@@AubreyDrumLessons That 98-Footage is Bozzio at His best imo. I met him in Höör here in Sweden actually back in 99. Always liked the polymetric fills in the last Piece, before he goes off on the chinas. Ever tried transcribing those? Hard to get Whats going on for sure.
@@magnusbnordh9624It's cool that you had a chance to meet him! He's really very nice and humble. I hung out with him In New Jersey when I lived there years ago. A real master!
Undoubtedly my favorite drummer of all time. As a teenager, I would run upstairs in our regular café on the weekends to ask the DJ to play this song, only to go completely wild a little later to Terry's amazing drumming and, of course, the entire song.
Aubry that was an awesome breakdown ...thank you! When you mention Terry's developing years I was living in Marin County which is North of San Francisco, just across the Golden Gate Bridge, and I was studying from the same Drumset teacher Terry was working with. This man's name is the great Chuck Brown who had studios in Marin and Oakland. Chuck had studied with Alan Dawson at Berkeley and also with George Lawrence Stone who wrote the iconic Stick Control book and others. Chuck had also paid dues as house drummer at the Playboy club in San Francisco. One of the most important thing about Chuck's teaching was that he had developed a real progressive Method where you were taken along step by step and no further until you had absolutely mastered your lesson. All the heavy Bay Area players went thru Chuck and not everybody could hack his insistence in this regard. You were put on a waiting list to get to study with him and he required dedication from you. He was one of the coolest people I have ever met and he liked me, we were friends. He was like a father to me and a brother too. We would talk about life and girls and what was happening with you during warmups. He was someone you aspired to be like, he was handsome, tall, in shape, and Afro-American (from Oakland originally). He looked like a lean athlete and he was intense as hell. In the studio was only a Remo practice pad kit with a Camco pedal (which he had custom springs made for that you could buy from him), and there was a mirror on a Manhasset music stand by the floor tom so you could see a side view of your hand and fingers and also see Chuck who was located on your left . This enabled you to mimic his hand demo while looking in the mirror at his hand. There was also a huge mirror in front of you so there was visual feedback no matter what you were doing. He sat on a stool in front of a red rubber practice pad that was mounted on a wood block on a stand (Lignum Vitae...one of the worlds hardest woods) and he had cut the rubber into a disc about the size of a silver dollar to encourage accuracy and proper tracking of strokes. We all made our own versions of his practice pad, and he required us to use the Vic Firth Bolero drumstick too. I'm telling you all this so that people know that Terry's talent was nurtured by Chuck. Another thing that should be noted is that Terry excelled because he worked hard and persisted, making the best of every playing situation before he got the Zappa gig which Chuck was so proud of. Amongst us students Terry exemplified hard work, talent, and success, and became our local hero serving as a model for the achievable.
What Alan! I’m so sorry that I missed your comment when you wrote it! Thank you so much for this great look at Terry and your percussive education with Chuck Brown. He sounds like the teacher’s teacher! Is he still alive? Also, do you know if David Garibaldi studied with him?
@@AubreyDrumLessons Thanks for (finally) responding to my comment Aubrey! No, Chuck is no longer with us; sadly he died last year. Yes, I think Garibaldi did study with him for awhile but having talked to Dave, I think he did not respond to the regimentation of Chuck's system. One thing I do think is Dave got that rimshot from Chuck and there is a "flex-time" concept that they seemed to have developed together. If you try to emulate the TOP stuff of the early days it's almost impossible if you don't understand these concepts. The rimshot...Chuck had an exercise for developing it. The main concept was to wait to the very last fraction of a second to execute the stroke from a low-to-vertical then firing down position, resulting in more speed and velocity by the time the stick made impact. When Chuck performed this it was almost deafening and the wooden "POP" he got was astounding. There were chunks missing from the rim of the Remo practice pad. The exercise was set up at a very slow tempo and you would count ; one-e-an-AH!!! (r-l-r-L) repeating until you got a consistent sound and an accurate shot each time. If you missed one it was kind of a big deal; he would say "if you do that when you're playing a tune it'll sound like a rat ran through the room". From a traditional grip standpoint you had to develop the muscle in the "cradle" where the stick lays, and he had an exercise for that too which was to hold the hand with fingers extended straight out parallel to the forearm, with thumb/cradle gripping the stick. You then rotate the stick up to a vertical position without the aid of the fingers. From there using this grip you would actuate the stick up and down 90 degrees pretty much with thumb and rotating the wrist, concentrating on the muscle between the index finger and thumb...the meat there has to build up over time. In performing the exercise you would build up speed until you lost control from muscle fatigue then go back down. When you master the rimshot one of the things you'll notice is that you suddenly feel you have more time because you're not anticipating the buildup to the rimshot, it's just a reflex, and a quick one at that, leaving more space leftover, and that is why Garibaldis playing sounds so relaxed. It's because the shot is leaping forward to the top of the time and from there the rest of the beat is sliding back to one in the middle of time. This was the "flex-time" concept. Chuck had these custom concepts and development exercises for all your lessons and over time he could, with your participation build you into a top professional DRUMSET PLAYER. That's what happened with Terry.
