Joe Cocker performing at Gulfstream Park in Hallandale, FL. (Photo credit: Wikipedia)I feel I need to be very straightforward here and say flat out that drummers tend to have a problem in general with this concept. But it is at the very core of being a successful studio drummer.
*THE MUSIC COMES FIRST... ALWAYS!*
Drummers unfortunately spend a great deal of their development as players disconnected from music. They are concerned with technical issues and prowess. This is one disadvantage that we have to work to overcome. The music has to be integral to the drummer.
I highly recommend playing a melodic instrument as well to develop your musicality and sensitivity. As a kid, I played a varity of instruments and enjoyed every one, more so the violin. I played the violin for about 6 years prior to playing the guitar and also sang and that has been foundational for me. I was also raised being exposed to many types of music. I feel that one of the best influences on me was a large exposure to classical music as I grew older which gave me a greater appreciation for melody and harmony. There's almost no musical style that I can't appreciate in a very real way.
*YOU NEED TO BE VERY WELL VERSED IN ALL MAJOR STYLES OF MUSIC AND THEIR DISTINCT DRUMMING STYLES AND TUNINGS.*
If you're a rock drummer start listening to the top country drummers. Are there great country studio drummers? You better believe there are, they're killer! Study the style, what makes them authentic? Remember! What you play means nothing if it's not connecting intimately with the music. It also means nothing if what you're playing is stylistically wrong for that particular type of music.
*YOU HAVE TO BE A STUDENT OF MUSIC, A LOVER OF MUSIC!*
You have to be, there is no other way. You can't short cut your way to being very spiritually connected to music that you're suddenly involved with in a session. You have to connect at a spiritual level and a great deal of that is just simply this: be a music lover.
Notice I didn't say a drum lover. I said a music lover. My personal belief is that your love of music should supercede your love of drumming.
You should also experience this on a session and I hope you do get to this point. You should be able to say to the artist or producer, "I hear very little of my own involvement on this track or.. I don't hear drums on this at all." The reason being is that you're listening to the song and in tune with what the song requires.
Again the song and the artist always come first. The drum kit can be forefront and deserves to be at the appropriate time, but in the right context and the right musical situation. When that is authentically the case it's a very powerful experience and the instrument again comes into it's own. But when we're supporting a song or an artist we are also powerful.
When I was in a touring band many moons ago I learned this lesson clearly. It was near the end of the bands existence and I knew it. I was getting bored having done so much road work. I started to go on 'auto-pilot.' The band we were touring with had a great session drummer (and also very wise) who came out on the road with us. He came up to me after a show and said something very memorable to me that I never forgot. "Don't try to make it something that it's not!" I knew immediately what he was saying! He heard the overplaying and he heard me trying to play this pop music like a fusion drummer. I decided at that point to take that to heart for the rest of my musical career.
The biggest golden rule of all...
*LESS IS MORE!*
It's often hard to understand this until you've played sessions for a long time. But take my word for it. It is the biggest rule of studio playing that you must learn to embrace.
Listen to David Beal lay it down on Unchain My Heart by Joe Cocker. Fantastically solid playing. No frills and un-needed bells and whistles. Just exactly what the song requires!
Listen to all the greats here. The execution, the groove and effect of their playing is top shelf and yet most often you'll find that there is very little going on. You'll notice the space. The air in their playing. The simplicity of the fills. Yet what they're playing is highly refined and perfect for the song.
Practice a state of mind when you listen to a song where you are truly listening to all aspects of the song. Listen intently to the lyric of the song, the emotion of the song, the key points of emotion in the song. Listen to the dynamic or the ebb and flow of the song. Where does the song rise in emotion or intensity? Are there points in the song that move you emotionally or where certain chord changes or melody or lyric move you that you could support, enhance or subtlety mark in your playing. Very important! Listen to the vocal and make note of key moments such as emotions, fills or entries where you don't want to 'walk on the vocal' as they say, meaning that you don't want to clutter or distract the listener.
*YOU WANT TO SUPPORT AT ALL TIMES.*
Make note of rhythmic phrases that other melodic instruments are catching and understand and internalize the rhythmic phrase and make note of them on your chart. For example make a musical decision in this case whether you're going to strongly mark that rhythmic phrase or perhaps just catch elements of it. Instead of adding crashes you could just catch the phrase with your bass drum while still grooving over top of it. You might decide to allow the upper structure instruments to catch it and play right through it, which also may be the appropriate decision to make. There are times when if everybody jumps on a phrase it becomes ponderous.
The more you think this way as a studio musician the more in step you are with the music, the artist and the producer. This brings up another fact that
*THE BEST STUDIO MUSICIANS IN A SENSE PRODUCE THEMSELVES.*
The song is of utmost importance and you, in this case, being the session drummer are bringing your musicality to the table just as much as you are also bringing your session drumming skills and talents to the table. You are not overbearing in any way and your intent is to support the project, producer and artist in every way. You know and are very comfortable with the fact that their desires and decisions supercede your own. You are, however, demonstrating to all present that you hear and are sensitive to the song first and foremost!
Of course the artist and producer will give you direction as to what they want. Again, like I said before, remember that the artist is always right!! You may have very definite ideas for your part but never debate your ideas unless of course the artist wants to debate them. You can gently contend for your ideas at times though, but pick your spots carefully and with sensitivity. An artist will very often ask you for your opinion if he trusts your musicality and experience.
And lastly remember, the song dictates the part, your part! Not the other way around!
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