The Rodney Dangerfield of snare drums

Pork Pie Snare Drum Black Nickle Plated Snare Drum with Chrome Tube Lugs.

Also known as the Pork Pie BoB, not only does this snare drum get no respect, it is one of the best kept secrets for being a top notch snare drum. Part of the reason dates back a few years when one of the big box stores put this snare drum on sale as a "Stupid Deal" for one hundred bucks.

They quickly sold out and hundreds were on back order. That event did two things:

1. Put a lot of these into circulation and exposed a lot of drummers to probably one of the best brass snare drums they would own
2. Cheapened the value of the drum in the minds of thousands who will forever associate this with the "Stupid Deal" pricing

One note about the event and the exposure of this drum: when the deal was put on the big box store's site, it quickly went viral on a number of the largest and most influential drum forums.

My recommendation is to get past the notion that this is a cheap snare drum. As someone who has owned well over one hundred snare drums (many documented on this site), I can attest that this model will hold its own against some surprising contenders. For example, I have tested this side-by-side with a Ludwig Brass Edition, a circa 1967 Ludwig Supraphonic, and a Rogers Powertone. I prefer the Pork Pie to all three. That may sound like blasphemy, but it's true.

What you are getting, in essence, is the same snare drum that is sold as the Worldmax Hawg, which ironically does enjoy a great reputation.

The stock heads and snares are pretty good, which is a surprise because I typically change those on new snare drums. In fact, the batter head is close enough to my preferred head - Remo Coated Ambassador - that I have never bothered changing it. The drum has a decent tuning range for a 6.5" deep shell, and the throw-off is functional and problem-free (it looks like the Worldmax S-9X, which it probably is).

While I prefer wood snare drums, I always keep a brass one for variety. Although I recently sold off a large number of snare drums from my collection, this one was deemed a keeper and one I am not likely to part with. That fact speaks volumes about how good this snare drum sounds and what a bargain it is.

Zildjian SDMJO John Riley Stick/Mallet

For me the Zildjian SDMJO John Riley stick/mallets are a perfect addition to my stick bag for the rare times when I need to use it (cymbal crescendos, tom tom patterns and some songs like Ahmad Jamal's version of Poinciana.)

Physically, the felt on the mallet end is pretty dense, giving these a nice dynamic range from very soft (P or PP) all the way to FFF. The drumstick tips are not sharply pointed and have never put dents in my heads.

Even with the mallet end, there is a good balance when used as drumsticks. They just feel good (I play traditional grip when holding them as sticks, but use them matched grip as mallets.)

Another use is to tame down wild, trashy new cymbals. This mainly applies to very thin jazz cymbals, which require play-in time. If you want to hasten the play-in process, mallet rolls is a common trick many of us use. This entails taking a pair of these mallets and rolling them around the cymbal for 20 minutes per day for a week or so. Start at the outside edge and work your way towards the bell, going around the circumference of the cymbal.

Like I said, I rarely use these in live situations, but I do practice with them, and definitely use them to tame some cymbals as described. The pair I own go into a special stick bag along with my normal stick and brush models, and some other sticks that I infrequently use. This bag is for playing in situations where I need to be prepared for anything - like when someone calls Harlem Nocturne.

I mentioned a few songs above - here they are, plus one more by Nina Simone, to demonstrate how mallets can be used in a live playing situation.

Let your imagination run wild!

Open jams: good or bad?

For as long as I've lived in central Florida there has been a battle between two factions: those who host and/or attend open jams, and those who are convinced that they are the manifestation of the antichrist.

I am in the former group. Perhaps my attitude has been forged by the recognition that music - and especially jazz - has evolved through jam sessions. What would music be like today if Teddy Hill had not created the place and atmosphere at Minton's Playhouse? Would the musical seeds planted at Minton's have born the same fruit in 1959?

My main reason, though, for supporting jams is because in my day we musicians learned by listening to and watching one another. We went to each others gigs, stole licks, and, importantly, learned and grew. That does not seem to happen as much these days. Except at jams.

Instead of belaboring the past or the abstract, I'll provide my responses to common complaints from the faction who is against open jams.

