Intermediate skill level?

[gretsch-o-rama]

I think it's simple, it comes from emotions and feelings and that why they sound like THEM and not protools... technical facility is entirely different though.

I dunno. I swear Gadd does stuff he's never practiced in his life, but he has the ability to play whatever comes to mind with authority. Things that sound so simple are often some of the most complicated things I've ever tried to copy. Like feathering a swing stroke over or under a series a left-hand grace notes. Who does that? It's natural to use grace notes as filler. You don't play something else over the top or underneath. But Gadd, Keltner, all the guys who can play killer shuffles, they sneak that **** in and it makes my head spin trying to figure out what they're doing. Or what about using the left foot to sneak in a note you would normally play with the hi-hat? That's some sneaky, groovy **** right there that will drive a man mad if he doesn't see it demonstrated.

Vinnie also is a master with what you're talking about with Gadd... Pulling off things that he wouldn't normally play under perhaps more non-musical circumstances. I've heard Gadd say many times that the great artists pull it out of you and it's not forced. Which to me, means that you're having an emotional reaction to what others are playing and responding to that. The opposite can be true too. You play with a shitty band (happens to me all the time) lol and everything feels like sludge and you're putting so much effort into doing the same old licks.

A great band inspires each other to reach new heights regardless of technical ability( of which I claim to not have a lot). Spirit and joy is everything in music...

[Gaddabout]

Vinnie also is a master with what you're talking about with Gadd... Pulling off things that he wouldn't normally play under perhaps more non-musical circumstances.

One of the things I miss from Vinnie's late 80s/early 90s studio work is his left-foot hi hat. He would do some rediculous things that were subtle and beautiful that only a drummer would recognize as being very challenging, but they made all the difference.

[gretsch-o-rama]

Vinnie also is a master with what you're talking about with Gadd... Pulling off things that he wouldn't normally play under perhaps more non-musical circumstances.

One of the things I miss from Vinnie's late 80s/early 90s studio work is his left-foot hi hat. He would do some rediculous things that were subtle and beautiful that only a drummer would recognize as being very challenging, but they made all the difference.

Yeah I flirt with that stuff but in my town there's not much need for it. But then again I live in a shit town where there's not a lot of music happening and if there is, it's 4 on the bass drum and 2 and 4 on the snare drum whether it be a shuffle or straight. So, Gadd is my inspiration as of late even though he can play much more complex music( which I don't get the opportunity to), his groove I try to emulate like with Stuff and others... Hey Gaddabout, what are some older Gadd groove recordings? I've heard you say you had a Gadd obsession growing up...(which I can relate to)

[Ardent15]

[quote="gretsch-o-rama" Hey Gaddabout, what are some older Gadd groove recordings? I've heard you say you had a Gadd obsession growing up...(which I can relate to) [/quote]

I'm not Gaddabout, but I can recommend Gadd with Rickie Lee Jones on her first three albums, Lee Ritenour's albums "Feels the Night", "Captains Journey", and "Friendship", and of course Gadd with Paul Simon is great too.

Good Gadd that guy can groove.

[Gaddabout]

Hey Gaddabout, what are some older Gadd groove recordings? I've heard you say you had a Gadd obsession growing up...(which I can relate to)

Any old Stuff recordings. The first Bonnie Raitt record -- Streetlights. Anything he ever did with Bob James grooves way hard. With Aretha Franklin on With Everything I Feel In Me. Even the stuff he did with Al di Meola with Anthony Jackson on bass has a unique deep feel to it for fusion.

But hardly a week goes by that I don't whip out Lenore from Chick Corea's The Leprechaun. That's still the height of modern drumming for me.

[chris perra]

Do you mean intermediate as a student, purely knowledge and vocabulary/technique , or on a professional level where the content and complexity is irrelevant but the nuance/feel dictates the skill level?

[Henry II]

I don't think labels like beginner, intermediate, advanced are very helpful. Compared to what? These aren't standardized characteizations.

For me, musicianship is a lifetime journey of growth. I have long plateaus of months or even years during which I don't percieve much improvement or change in my playing. Then, there will be a short burst of growth in which I gain a new understanding, or discover a new skill or a new way to use what I already know. Sometimes I'm happy just trying to perfect what I already do. Sometimes I hear something that triggers a growth spurt. Or, I'll crave something new and devote my shedding time to and find a new book to study from.

So, how should I characterize myself after all these years? Compared to most high school musicians, I'm beyond advanced. But, compared to a legendary artist, I'm still a beginner. So, to me, these labels don't mean much.