then one of us has got to go.

+1.  I left my last band of 7 years because our longtime drummer left.  He made it so easy for me it wasn't funny!  The new guy did well on all of the click track songs but was all over the place on the other songs.  I suggested we put clicks on all of the songs and it offended him.  That's when I decided it was time to go.

[Rhythm N. Bliss]

I tell drummers they better play the fokken way I want 'em to play!

...or they won't be able to play my drums anymore! haa haaaa

Seriously~ my friend Joe has been GREAT at comin' up with good drum parts on my Godbrothers songs.
When I ask him to throw in some marching snare or double bass he does it just right!!

The drummer in my other band-TigerShark- always knows EXACTLY what to play.
...cuz I'm the bassplayer AND drummer!!
That's fine for recording but it's gonna be a problem when we start gigging....

[Psycho Bass Guy]

I use lots of profanity and just keep turning up if they can't keep time. Of the few good drummers I've played with, playing didn't require any kind of visual connection at all, but was more a of feel for the groove. Rather than fight to establish and hold a tempo, when I play with a good drummer, I can 'play with the spaces' and really get creative in my playing and I don't have to go volume-to-hell just to keep the song from sounding like mush.

 I have also found that most good drummers get saddled behind dick guitar players who have absolutely terrible rhythm and don't like a bass player who isn't anything other than an octave pedal. The worst combo is a drummer who is also a guitar player, because they have neither time nor dynamics nor the sense to recognize the absense of the other two.

[Freuds_Cat]

I've had the pleasure of playing with some fantastic drummers both in a studio one off situation and band situations. I took a few years away from playing and when I came back to it I found that the quality of drummers was terrible. Guys that had big reputations turned out to have (IMHO) major flaws making it not just hard work but not particularly much fun either.

Nick, the drummer in the Crocs is a straight ahead groove player of the Doug Clifford (CCR) school of drumming. If he hadn't re-joined the band after the existing drummer was sacked after threatening to punch a venue owners lights out I probably would have not bothered to continue playing. He is very comfortable and reliable to play with.

On the other hand with my original music projects I have always had to borrow good players due to the lack of having one guy that I could bond with. 3 months ago along came Jack.  I kid you not this young energetic 21 year old is the drummer of my dreams and to make it even better he loves what I write and the same bands that I'm into.

I dont mind changing guitarists or singers or keys players but I have always wanted a quality drummer like this guy to write and play with. IMHO he is better than 90% of all the "NAME" drummers I've played with.

I am a happy Man.  


Jack playing on one of my tunes here:

[OldManC]

Psycho Bass Guy, have you been looking in on my rehearsals over the years? I couldn't have explained it better!

[gweimer]

I've been pretty fortunate over the years to have some really REALLY good drummers.  A good drummer always makes it easier for me.  I'm actually just starting up with a second band that has a couple of young, eager, and a bit erratic kids.  I think this will be my time to train them both (guitar and drums) on the importance of finesse and subtlety along with having good chops.
I usually don't like sitting in the driver's seat, but I think it will be a necessity this time.

[Basshappi]

Bass and drums is a single instrument that takes two people to play

Ed Friedland and I were having a kind of "Zen and the art of bass playing" conversation about how energy flows when one is playing. When the time is solid one can play in a relaxed state of mind which leads to a relaxed physical state as well. This allows us to be able to play our best and be totally in the moment.

When the time is not steady and uncertain from moment to moment then the exact opposite state ensues. We have to expend our energy trying to "push" the time back into place so to speak. One begins to anticipate the next potential pitfall, that upcoming drum fill for example, getting prepared to jump in to pull the time back were it should be. One cannot possibly play well with that amount of tension and distraction.

My own experience has shown me that this is absolutely true. And while I am willing to overlook a degree of sloppiness at a casual jam session or open mic, I refuse to have an unsteady drummer as a bandmate. It simply kills the enjoyment and though I hate to seem intolerant, life is too short for such nonsense.

[GonzoBass]

I've always said that the best compliment I can pay a drummer is that I didn't notice them.

As for eye contact?
The only time I look at them (on stage) is a sideways glance
about four bars after they f@#%ed up.

Drummers don't want my attention...


Example:
Listening to gig recordings done with one of my favorite drummers,
I told my son,
"See, right here is why I love Josh.
Listen to what he does for this transition from verse to chorus in Superstition."
*played the mp3 back*
My son says, "What? He didn't do anything."
"Yeah! Ain't that fuggin' great?!!!"
 

[godofthunder]

"I've always said that the best compliment I can pay a drummer is that I didn't notice them." I could not agree more.

[Freuds_Cat]

"I've always said that the best compliment I can pay a drummer is that I didn't notice them." I could not agree more.

I agree with the logic behind this philosophy but I think it depends on the music style to a degree.

[EvilLordJuju]

Yeah, well I was once told by a drummer that I was only allowed to play when he was hitting the bass drum....

Suffice to say, that partnership didn't last long.

If you don't pay me, I reserve the right to overplay.