It was none other than John Birks "Dizzy" Gillespie who said that the bass drum in jazz should be played as though it were being played by hand in a marching band, as an isolated instrument. Think of an improvising bass drum player in a New Orleans marching band. Now think of that improvising bass drum player with two mallets, two hands. That's what a double pedal should do for you. It's not a matter of more speed and more power, but more finesse and more "creative" figures at the bottom end of your kit. Bob Sweet bsweet@umich.edu READ Music Universe, Music Mind http://www.arborville.com The only full-length account of the Creative Music Studio, the twentieth century's premier study center for creative music. --On Wednesday, July 02, 2003 7:37 PM +0200 Robbert! <robbert@performers.net> wrote:
slightly late reply to remarks about joey baron... judging by the sound, he indeed uses jazz kits on the recordings i know. also, when i've seen him play live (usually in the bimhuis, amsterdam), he used the jazz kits that were there: 18" bass, 12" tom, 14" floor tom. nc amsterdam was different: 4 piece rock sized drum kit, hole in front head of bd. and yes, a double pedal. speaking of which: any drummers out there who have ideas about creatively (... what's wrong with elitism?) using one? in not-necessarily-metal (how's that for a label) settings?
Bob Sweet --On Wednesday, July 02, 2003 7:37 PM +0200 Robbert! <robbert@performers.net> wrote:
slightly late reply to remarks about joey baron... judging by the sound, he indeed uses jazz kits on the recordings i know. also, when i've seen him play live (usually in the bimhuis, amsterdam), he used the jazz kits that were there: 18" bass, 12" tom, 14" floor tom. nc amsterdam was different: 4 piece rock sized drum kit, hole in front head of bd. and yes, a double pedal. speaking of which: any drummers out there who have ideas about creatively (... what's wrong with elitism?) using one? in not-necessarily-metal (how's that for a label) settings?