Friday Feature: Diana Krall

Recently I was going through a box in my garage and ran across a pair of concert tickets from the summer of 2004. One of my close friends, also a serious music lover, took me to see Diana Krall for my birthday that year. Diana gave four (FOUR!!!) encores that night.* Just looking at the tickets put a smile on my face and sent me to my stereo to enjoy some tunes.

Diana Krall is at once a throwback to an earlier era and a pioneer into new places and dimensions. Her vocal quality and style of delivery are both timeless and innovative, and her piano stylings are the perfect compliment to her wide-ranging musical forays. As a bonus, she is a beautiful and photogenic person.

Personally, Diana has been my favorite jazz vocalist since the first time I listened to her. And given the musicians she generally plays with (some of whom I'll list below), listening to Diana Krall is both entertaining and educational. It's classic, timeless music.

Not only have I been in love with the voice and music of Diana Krall for years, I've enjoyed listening to the musicians she works with. A partial list includes:

• Peter Erskine
• Jeff Hamilton
• John Clayton
• Anthony Wilson
• Russell Malone
• Christian McBride
• More HERE

As with other Friday Features, I hope you'll do some exploring and get to know the music of Diana Krall for yourself. You will be very richly rewarded.

Happy listening!


*I've been to many, many live shows in my life, from major symphonies to rock, jazz, pop and country acts in the largest and smallest of venues. Even though I love the music and the atmosphere, I'm ready to go home at the end of the night. Not so with Diana Krall. Even after four encores, my hear broke when she said goodnight. I could have listened and enjoyed forever. 

Beyond the Kit: Indoor Winter Drumline

Guest Blogger: John Mapes via Eric Nix. Thanks, gentlemen!


Why should music programs include winter drumline?


We wouldn't ask football players to train for four months playing soccer to then introduce them to the game of football for the remainder of the year... Would you expect your color guard program to be very good every year if they took eight months off in-between marching seasons? The indoor percussion activity was started on this philosophy with these principles in mind.


To run a successful, effective marching percussion program, you need/desire at least 20-30 percussionists in the fall. What do those 20-30 students do from December through June? You only need so many percussionist for wind ensemble, and percussion ensemble is great, but it is still hard to build the excitement that marching percussion inherently has to the masses. 


The two seasons fall hand in hand for the percussion side of things. It is very difficult to have a great fall marching percussion program without some sort of year round training. For wind players, the skill sets from the field to the chair are very similar and work together to give those students what they need  year round. For marching percussion it simply is different. Obviously there still needs to be some wind ensemble percussion training and experience happening in the class room, but what about after school?

Ignore the hard-hat-wearing construction shows and the "Zombies from outer-space" shows you may have seen. There are some incredible displays of musicianship that are possible in this activity, and it is our job as educators to make sure that is the goal. It is our responsibility to produce an experience that is founded in legitimate musical concepts to demonstrate to the rest of the community that this activity is valid. 


Every time I do a percussion circuit clinic someone always asks how they can promote growth in their circuit. The answer is simple - put out better products that entice other groups and band directors to want to participate! Maybe the electronic techno remix show with the volume level of "as loud as possible" or the artsy show where the deep meaning is so deep that even you don't know what the show is about aren't the best choices to promote local growth. (Was the the tribute to Britney Spears really the right choice?)

The argument I often hear is, "What about preparing students for college?" For myself, I never played much concert percussion in high school, but simply took what I learned from the marching activity and applied it when I went through the college percussion process. The importance of consistency, tempo control, simultaneous responsibility, team work, time management and - of course - the love for drumming are enough to prepare our students to achieve whatever they want. 


Most of my students will not continue in music for many reasons and I have no problem with that. Real life is scary and music is not the easiest path to pursue. I just want my students to get the best opportunity and experience they can have while they are involved in music.

Weekly Recap: 2/27 - 3/2

It was an epic week on the blog. Catch up on anything you missed.

Gear Up: Drumheads - Snare

Ryan Tilby dishes on drummers

Beyond the Kit: Visualization

Bag of Tricks: KT Tunstall - "Black Horse and the Cherry Tree"

Friday Feature: Carter Beauford

Thanks for stopping by. Have a great weekend!

Pro musician Ryan Tilby dishes on drummers

I asked Ryan Tilby, one of my favorite musicians - not to mention one of the smartest guys I know - to answer a few questions about drummers. Here's how it went down:

Here are my opinions on drummers.  I'll bet, as a bassist, I've worked with more drummers than any drummer.  I call my drummer friends when I need the low-down on a bassist.

What characteristics and attributes make a drummer "good?"

No matter the genre, style, or stage size, every drummer has a job.  The bass player (me!), has a job.  The front man has a job.  My favorite drummers have this uncanny ability to know just what their job is, do it effortlessly, and not step on the toes of the bassist, singer, etc. who's trying to do his job.  It takes a lot of listening, and a lot of knowing how the guys around you are thinking.

Aside from playing ability and musical skills, what makes a drummer easy to work with?

Stereotypes would have you believe that drummers, if they show up at all, will be late, lazy, loud, or drunk.  You'll notice that none of those have much to do with time, technique, or tone. While those things are important, remember that the guys you're playing with (or that hired you!) don't know much about your bearing edges and hand-hammering.  They just know what it feels like to play with you, and more of those feelings come from off-stage than on it.

What's the best compliment you could give a drummer?

As a bass player, if a drummer is listening to my lines and either locking in with me (with his kick!) or syncing with something complimentary, I'm super impressed.  Flattered, even.  Drummers that listen seem almost "invisible".  In my opinion, an invisible drummer is doing his job.

What's your most frequent complaint about drummers?

I'm scared by the number of drummers that don't know anything about bass playing, and vice-versa.  The relationship between kick and bass is CRUCIAL to any song, any genre.  There seems to be an influx of younger drummers right now that place kicks wherever they want them, and never in the same place twice.  Go spend $10 on the John Mayer Trio TRY! album and have your life changed.

Name the top thing that will keep a drummer from getting called for another gig.

Too many notes played too loudly.

Anything else you want to add, warn against or point out?

No matter what you play, expand your toolbox of true-to-the-style techniques and LISTEN!

Signed,

A working bassist.