LearnGospelMusic.com Community
Gospel Instruments => Gospel Drummers => Topic started by: lockslie1 on November 19, 2008, 11:11:39 AM
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These drums sound good. Similar to Tama Hyperdrive tom sizes.
http://www.youtube.com/watch?v=_VRhCenWgDo (http://www.youtube.com/watch?v=_VRhCenWgDo)
God Bless
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By the way, If you go to drumchannel.com they have several clips of drummers, but they have a 7:30min clip of this particular concert that Tony did with ASAP. The unique thing is you can change the camera view of the video. ;)
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You know whats funny is that TAMA wasnt the first company to introduce toms like that
Awhile ago you could special order those toms from DW since they were a custom kit maker. same for pearl and even Travis Barker had a rack tom like that on his OCDP kit.
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You know whats funny is that TAMA wasnt the first company to introduce toms like that
Awhile ago you could special order those toms from DW since they were a custom kit maker. same for pearl and even Travis Barker had a rack tom like that on his OCDP kit.
Whaddup Drumzalicious what have you been up to? I'm glad to see that I'm not the only one that remembers when Drumworkshop put the Short stack toms on the market as a special order item. I think Terry Bozzio was the first major drumset artist to play them.
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You know whats funny is that TAMA wasnt the first company to introduce toms like that
Awhile ago you could special order those toms from DW since they were a custom kit maker. same for pearl and even Travis Barker had a rack tom like that on his OCDP kit.
Good point. I guess Tama was the first to effectively market and sell them mainstream. Those DW's look amazing though.
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Wow tony is crazy good man!!! I really like the sound and look of those drums too!
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You know whats funny is that TAMA wasnt the first company to introduce toms like that
Awhile ago you could special order those toms from DW since they were a custom kit maker. same for pearl and even Travis Barker had a rack tom like that on his OCDP kit.
You know the drum companies are constantly copying each other. They have to in order to stay in the game. Think about it, it has happened with the double kick pedal, "free-floating" drums shells and hardware, piccolo and "popcorn" snares, independent positioning tom and cymbal arms, custom made-to-order kits, exotic woods, etc. I could go on and on.
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By the way, If you go to drumchannel.com they have several clips of drummers, but they have a 7:30min clip of this particular concert that Tony did with ASAP. The unique thing is you can change the camera view of the video. ;)
Thanks for the link, mate.
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i hate the fact the he is so fast and so good.
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Whaddup Drumzalicious what have you been up to? I'm glad to see that I'm not the only one that remembers when Drumworkshop put the Short stack toms on the market as a special order item. I think Terry Bozzio was the first major drumset artist to play them.
Taye (Go series) and Canopus and Yamaha (with there Hip Gig line) also. In fact Ludwig just birch kit similar to the Hip Gig mingled with the Go-Kit mingled with the Pearl Traveler Gig Kit (discontinued). These toms sizes have generally been referred to as Fast sizes (the more shallow the depth the faster the air response). Cocktail kits were possibly the first to demonstrate this tom make up.
Research and innovation folks.
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Holy cow!!!!! Gotta love Tony.
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I LOVE THIS MAN!!!!! WOW!!!
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I've always appreciated Tony's ability and work ethic...but I just have not been able to get with dude's style behind the kit...his playing just does nothing for me personally...but like I said, he's incredibly talented and works very hard it. Dude is really fast. Thanks for the share...
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:o *Rushes off to drumchannel.com*
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:o *Rushes off to drumchannel.com*
*runs off with fret*
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Taye (Go series) and Canopus and Yamaha (with there Hip Gig line) also. In fact Ludwig just birch kit similar to the Hip Gig mingled with the Go-Kit mingled with the Pearl Traveler Gig Kit (discontinued). These toms sizes have generally been referred to as Fast sizes (the more shallow the depth the faster the air response). Cocktail kits were possibly the first to demonstrate this tom make up.
Research and innovation folks.
Reference Modern Drummer, December 1994 (Chad Smith is on the cover with the Gene Krupa like set up). They did a review of Drum Workshop's Fundamentally Accurate Sized Toms (natural satin oil kit, review on the first Delta hinge double pedal and EDGE snare), and at the time, this was the first company to do so, and noted in the review as such.