@@alanpeterson4205 Wow! That's remarkable! Yes, you can definitely hear that concept in Garibaldi's playing. I have checked out his playing pretty carefully over the years. I'm just starting to feel comfortable with the rim shot in his layered approach to the groove. I can see by your description how Chuck's exercises could speed that process up. Thanks and once again, sorry for such a delayed response! :)
@@AubreyDrumLessonsAubrey I just remembered one little tidbit that went along with the rimshot ex. and that was to play more off-center on the drum, moving the stick further in and striking further back from the shoulder of the stick for more wood and a meatier sound. That weight forward feeling of the stick enables even more "whip" to the stroke as well. As I write this I now remember him saying to utilize more of the upper arm/shoulder and come from there. He'd reach over and pull my arm/elbow away from the body a little bit as well. I remember him using Max Roach as an example how NOT to do it because he tucked his arms in. The memories keep coming, here's another ex. for the bass drum similar to the rim shot in that you play eighth notes to a set metronome tempo (heel down) until comfortable. Then at four beats to the bar play a bar of eighth notes starting at low volume and ending with the last stroke (4... AN!!) as loud as you could play it. As your volume increases throughout the bar you apply more downward pressure on the heel and try to get that pop like the rimshot...that last minute velocity and whip. It comes from the glute and the quad muscles really kicking in on that last stroke. After the power stroke immediately drop the volume back to pp and repeat the cycle. Your doubles benefit from this too.
One of the greatest drum openings in the history of progressive rock. This in my opinion is when Terry was at his very best. If this isn’t Rhythmic deception I don’t know what is.
Yesss! Since you made the switch to Attack heads I was researching them and came across Bozzio using them. I then went on a youtube rabbit hole. This couldn't have been better timed!
Very cool! Great job of breaking down the intro. TB has been my favorite drummer since 82. Can also find the song on UK's live album, Night After Night. Brecker Brothers Heavy Metal Bebop is another smoking album.
What’s bad is many youngsters started listening or watching Terry at the end of his career, and never listened to him and the excellent work he did with Zappa, , The Brecker Brothers, U.K., Missing Persons, and Gospel 87 to name a few. He’s so much more than the ostinato playing/ solo drumming that he does now.. In my humble opinion his ostinato playing actually hurt his overall drumming. I think it diminishes your listening skills, because you are so consumed with your own playing that over time it’s hard to get back into playing with other musicians.
:)...Bozzio too?...You don't disappoint.. I'd love to see you play the whole Carry No Cross...:)...I'm sure you're a Brand X fan as well... I hope you get around to; And So to F or, Not Good Enough; from Product...You must be so busy now, keeping up with 5.3 k subscribers. You're like the Rick Beato of drums...:)
Hi Rob, Thanks for the encouragement and for having fun with my videos! I am definitely a Bozzio fan and Brand X. I'm working on a Peter Eskine with John Patitucci thing currently but overall I do love digging into great drummers and their playing.
That double bass herta is from Bleed by Meshuggah :) If you want to do some metal drummers I strongly recommend you check out Sean Reinert who passed earlier this year, I love to see a breakdown of his playing on Human but his work in Cynic is probably more appropriate for this channel.
Yes brother James! Also thanks for the recommendation. I don’t listen to a lot of metal but I appreciate the great musicianship. I’ll definitely check out Sean’s playing. Thanks for checking me out!
Hi! You have a good point. I ask folks to download the chart to follow along slowly but people aren’t always in a situation to look at a chart.. I also run each playing section at the bottom of the screen. I guess I could flash the chart up for a moment to draw folks attention to each section in context. The problem is some of the charts are multiple pages. In any case thanks for the advice!
Great stuff here !
All my favourite drummers !
Overall great episodes.
Keep it up. !
Thanks for watching Magnus!
@@AubreyDrumLessons That 98-Footage is Bozzio at His best imo.
I met him in Höör here in Sweden actually back in 99.
Always liked the polymetric fills in the last Piece, before he goes off on the chinas. Ever tried transcribing those?
Hard to get Whats going on for sure.
@@magnusbnordh9624It's cool that you had a chance to meet him! He's really very nice and humble. I hung out with him In New Jersey when I lived there years ago. A real master!