1. So and so (or a list of them) are jerks. This is usually a tirade directed at a host or group of hosts of jams. In truth some hosts have probably earned title - or on the surface that is the way it appears. I suggest that before launching an ad hominem attack one consider what it actually takes to host and manage a jam. It involves scheduling folks who come in and sign up, then some disappear or, worse, insist on playing with specific musicians who may be much further up or down on the list. I have witnessed some hosts being outright threatened for various reasons. Factor that in when you see a host act like a jerk and ask yourself if it's a personality trait or a reaction (or self defense) to the challenges they face every jam.
2. Jams cut into earnings of professional musicians. Professional musicians where I live - real professionals - are unaffected because the venues that host live jams are not exactly the places professionals target in their marketing plans. Face it, most of the venues that host open jams are dives. Nothing wrong with that. As an ex-sailor I can attest that dives are fun places. The ones in the Daytona and Greater Orlando areas where I've jammed are not exactly places where I would expect to see true professionals perform. By true professionals I mean folks whose sole source of income is from performing. There may be one or two exceptions, but I do not recall encountering them. The pros are at Disney, other attractions, or doing corporate gigs. Or touring. In addition, there is a another way of looking at the problem. This well written piece from Los Angeles musician Dave Goldberg pretty much sums it up with respect to venues and musicians, and it looks like it extends much farther than Central Florida: Why Club Owners Are Totally Lost (and some advice from a professional musician).
3. Jammers are tricked into playing for free (and therefore exploited) while the host pockets money. First, what do the hosts actually make per jam? $100? $200? Let's say, for the sake of argument that it's a whopping $500 (which is really stretching it.) Out of that the host will need to pay the rhythm section or host band. Let's say $50 each, and let's assume that the host band is three people. That leaves $350 for the host in this generous scenario. Of that amount the host is going to spend three to four hours not only doing fun stuff like playing music, but not-so-fun stuff like managing the stage, dealing with strong personalities of some folks who sign up then make demands (see 1 above). And don't forget the investment in the backline, which depreciates like any other asset. Or the cost of recurring repairs because jammers are usually hard on someone else's equipment. But let's leave that stuff out of the equation and just assume that the host is going to spend an hour setting up and organizing, three hours playing and managing and an hour tearing down. The $350 divided by the five hours of work comes to $70 per hour. Not bad money for a forty hour week. Not good money for five hours a week when those five hours are probably filled with stress and conflict. In the real world we would factor in the cost of maintaining the gear (and the amortized investment in acquiring it), gas, and other incidentals that eat away at that $70/hour. Also, let's get real and say the hosting fee is a more realistic $200 per jam. Do the math for that. I promise you nobody is getting rich. Hell, the money could not possibly be the motivation because you could make more by picking fly shit out of pepper.
4. The venues are getting free entertainment. They are getting what they are paying for: generally lower quality music, but the real entertainment is enjoyed by the musicians who get to participate and get some stage time. Remember, most of the folks who sign up have day jobs that pay their bills. They may be weekend warriors playing in the same dives as those hosting the jams, but their main income usually comes from somewhere else. And from what I've seen at many of the jams, the venue may bring in a different crowd on jam night, but is probably not bringing in more patrons. In many cases the regulars will stay home on jam nights. Nobody is really getting rich from what I've seen.
5. Jammers are a bunch of no talent hacks. A few probably are. Most are passionate about music, some have virtuoso chops on their instruments, and some are professionals who drop by, or are not professionals, but are highly skilled, trained musicians who happen to do something else for a living. I've seen (and had the pleasure of sharing the stage with) some spectacular musicians at these jams. And have had my own share of off nights as well as playing with others who have as well. In a way that adds to the reasons why those of us who go to jams do so.

Before ending this post, I will admit that I no longer attend jams in the central Florida area. The reasons have nothing to do with the common arguments - I had to quit because nearly all of the venues that host jams allow smoking and it was taking a toll on my health. The minute smoking is banned in this area will signal my return to jamming.

That is where I stand on the matter. And without apologies!

Joe Morello's Natural Approach - Part 2

In my last post I discussed Joe Morello: Drum Method 1--The Natural Approach to Technique. This post will discuss the companion video, Joe Morello: Drum Method 2--Around the Kit.

I'll say up front that this video has poor sound quality. However, that is a small barrier to overcome when you consider the invaluable information and tips Joe imparts.

First off, let me state that I do not believe this is a video that new drummers should tackle first. Not that drummers of every skill level will not benefit, but the focus of this particular video is crafting solos and mastering each component of the drum kit. I personally believe this is secondary to timekeeping and groove, which are - to me - the essence of drum kit playing. To that end I would encourage new drummers to focus on Tommy Igoe's Groove Essentials, which will not only expose drummers at all skill levels to an encyclopedic range of grooves, but will provide a solid foundation of technique that can be leveraged in the lessons Joe gives in this DVD.

Second, this, like Joe Morello: Drum Method 1--The Natural Approach to Technique, is not an easy set of lessons and exercises to get through. One reason is Joe's on camera instructional technique is deceptively informal and quick. He has a habit of tossing off tips and advice in such a casual manner that you find yourself dismissing them as unimportant - and that is not the case in anything he utters. Also, many of the 40 exercises in this video are explained in a minute or less, with very quick reinforcing examples. This requires you to pay careful attention to what he is saying and demonstrating. Moreover, in the parts where he explains how to play, for example, a bass drum or hi-hat, he is scratching the surface, providing enough information to an alert viewer to take and expand on his or her own, without going too deeply into the topic. For drummers who are used to slicker presentations that are designed to ensure that even the slowest or least experienced student will get it, Joe's approach can be disconcerting and frustrating.

The solution is to make your remote control your best friend by pausing after each exercise and spending at least 20 minutes working through the exercise (less if you have already mastered it and more if not.) That is 800 minutes of work you need to be prepared to do if you truly want to benefit from this DVD - and benefit you will because while the exercises seem trivial when explained, they are anything but when you are working through them.

For example, the last exercise on substitutions can be extremely difficult for even the most experienced drummers, and could warrant hours and hours of work to become merely proficient, but not an expert. Also, this exercise is a great example of how Joe teaches. He provides a fairly simple example or exercise that has behind it many combinations and permutations, and expects you to figure out your own practice plan. The goal, of course, is to build muscle memory of these many variations until you can perform them automatically. By definition, this is boring and physically exhausting, which in the larger scheme of things are small inconveniences to achieve the chops that will result from your hard work. Some of the exercises will require very well developed chops, so I recommend either Joe Morello: Drum Method 1--The Natural Approach to Technique, or Tommy Igoe's Great Hands for a Lifetime, (or both!)

If you are seeking an easy path to improving your skills, you are not going to like this video. However, if you are willing to diligently work through the exercises, and are also willing to engage your brain to build upon the tips Joe provides, you will dramatically improve your drumming skills.