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Reference Modern Drummer, December 1994 (Chad Smith is on the cover with the Gene Krupa like set up). They did a review of Drum Workshop's Fundamentally Accurate Sized Toms (natural satin oil kit, review on the first Delta hinge double pedal and EDGE snare), and at the time, this was the first company to do so, and noted in the review as such.
Duly noted. Thanks for the reference.
I wonder if this is anything like them taking credit for that slotted snare which Odery beat them to the punch for? Just ....
Either way, Tony's kit sounds good in this clip.
Note Louis Bellson had some short stacks like this on some of his early double bass setups.
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It brings a smile to my face to see Tony using SABIANS!!!!! ;D ;D
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I've always appreciated Tony's ability and work ethic...but I just have not been able to get with dude's style behind the kit...his playing just does nothing for me personally...but like I said, he's incredibly talented and works very hard it. Dude is really fast. Thanks for the share...
Wow man really? Is it because he's not playing gospel music?
Anyway, cool kit. His playing is awesome!
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I wonder if this is anything like them taking credit for that slotted snare which Odery beat them to the punch for? Just ....
Ay, (it) could be...
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Wow man really? Is it because he's not playing gospel music?
Nah man, JoJo, T. Pridgen, and Sonny Emory are my 3 fav drummers and none of them are playing gospel right now or ever. I appreciate his ability, but have never cared for his style at all. It's weird...but there can be no denying the dudes talent and work ethic.
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this is tony asap concert preview... its pretty sick... :o
http://beta.drumchannel.com/entertainment/3051.aspx (http://beta.drumchannel.com/entertainment/3051.aspx)
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Good points Sabe and J_Kay. The short stack tom thing is definitely not a new thing.
I've always appreciated Tony's ability and work ethic...but I just have not been able to get with dude's style behind the kit...his playing just does nothing for me personally...but like I said, he's incredibly talented and works very hard it. Dude is really fast. Thanks for the share...
I understand how you feel. I truly respect what it takes to be Tony Royster as far as the work ethic and dedication that goes into playing, but sometimes he's a little too mechanical. He's like Dave Weckl to me sometimes.... More mechanical than emotional.
I definitely appreciate the share tho.
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Nah man, JoJo, T. Pridgen, and Sonny Emory are my 3 fav drummers and none of them are playing gospel right now or ever. I appreciate his ability, but have never cared for his style at all. It's weird...but there can be no denying the dudes talent and work ethic.
Really bro, that's insane! To each his own though I guess.
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the kit sounds great!
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Good points Sabe and J_Kay. The short stack tom thing is definitely not a new thing.
I understand how you feel. I truly respect what it takes to be Tony Royster as far as the work ethic and dedication that goes into playing, but sometimes he's a little too mechanical. He's like Dave Weckl to me sometimes.... More mechanical than emotional.
I definitely appreciate the share tho.
I think Tony played great. Very Technical and I can see and feel the more mechanical than emotional part. However, with Dave it's DIFFERENT!!! Trust me he is "mechanical" to an extent. The dude is probably the cleanest cat out there, BUT!!!! When you see him live and hear him play LIVE you FEEL that emotional aspect you are referring too. The SOUND he gets out of his drums are amazing. The way he pulls the sound out, is something that you need to feel live. The dynamics (which is what makes music IMHO), the stretching, the subtle nuances (that only trained ears can hear), and let alone the execution is what makes him sooooo great. So I understand the whole "mechanical" part because he is that accurate, but trust me the dude has that emotional side to him too. The effortless perpetual motion that he has, the notes that are not being played, but felt, man Dave's got that. Sorry didn't mean to go on a rampage, but by the way don't get me started on Vinnie!!!! If you I think I love Dave man you don't even want to know about Vinnie LOL!!! ;D ;D :D ;). One last thing, the thing is that Dave's recordings, the fusion music he's playing is ok. Alot of it sounds the same to an extent. However, I've heard Dave play cover tunes at the DrumFantasy Camp 07 and trust me the dude is bringing it pocketwise and knows how to lay it down!!! Take care and God Bless.