@@magnusbnordh9624Also, no I haven't transcribed any of that stuff.
Undoubtedly my favorite drummer of all time. As a teenager, I would run upstairs in our regular café on the weekends to ask the DJ to play this song, only to go completely wild a little later to Terry's amazing drumming and, of course, the entire song.
Aubry that was an awesome breakdown ...thank you! When you mention Terry's developing years I was living in Marin County which is North of San Francisco, just across the Golden Gate Bridge, and I was studying from the same Drumset teacher Terry was working with. This man's name is the great Chuck Brown who had studios in Marin and Oakland. Chuck had studied with Alan Dawson at Berkeley and also with George Lawrence Stone who wrote the iconic Stick Control book and others. Chuck had also paid dues as house drummer at the Playboy club in San Francisco. One of the most important thing about Chuck's teaching was that he had developed a real progressive Method where you were taken along step by step and no further until you had absolutely mastered your lesson. All the heavy Bay Area players went thru Chuck and not everybody could hack his insistence in this regard. You were put on a waiting list to get to study with him and he required dedication from you. He was one of the coolest people I have ever met and he liked me, we were friends. He was like a father to me and a brother too. We would talk about life and girls and what was happening with you during warmups. He was someone you aspired to be like, he was handsome, tall, in shape, and Afro-American (from Oakland originally). He looked like a lean athlete and he was intense as hell. In the studio was only a Remo practice pad kit with a Camco pedal (which he had custom springs made for that you could buy from him), and there was a mirror on a Manhasset music stand by the floor tom so you could see a side view of your hand and fingers and also see Chuck who was located on your left . This enabled you to mimic his hand demo while looking in the mirror at his hand. There was also a huge mirror in front of you so there was visual feedback no matter what you were doing. He sat on a stool in front of a red rubber practice pad that was mounted on a wood block on a stand (Lignum Vitae...one of the worlds hardest woods) and he had cut the rubber into a disc about the size of a silver dollar to encourage accuracy and proper tracking of strokes. We all made our own versions of his practice pad, and he required us to use the Vic Firth Bolero drumstick too. I'm telling you all this so that people know that Terry's talent was nurtured by Chuck. Another thing that should be noted is that Terry excelled because he worked hard and persisted, making the best of every playing situation before he got the Zappa gig which Chuck was so proud of. Amongst us students Terry exemplified hard work, talent, and success, and became our local hero serving as a model for the achievable.
What Alan! I’m so sorry that I missed your comment when you wrote it! Thank you so much for this great look at Terry and your percussive education with Chuck Brown. He sounds like the teacher’s teacher! Is he still alive? Also, do you know if David Garibaldi studied with him?
@@AubreyDrumLessons Thanks for (finally) responding to my comment Aubrey! No, Chuck is no longer with us; sadly he died last year. Yes, I think Garibaldi did study with him for awhile but having talked to Dave, I think he did not respond to the regimentation of Chuck's system. One thing I do think is Dave got that rimshot from Chuck and there is a "flex-time" concept that they seemed to have developed together. If you try to emulate the TOP stuff of the early days it's almost impossible if you don't understand these concepts. The rimshot...Chuck had an exercise for developing it. The main concept was to wait to the very last fraction of a second to execute the stroke from a low-to-vertical then firing down position, resulting in more speed and velocity by the time the stick made impact. When Chuck performed this it was almost deafening and the wooden "POP" he got was astounding. There were chunks missing from the rim of the Remo practice pad. The exercise was set up at a very slow tempo and you would count ; one-e-an-AH!!! (r-l-r-L) repeating until you got a consistent sound and an accurate shot each time. If you missed one it was kind of a big deal; he would say "if you do that when you're playing a tune it'll sound like a rat ran through the room". From a traditional grip standpoint you had to develop the muscle in the "cradle" where the stick lays, and he had an exercise for that too which was to hold the hand with fingers extended straight out parallel to the forearm, with thumb/cradle gripping the stick. You then rotate the stick up to a vertical position without the aid of the fingers. From there using this grip you would actuate the stick up and down 90 degrees pretty much with thumb and rotating the wrist, concentrating on the muscle between the index finger and thumb...the meat there has to build up over time. In performing the exercise you would build up speed until you lost control from muscle fatigue then go back down.
When you master the rimshot one of the things you'll notice is that you suddenly feel you have more time because you're not anticipating the buildup to the rimshot, it's just a reflex, and a quick one at that, leaving more space leftover, and that is why Garibaldis playing sounds so relaxed. It's because the shot is leaping forward to the top of the time and from there the rest of the beat is sliding back to one in the middle of time. This was the "flex-time" concept. Chuck had these custom concepts and development exercises for all your lessons and over time he could, with your participation build you into a top professional DRUMSET PLAYER. That's what happened with Terry.
