Pocketplayer wrote:One pattern emerges here...relationship. We tend to trust those we know and respect.
This can be good and bad. I think in the past, there was more surprise by an artist.
Imagine Gadd tinkering with the 50 Ways groove...no big deal, just playing around
between takes and Paul Simon says, "I kinda like that" and Steve works it into a groove.
Do you really think he knew it would land so strong with drummers in particular and be
copied and mimicked for decades?
Gadd's vocabulary is what he knows. Porcaro starting so many songs the same way is what
he knows. Virg's vocabulary what he knows. My vocabulary what I know. Do we change
it because someone doesn't care for it?
Do big name guys get honest constructive feedback?
I guess I ask now what "constructive" feedback is? Time is constructive feedback, but that also
depends on the song and what the feel is the artist or songwriter wants. Sometimes imperfect
time works better. Space and dynamics is constructive feedback. Orchestration of parts
constructive feedback.
When you hire Dave or Vinnie or...you know what you're getting. So, what then determines
constructive feedback?
Would be interesting (to me) if drummers here share feedback they have received from others
and share their reaction. What was constructive and what did you dismiss as not being
constructive? How did this challenge your confidence? Was it worth fighting over if it came
from a band member or artist paying you? Other?
Great points. Re: "Do we change it because someone doesn't care for it?"-hopefully if an artist changes, it is ultimately because they challenge themselves. Not because someone else doesn't like it. The former is where genuine musical growth comes from, IMHO.
Though some guys get away with doing the same thing in a variety of different contexts. See JR Robinson or Steve Ferrone. They always play like themselves, regardless of the gig. And you know what? It works.
On that note: I have been listening to a lot of Nashville pop-country recently. Lots of great musicianship and production, but it's literally a hit-making machine (the Nashville scene, that is) with tons of songs, artists, and albums that sound the same. Yet would you tell the top Nashville songwriters that they need to think outside the box more, to try something different? I don't think I could.