Carlito
p.s. Juse how's the cruise treating you man!!!! Yo hit me up with your Blackberry Messenger Info on the PM.
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I am very familiar with the DW short stacks because I had owned a set. It was cool while I had them, but that season ended and it was time to move on to the next phase!
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Whaddup Drumzalicious what have you been up to? I'm glad to see that I'm not the only one that remembers when Drumworkshop put the Short stack toms on the market as a special order item. I think Terry Bozzio was the first major drumset artist to play them.
Haven't been up to nothin much man just school and sheddin
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this is tony asap concert preview... its pretty sick... :o
[url]http://beta.drumchannel.com/entertainment/3051.aspx[/url] ([url]http://beta.drumchannel.com/entertainment/3051.aspx[/url])
Thanks for posting that link bro. What was I thinking! >:(
I think Tony played great. Very Technical and I can see and feel the more mechanical than emotional part. However, with Dave it's DIFFERENT!!! Trust me he is "mechanical" to an extent. The dude is probably the cleanest cat out there, BUT!!!! When you see him live and hear him play LIVE you FEEL that emotional aspect you are referring too. The SOUND he gets out of his drums are amazing. The way he pulls the sound out, is something that you need to feel live. The dynamics (which is what makes music IMHO), the stretching, the subtle nuances (that only trained ears can hear), and let alone the execution is what makes him sooooo great. So I understand the whole "mechanical" part because he is that accurate, but trust me the dude has that emotional side to him too. The effortless perpetual motion that he has, the notes that are not being played, but felt, man Dave's got that. Sorry didn't mean to go on a rampage, but by the way don't get me started on Vinnie!!!! If you I think I love Dave man you don't even want to know about Vinnie LOL!!! ;D ;D :D ;). One last thing, the thing is that Dave's recordings, the fusion music he's playing is ok. Alot of it sounds the same to an extent. However, I've heard Dave play cover tunes at the DrumFantasy Camp 07 and trust me the dude is bringing it pocketwise and knows how to lay it down!!! Take care and God Bless.
Carlito
I know what you mean bro. :D :D :D :D
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When it comes to virtuosity, I have found that the more skill is acquired, the more predominant it becomes in someones playing.
I've seen it happens to many musicians, in many different genres. When their is a strong emphasis on the development of technical proficiency, the substance of the music tends to suffer in many instances. When their is a strong emphasis on learning the theory of music, the creativity often suffers. Of course, I mean relative to styles of music where creativity and musicality are of supreme importance.
I find that MANY musicians - even some well respected ones - can fall into the 'Technical Drone Zone'. To me, acquiring technical skill is often like having a vast vocabulary. When you're around others who have vast vocabularies(technical skill), their is pressure to use words that aren't necessary to express yourself(Showcase said skill).
Oh, yes ... many musicians don't realize that what they practice, has more to do with impressing other musicians, than it does with learning to support and/or enhance the MUSIC. Whether we will admit it or not, those people out in the audience who don't know a rack tom from a floor tom aren't NEARLY as important to us as the dude standing over your shoulder wondering what you're going to show him next.
I've seen this mentality all the way from the top of the musical hierarchy to the bottom. It's difficult to separate from, because if you think about it, it was largely a part of the reason you started practicing, attended school for music, and had a desire to tour/be in the limelight. It's at the very root of many musicians reasons for playing, so no matter how far they've come, they're always slaves to the expectations of other musicians, forcing them into becoming nothing more than virtuoso's ... with moderate to minimal substance in their playing...
....rather than remembering those people in the audience, who would prefer to have a musical experience, and could care careless about how clean and fast your singles are.
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When it comes to virtuosity, I have found that the more skill is acquired, the more predominant it becomes in someones playing.
I've seen it happens to many musicians, in many different genres. When their is a strong emphasis on the development of technical proficiency, the substance of the music tends to suffer in many instances. When their is a strong emphasis on learning the theory of music, the creativity often suffers. Of course, I mean relative to styles of music where creativity and musicality are of supreme importance.
