More or less I’m in agreement that we got to change something here, but I’m not sure what it is. "No! I’ve been in situations where I feel challenged, but not because someone’s telling me that I’m not doing it right. "You're constantly trying to get it to where it feels good for the music" On being a session player, feel and technique As the consummate session player, do you ever find yourself in situations where what you play is simply not working and you’re stumped? When you hear something you thought sounded good but then you hear it back and you say maybe that was a little too busy for the record." Next: more on being a session player, feel and technique Prev of 11 Next Prev of 11 Next It’s just as challenging to be able to use space and still be able to keep the thing feeling good." Is that something you learn by doing lots of sessions, hearing yourself recorded every day? and that is just as important a part of music as what you play. You can use notes, but you can also use silence.
Every situation has its different challenges.
Cohen./Retna Ltd./Corbis) Playing with Eric Clapton Playing devil’s advocate, some might suggest the music you played early on was highly technical, whereas, for someone of your skill, playing with Eric Clapton and James Taylor is falling off a log?
Find your next setup with our guide to the best drum kitsįirst up: a closer look at Steve's current kit Prev of 11 Next Prev of 11 Next. Check out Rhythm’s current issue 186 featuring an exclusive interview with another in-demand session ace Keith Carlock. Rhythm magazine caught up with the legendary Steve Gadd and his drum tech Yard Gavrilovic to talk drumming feel and session work, as well as to show off the kit he took out on last year’s Eric Clapton tour.Īmong the exclusive shots of Steve’s setup you’ll see in this gallery are snippets from Rhythm’s interview, finishing off with a Q&A with Yard Gavrilovic. He also put Yamaha drums out front (in the ’80s) and introduced the fusion kit concept with small top toms and shallow floor toms on stands instead of legs. Yet despite his clarity of execution he is also the most passionate and deeply groove-oriented drummer imaginable. He foretold the ’80s by introducing a super-precision into recording, almost as if preparing drummers for the arrival of the drum machine and sequenced tracks. The clinical nature of modern recording was presaged uncannily by Gadd. Indeed, during the 1980s he made the idea of the session drummer cool, an artist in his own right, when previously every drummer wanted to be in a band. He’s one of the most recorded drummers of all time and certainly the most revered session drummer. Steve Gadd is one of maybe half a dozen such drummers in the past century of drumset evolution. Once in a generation, a special drummer comes along who changes the way every other drummer plays.
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