Dave Weckl’s first video “Back to Basics” has been a consistent seller since it was first released in 1989.   I have met many drummers who consider it their “bible” on drum technique and follow the information without question.
What is less well known is that Mr Weckl has completely revised his approach to technique and set-up since that time.  In fact during his first New Zealand clinic in 1996 he spent considerable time explaining the limitations and problems inherent in his earlier approach.

The concept of “Back to Basics” is quite valid.  We see several examples of his fusion style playing both as accompanist and soloist.
He then demonstrates five of the basic rudiments

and  explains how these can be applied to your kit work.   He also spends time explaining the thumbs-up or French tympani grip and its uses for finger control.

I attended Dave’s Auckland clinic in 1996 and have also seen him on three other occasions since that time.     His revised message remains much the same.
The following quotes are excerpts from his Auckland clinic:

“ After 26 years of drumming I finally figured out I was working too hard.  When we try to play things that are too hard for us the tendancy is to over-exert and muscle it out.
Fifty percent of what we do is to make  the stroke and the other 50% should be allowing the stick to rebound naturally.   I have recently been working with a great teacher in Los Angeles called Freddie Gruber and he has helped me develop a more natural approach.
He was a close friend of Buddy Rich and has also taught Steve Smith, Neil Peart and Adam Nussbaum.
Freddie talks about setting the stick in motion and then getting out of the way.  Don’t let your grip block the motion of the stick.  Many great jazz drummers have always used this approach and we should study their methods.
If you are too tense or stiff when you play, the process of  body to stick to drum won’t work and you won’t get a good groove or feel.   But once you do get this approach working it will make ANY style of music easier to play.”

  On the major areas of change in his playing Dave made the following observations:

GRIP:
 “I no longer hold the stick so tightly between thumb and fore-finger as this creates tension in the wrist and fore-arm and blocks rebound.   When playing in the palm-down position, which I do most of the time, I support the weight of the stick with the middle finger  and guide the motion with thumb and fore-finger.    I also used to hold the stick further back for a greater accent or back beat,  but this can also work against rebound.  I now hold the stick about a one third up its length from the butt end.  This produces a more balanced up and down motion and the stick moves rather like a pendulum.”

HAND POSITION:
“I do most of my playing in the palm-down position as  this gives added strength and wrist flexibility.   ( Most of Dave’s playing on the video is done palm down.  He just doesn’t talk about it.)    I also make extensive use of the Moeller method which is perhaps the most important technique of all.   It enables you to play notes with both the downward and upward motion of the stick.  It is particularly useful for fast one-handed cymbal patterns  a la Jeff Porcaro.     The thumb-up finger control method featured on the video is  mainly used when I want to play softly with a lot of finesse.”

DRUM KIT SET-UP:
“On  Back to Basics I used the traditional left hand grip with the snare drum sloping back towards me.  I no longer do this as you don’t get a flush hit and it caused me to sit crooked.  It produced a curve in my spine that can cause back pain and is also very tiring.
I now have the snare drum sloping from left to right as Buddy Rich did.
The tom-toms should also be set to enable the stick to strike parallel with the drum head.
This makes the stick bounce straight back and helps you to play faster with less effort.
Similarly with cymbals.  Position them for easy playing.  Don’t set them up too high just to look cool.    After my first lesson with Freddie I went home and totally rebuilt my set up around my natural body position.”

TUNING:
“How you tune drums and the way they respond has everything to do with ease of playing.   If heads are too loose or have too much muffling they become much harder to play.     Over-tight snares will also choke the tone of the drum. 
With the bass drum I no longer cut a hole in the front head as I want it to sound like a drum and not a cardboard box.  I also use a dancing motion with my foot on the pedal. This allows the beater to come back from the head for more tone, instead of forcing it into the head with the weight of the whole leg.”

Recently, Dave has released a new set of videos/dvd’s called the “Evolution” series. These outline his revised approach and include a short demonstration by Freddie Gruber.

The newly issued  Drummer’s Collective 25th Anniversary Concert  dvd also has excellent  live coverage of Dave and his band and his present style is clearly visible.

Dave Weckl remains one of the most dedicated musicians in the business and any open minded  drummer can learn valuable lessons from his on-going development.

Reviewed by Barry Young:  2006

DVD:  Groove Essentials – Tommy Igoe          (playing time: 3hrs 40’)
Book & CD:   Groove Essentials – Tommy Igoe   (playing time 6hrs)

Tommy Igoe’s two part production is a work of the highest quality and is destined to be a classic among modern drum methods.
The initial DVD project features Tommy demonstrating   47 different essential grooves in styles covering  Rock, Funk, R&B, Hip-hop plus a variety of Jazz patterns and World Rhythms (Afro-Cuban, South American, Reggae).
Mr Igoe  has used his vast experience as a leading New York based performer, session drummer and teacher to compile an encyclopaedic reference for what drummers are required to do most of the time – play the right groove to fit the song.
Each rhythm is explained in detail using a step by step approach as appropriate. It is then performed to a pre-recorded accompaniment at a comfortable relaxed tempo to make it accessable to drummers at all levels.  A further example of each groove is then played to a faster track to demonstrate the upper reaches of its application.
With a playing length of  over 3hrs there is enough material here to challenge drummers at any level and it is a marvellous resource for teachers.
The DVD package also includes a wall chart with all grooves written out – ideal for the studio wall.

The Book & CD set uses the same backing tracks as the DVD but extended to 3 - 4min. and with drums deleted.      There are further written variations of each groove, plus a pro quality drum chart outlining song forms and instrumentation.

 Several of these charts would be suitable for students and teachers looking for performance material for exam assessment.   The CD is in mp3 format and   provides us with over 6 hrs of quality play-along material.  There is even a  page of instruction on how to transfer the recordings to iPod or standard cd format.

The tracks are all recorded by professional musicians and feel great.  No digital manipulation,  loops  or samples are used.  Click tracks are kept to an absolute minimum   (count-ins and drum breaks only ) to encourage the student to LISTEN and lock into the sound of the other instruments, as in a real-life situation.  Also, there are no written fills which further encourages the drummer to listen to song formand develop judgement about fill placement.

Reading ability is not essential to work with this book.  However serious students would be well advised to sharpen their reading skills to make the most of this material.

This package is not intended to be “the only drum book you’ll ever need”   or to replace an experienced teacher.   What it does do is provide drummers of all levels with an excellent reference work and over-view of the essential styles of modern drum set playing.

Drum Set Tuning