I find that MANY musicians - even some well respected ones - can fall into the 'Technical Drone Zone'. To me, acquiring technical skill is often like having a vast vocabulary. When you're around others who have vast vocabularies(technical skill), their is pressure to use words that aren't necessary to express yourself(Showcase said skill).
Oh, yes ... many musicians don't realize that what they practice, has more to do with impressing other musicians, than it does with learning to support and/or enhance the MUSIC. Whether we will admit it or not, those people out in the audience who don't know a rack tom from a floor tom aren't NEARLY as important to us as the dude standing over your shoulder wondering what you're going to show him next.
I've seen this mentality all the way from the top of the musical hierarchy to the bottom. It's difficult to separate from, because if you think about it, it was largely a part of the reason you started practicing, attended school for music, and had a desire to tour/be in the limelight. It's at the very root of many musicians reasons for playing, so no matter how far they've come, they're always slaves to the expectations of other musicians, forcing them into becoming nothing more than virtuoso's ... with moderate to minimal substance in their playing...
....rather than remembering those people in the audience, who would prefer to have a musical experience, and could care careless about how clean and fast your singles are.
Wow...just wow :o
SUPERB POST!!!
I completely understand what you mean. Your point is proven even further in the subtle grammatical errors in your post! Had you been more magniloquent/technical in explaining your views, it may have come across as static and lifeless. You're a genius my friend. ;)
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Good points Sabe and J_Kay. The short stack tom thing is definitely not a new thing.
I understand how you feel. I truly respect what it takes to be Tony Royster as far as the work ethic and dedication that goes into playing, but sometimes he's a little too mechanical. He's like Dave Weckl to me sometimes.... More mechanical than emotional.
I definitely appreciate the share tho.
Excellent!! There must be a balance to get to a level such as Vinnie C for example. The great thing I like about Tony is he has a great attitude and a work ethic to work and get to the point to where he is equally impressive both techinally and emotionally. Some musicians have worked hard enough to earn respect which is the case here I believe. His love and dedication to what he does cannot be disputed.
The one thing we cannot say is that he isn't having fun up there. He's not my #1 favorite drummer, but you can tell he loves what he does and that inspires me so much. If he can begin to display that passion through his playing balanced with his limitless techical ability..... :o :o :o I believe those days are not for from us.
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...Wow!!! Tony has some really great ideas. I'm diggin' this clip. Love the foot work too. Tony needs to be in next year's MD Fest. 8)
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...Wow!!! Tony has some really great ideas. I'm diggin' this clip. Love the foot work too. Tony needs to be in next year's MD Fest. 8)
Agreed.
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You know whats funny is that TAMA wasnt the first company to introduce toms like that
Awhile ago you could special order those toms from DW since they were a custom kit maker. same for pearl and even Travis Barker had a rack tom like that on his OCDP kit.
yeah was gonna say the same thing lol, tony has been playing dw short stacks since he was about 12 lol
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this video is BONKERS :o btw, even though i'm not much a fan of Tony!
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Tony is a beast I like how the OZONE CYMBALS SOUND
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...had to come back to this clip. The singles he was doing at the :44 - :56 mark were clean and precise.
...I'm diggin' the ideas he was throwing at the 1:13 - 1:17.
...back to the dungeon. Gotta get those Singles cleaned up. 8)
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I am very familiar with the DW short stacks because I had owned a set. It was cool while I had them, but that season ended and it was time to move on to the next phase!
I am super mad that the whole in-depth review of these drums didn't show up. I must have screwed something up. Oh well. If anyone wants to know more about the short stack drums from practical applications or has any questions about them, hit me up.
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those dw short stacks sound great....
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not a huge fan, but the dude's feet are sick.
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Everything being considered let us all acknowledge a truth:
It is extremely hard if not impossible to appreciate and or connect with a place one has never been to.
For those of us whom have never been to the 'Zone' you'll never understand the fact that time ceases to exist in the Zone or the colors you see in the Zone. neither will you be able to appreciate the emotional calm or absence of emotion at times when in the Zone. There is an point of spirit where there is no emotion things simply are.
