This is a page off of Pete Magadini’s classic book, Polyrhythms. As I get older, I have gotten increasingly hip to layering counter rhythms in my playing as opposed to fast 32nd note hand/foot licks, though I also truly appreciate the ability to pull off the latter. This year, I aim to deepen my knowledge of polyrhythms and find many creative ways to express different layers of rhythms in my grooves, fills, and solos.
The inspiration for this comes from great drummers like Ginger Baker, Max Roach, Art Blakey, Elvin Jones, Tony Williams, Tony Allen, Vinnie Colaiuta, and Stewart Copeland. Pete Magadini’s Polyrhythms is probably still the best instructional method out there to develop control over this concept. It’s also a fine tool to help you strengthen your inner clock as you learn to shift to and fro and relate all rhythms of differing meters to a common pulse. That way, I can expand my vocabulary and am able to take on more complex forms of music both with greater competence and confidence.
Forgive me for the bad photo shot, but I’d like to share with you something that really made my day yesterday and gave me lots of hope.
See the youtube comment by Mr. John Morton at the bottom of the shot. It reads, “Wow! You just made my day. From a guitarist who used to sit in front of the giant console stereo at the age of 12 and play air drums to this song when it first came out. So good to see young people recognize what an inventive and exciting drummer Mitch Mitchell was. Carry that torch brother. Your hard work paid off.”
This is a simple statement that I’m in no position to find fault with, and especially in music, I still feel like a beginner, in both skill, and more so, in my curiosity to find out more about the mechanics of making music.
I ask myself from time to time the question that if I ever leave the music scene, will I lose the passion to discover music I’ve never heard before and trace the roots of those musics? I’m 30 now and despite the highs and lows I’ve experienced being in the music scene for almost 6 years now, I still feel like the 10 year old kid who got excited listening to the entire discographies (up to that point) of some of the greatest bands in the world such as Grand Funk, The Beatles, and Tower of Power. I still feel like that 10 year old kid who was curious to learn more about music from different parts of the world. Is this a clear indication that if I still have this fervour for music now, I will certainly be in it for the long haul?
There’s this thing called the 3 to 5 year rule in assessing the longevity of a career or a relationship. If you stick with something/someone for that long, it’s bound to work. In reality, it can’t be ascertained, so I’ll just leave it as that. I’ll enjoy doing music as a career for as long as it lasts and be prepared for the day to activate plans B, C, D and so on, if necessary.
No matter which stage I’m at in my career, I’d like to be that diligent, hardworking, ever-seeking apprentice. When I lose that, I lose my reason to carry on as a musician.
As stated above, check out the paragraph titled “Any Good?” The track I played on “December By The Isle of You” written, arranged, and produced by Singapore-based Mauritian-French singer-songwriter, Jonathan Meur, is described by the reviewer as “luminiscent!”
Album is now available in cd format at all Starbucks outlets as well as in digital format on bandcamp.com. All proceeds go to the Rare Disorders Society of Singapore.