Slabs From Patambo — First/Main section recorded on 5/1/11 at the Anthill 2 with Justin Wierbonski on Drums, Adam Deimling on Bass, Kevin Wilder on Keyboard, Gonzalo Ovelar on Percussion and Christopher Kirk on Laptop/Synth. Zanzithophone overdubs by Justin Wierbonski. End section recorded on 4/24/11 at the Anthill 2 with Justin Wierbonski on Drums, Gonzalo Ovelar on Percussion and Christopher Nadeau on Guitar.
This is my third visit to a wonderful city, São Paulo, Brasil! It’s a behemoth of rolling hills of brick shanties with thin fiberglass roofs filled with so much energy and life, smiling faces, warm people, delicious and strange food, loud music everywhere, beautiful people, kids playing in the streets, wild dogs running wild, motorcycles making daring moves darting between traffic, tiny alcohol powered cars, loving family, beijos, muitos beijos, high tech electronics juiced from twisted and taped cables through holes in walls, incredibly steep staircases without railings, packed bus stops, people talking in the streets, me understanding more than ever, tons of percussion instruments I want to buy, endless skyscrapers, laughing, playing, working, making great use of what they have, tropical plants and fruits popping through the cracks of cement, love this place.
Once upon a time an American drum company that produced some of the finest drums in the world, also made some of the best hardware in the world. Then the 80s happened. Ludwig’s quality standard for hardware went down significantly in the 1980s, and they had never fully recovered. Though I do own some very nice flat based stands with the Ludwig name that came out in the early 2000s, and still have and love them. But they were not the first name most people would think of concerning hardware.
Well it seems like Ludwig has recognized that and decided to resurrected their old “Atlas” name which is what they used to call their high end hardware back in the day, as well as released several different lines which cater to various types of drummers. They have the Atlas Pro line, which is the heaviest duty line of stands they are offering. This includes all types of stands, thrones, pedals (single & double), the Atlas Classic line, this one is my favorite. It includes a whole slew of flat based stands that are light weight, but well built and sturdy. And last, the Atlas Standard line, which are medium weight stands for your average drummer. This also look quite nice.
All and all, this looks like a very promising like of hardware for Ludwig!
Come down to the Dunedin Brewery tonight for an exclusive performance by The Children of Mu. This will be the last show in Florida for some time. There’s no cover and great food and homebrewed beer! 937 Douglas Ave. Dunedin, FL.
Cruising Sabian’s website the other day, I noticed that they are now making the Ozone in the more affordable B8 Pro line. For those of you not familiar with the Ozone cymbal, it’s basically a crash cymbal with a bunch of huge holes in it. But believe it or not, they sound pretty darn cool, almost like an extremely explosive trashy crash. The 18″ retailing at only $108, it seems like it’ll be a great deal to add some spice to your kit.
I’m not an “alloy snob” and think that B8 can sound quite good. Allot of people don’t realize nearly all of the Paistes made throughout the 70s and 80s were all made from B8 alloy.
Sabian hasn’t put a sound sample up yet, but even if they do, this is an area of Sabian’s site that needs some work. All of their audio samples sound like they’re encoded at 24 kbps or something, so they’re pretty worthless in judging sound. My feelings of the B8 Pro line is mixed in general. I had an 18″ crash that sounded great, and the Power Rock Ride (which they have discontinued for some reason) is used by Mr. Damon Che of Don Caballero, and he makes it sound damn good. However, I had a set of their medium hats once and they were the harshest and most awful sounding hi hats I’d ever played. For a while they were the only ones I had left and was forced to play them. I cringed every time I hit them, haha.
That being said, I wouldn’t just blindly order one until I could hear one in person. But they certainly have potential to be cool.
This is the second “Dark Fusion Ride” I’m posting for sale. This one is slightly thinner than the #1 and I used a different grinding technique to give it a very unique look and sound. I spent a lot of time hammering this one. It A medium weight cymbal with a dark and somewhat trashy wash, nice big jazzy spread and defined stick definition. This one would be great for fusion, jazz, be bop or funk. BUY IT HERE!
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Weight : Medium
Pitch: Medium
Tone: Dark/Trashy
Size : 20″
Bell : Small
Finish : Squiggles
Alloy : B8
Soon I will be releasing my own brand of cymbals for drum set. These are customized or “reworked” cymbals that I am re-hammering and other techniques. All is being done by hand personally by me. The idea came originally due to not being able to find that “perfect” cymbal. Don’t get me wrong, there are some great ones out there, but sometimes you just want something unique.
I have always been fascinated with how cymbals are created and how colorful they can sound. I’ve customized a few in the past, but now I actually have some better tools to work with so hopefully will have something to share soon.
Stay posted here for updates.
The video above explains why you should.
This is a song by my old friend Derrick Hart. I played drums and synthesizer. It was written, sang, guitar-ed and produced by Derrick Hart, with other music by Kirill Nikolai, Stacy Price, Peter Glenn and an absolutely awesome video by Matthew Fish Derrick has recently been touring like a mad man and released a new album that is VERY worth checking out.
Get more Derrick Hart at Wreckingball Wreckords
Very cool blurb by one of the great drummers in Jazz about the classic Miles Davis album, Bitches Brew! -
Bitches Brew is the album that plugged in jazz, so goes the common thought. It makes for a catchy slogan, but as a summation it is neither accurate nor complete. Granted, it is the electric jazz recording that still serves as a wedge point in the jazz community. But truth be told, the music of Bitches Brew was neither revolutionary, nor was it simply about throwing amplified instruments into the mix.
To many who witnessed the lead up to Bitches Brew, Miles’ double-disc album made sense in the freewheeling context of the era, and was most groundbreaking in its use of rhythms. Drummer Lenny White was one who had closely followed the trumpeter’s path, and was ready at the age of 19—and a bit intimidated—when he got the call from Miles to record on the tracks that became Bitches Brew.
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FD-7 Photos