@@alanpeterson4205 Wow! That's remarkable! Yes, you can definitely hear that concept in Garibaldi's playing. I have checked out his playing pretty carefully over the years. I'm just starting to feel comfortable with the rim shot in his layered approach to the groove. I can see by your description how Chuck's exercises could speed that process up. Thanks and once again, sorry for such a delayed response! :)
@@AubreyDrumLessons Thanks Aubrey, glad you dug it. Keep up the great work! -Alan P
@@AubreyDrumLessonsAubrey I just remembered one little tidbit that went along with the rimshot ex. and that was to play more off-center on the drum, moving the stick further in and striking further back from the shoulder of the stick for more wood and a meatier sound. That weight forward feeling of the stick enables even more "whip" to the stroke as well. As I write this I now remember him saying to utilize more of the upper arm/shoulder and come from there. He'd reach over and pull my arm/elbow away from the body a little bit as well. I remember him using Max Roach as an example how NOT to do it because he tucked his arms in. The memories keep coming, here's another ex. for the bass drum similar to the rim shot in that you play eighth notes to a set metronome tempo (heel down) until comfortable. Then at four beats to the bar play a bar of eighth notes starting at low volume and ending with the last stroke (4... AN!!) as loud as you could play it. As your volume increases throughout the bar you apply more downward pressure on the heel and try to get that pop like the rimshot...that last minute velocity and whip. It comes from the glute and the quad muscles really kicking in on that last stroke. After the power stroke immediately drop the volume back to pp and repeat the cycle. Your doubles benefit from this too.
One of the greatest drum openings in the history of progressive rock. This in my opinion is when Terry was at his very best. If this isn’t Rhythmic deception I don’t know what is.
Agreed! His live playing ,with this band in particular, was otherworldly as well! Thanks for watching Patrick.
Yesss! Since you made the switch to Attack heads I was researching them and came across Bozzio using them. I then went on a youtube rabbit hole. This couldn't have been better timed!
LOL! That's awesome! Synchronicity...right? I'm loving the heads. They are worth checking out.
Very cool! Great job of breaking down the intro. TB has been my favorite drummer since 82. Can also find the song on UK's live album, Night After Night. Brecker Brothers Heavy Metal Bebop is another smoking album.
Great playing, insight and analysis!
Excellent!
Great lesson thanks
What’s bad is many youngsters started listening or watching Terry at the end of his career, and never listened to him and the excellent work he did with Zappa, , The Brecker Brothers, U.K., Missing Persons, and Gospel 87 to name a few.
He’s so much more than the ostinato playing/ solo drumming that he does now.. In my humble opinion his ostinato playing actually hurt his overall drumming. I think it diminishes your listening skills, because you are so consumed with your own playing that over time it’s hard to get back into playing with other musicians.
:)...Bozzio too?...You don't disappoint.. I'd love to see you play the whole Carry No Cross...:)...I'm sure you're a Brand X fan as well... I hope you get around to; And So to F or, Not Good Enough; from Product...You must be so busy now, keeping up with 5.3 k subscribers. You're like the Rick Beato of drums...:)
Hi Rob, Thanks for the encouragement and for having fun with my videos! I am definitely a Bozzio fan and Brand X. I'm working on a Peter Eskine with John Patitucci thing currently but overall I do love digging into great drummers and their playing.
@@AubreyDrumLessons :)...Did you get to my; "You're like the Rick Beato.."..Yet? I hope you know who he is so you can have a laugh...:D
@@godbluffvdgg Yes yes! He's great !:)
9:00 Brand X - Smacks Of Euphoric Hysteria?
That double bass herta is from Bleed by Meshuggah :) If you want to do some metal drummers I strongly recommend you check out Sean Reinert who passed earlier this year, I love to see a breakdown of his playing on Human but his work in Cynic is probably more appropriate for this channel.
Yes brother James! Also thanks for the recommendation. I don’t listen to a lot of metal but I appreciate the great musicianship. I’ll definitely check out Sean’s playing. Thanks for checking me out!
Hey Aubrey , it would be good to keep the chart up while your talking about it !! FYI
Hi! You have a good point. I ask folks to download the chart to follow along slowly but people aren’t always in a situation to look at a chart.. I also run each playing section at the bottom of the screen. I guess I could flash the chart up for a moment to draw folks attention to each section in context. The problem is some of the charts are multiple pages. In any case thanks for the advice!
Alex VanHalen Hot of Teacher