Wenn Du ein Drumset zu Hause hast und der Postmann kommt und sagt, das
kann ich auch, setzt sich hin und macht Bum Chack Bum Bum Chack …
Das ist es nicht wirklich!!
Don’t listen to people in magazines talking about getting PR agents and the importance of social media. Instead, start by orientating yourself to things that will likely never go out of fashion: honesty, sincerity and enthusiasm. Take these basic values and put them into your music, and it will be worth hundreds of times more than all the Facebook “likes” in the world.
People try to get into drums today, and after a year, they are working on their own style. You must first spend a long time doing everything that the great drummers do… Drumming is like an evolutionary pattern.
TONY WILLIAMS – Modern Drummer, June 1984
I found that to really make money, you had to give up music. So I gave up money.
MEL LEWIS – Burt Korall, Drummin‘ Men: The Heartbeat of Jazz, The Swing Years, Oxford University Press, 2004, page 244
What drives me is really just being able to be a blessing to someone, you know. I really enjoy that.”
Anytime you strike the drums, you have to be aware that you’re creating a musical event.
There’s nothing wrong with personal development through playing an instrument, but what happens when it’s treated as a sport? There is no scoreboard. […] If you want razzle-dazzle…if you want to beat somebody up, be a boxer. All this time I thought drumming was art.
The greatest contribution jazz has made in music has been to replace the role of the conductor with a member of the ensemble who, instead of waving his arms to keep time and convey mood, is an active member of the musical statement. That person is the drummer.
When I played with Bill Evans, Keith Jarret or Thelonius Monk, they’d inspire me. When it’s my band it’s up to me to inspire my players. I’m not going to tell them to play great. I have to do it with my playing.
PAUL MOTIAN – J. Riley, Beyond Bop Drumming, Alfred Music, 2005, page 61
For the integrity and progress of our form of art, I feel that it is the performers absolute responsability to play new music, to apply new ideas. We must costantly renew our musical ideas. A lot of emphasis is placed today on being eccessible, but in retrospect, all the interesting and great works of art have always been created in an uncompromisingly modern language. Some of this may come across as musical, or artistic arrogance, but I don’t feel that. It’s creative necessity to move forward. Don’t dilute your music vision, be bold.