AllenS wrote:So I'm curious as to what you all think the essential elements of Vinnie's unique "feel" are: those special things that let you know that it's Vinnie you are hearing, even when you haven't actually read the credits on a given song or album.
There many things.
It is a bit about the gear, the drums, the tuning and the sticks. That's the part I've copied as I enjoy that and funny as it may sound the tip on those sticks is not the same as the regular American classic, but at the same time it's not the same as longer barrels either.
Vinnie offcourse, though a dynamic drummer, is a hard hitter.
Offcourse, Vinnie has a nice groove, especially the last 15 or so years and though there are many players with chops the combination of that deep pocket combined with those chops is still not a common combo.
As mentioned before, he's comfortable enough and has enough control that he'll throw in stuff that's not super obvious, maybe a bit too busy for some people's taste, but because of control, dynamics and flow it works. He's just bringing a bit of "loud jazz" to a context where going straight would also work. To me it just ties the kit together though and makes it more alive. There's always an improvised element, but the essence of the groove stays.
Then there's the quality. He's always full on, full fire, present...
He has the licks that many know and play, like the inverted doubles, the crossing double bass thing, which many of us do and so on......, but it sort of came from him and he does it his way.
Even somethings as simple as a 5sr on the hats. It's just the quality of the tone.
That goes for his cross stick as well.
A big part is just the vocabulary and the way it flows. He's one of those that is allowed to do his thing in a pop like context without being fired and that makes it possible for him to put his signature on most things he plays.