Often times we discredit some extremely passionate and emotional players with saying they have no emotion in there playing when in act they merely have out grown the place we view them from. Weckl, Lang, (Chris)Coleman, Donati even Chambers amongst others have fallen into this category.
I do not deny that some people/players loose connection with their audience however WE THE AUDIENCE cannot limit the artist to our own stunted growth. we have a responsibility to grow with the artist in order too support that artist or the art of music itself. Most of us are still trying to reach the level Tony Royster, Jr. was at when he was 12 which we are just now able to wrap our heads around. When you spend some time really listening to Planet X, Mahavishnu Orchestra, Porcupine Tree, Return to Forever, Al DiMeola, Tony MacAlpine and countless others you find out that there is a whole other planes that exists in music. These other planes call for the listener to embrace a something far beyond and deeper than where they are currently. Often times this place is exclusive and the majority simply were not meant to go.
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Everything being considered let us all acknowledge a truth:
It is extremely hard if not impossible to appreciate and or connect with a place one has never been to.
For those of us whom have never been to the 'Zone' you'll never understand the fact that time ceases to exist in the Zone or the colors you see in the Zone. neither will you be able to appreciate the emotional calm or absence of emotion at times when in the Zone. There is an point of spirit where there is no emotion things simply are.
Often times we discredit some extremely passionate and emotional players with saying they have no emotion in there playing when in act they merely have out grown the place we view them from. Weckl, Lang, (Chris)Coleman, Donati even Chambers amongst others have fallen into this category.
I do not deny that some people/players loose connection with their audience however WE THE AUDIENCE cannot limit the artist to our own stunted growth. we have a responsibility to grow with the artist in order too support that artist or the art of music itself. Most of us are still trying to reach the level Tony Royster, Jr. was at when he was 12 which we are just now able to wrap our heads around. When you spend some time really listening to Planet X, Mahavishnu Orchestra, Porcupine Tree, Return to Forever, Al DiMeola, Tony MacAlpine and countless others you find out that there is a whole other planes that exists in music. These other planes call for the listener to embrace a something far beyond and deeper than where they are currently. Often times this place is exclusive and the majority simply were not meant to go.
Intriguing thoughts Sabe.
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Everything being considered let us all acknowledge a truth:
It is extremely hard if not impossible to appreciate and or connect with a place one has never been to.
For those of us whom have never been to the 'Zone' you'll never understand the fact that time ceases to exist in the Zone or the colors you see in the Zone. neither will you be able to appreciate the emotional calm or absence of emotion at times when in the Zone. There is an point of spirit where there is no emotion things simply are.
Often times we discredit some extremely passionate and emotional players with saying they have no emotion in there playing when in act they merely have out grown the place we view them from. Weckl, Lang, (Chris)Coleman, Donati even Chambers amongst others have fallen into this category.
I do not deny that some people/players loose connection with their audience however WE THE AUDIENCE cannot limit the artist to our own stunted growth. we have a responsibility to grow with the artist in order too support that artist or the art of music itself. Most of us are still trying to reach the level Tony Royster, Jr. was at when he was 12 which we are just now able to wrap our heads around. When you spend some time really listening to Planet X, Mahavishnu Orchestra, Porcupine Tree, Return to Forever, Al DiMeola, Tony MacAlpine and countless others you find out that there is a whole other planes that exists in music. These other planes call for the listener to embrace a something far beyond and deeper than where they are currently. Often times this place is exclusive and the majority simply were not meant to go.
I had some change so I thought I'd add my two cents. :)
In other words. Tony is a Vulcan and the rest of you are mere humans or even worse, Klingons. ;D ;D ;D You STAR TREK fanatics will get that reference. :D
It's funny, as imperfect beings, when we encounter "perfection" we often don't understand it and thus critique it according to our own imperfect mindset. We state that NOBODY can be that clean, fast, accurate, have perfect timing, perfect pitch etc ,etc. And once a person has reached that level on an instrument I had heard on more than one occassion the following phrase" That person is quite mechanical and their playing is devoid of emotion." [Actually the same thing applies to other things in life as well e.g. a great surgeon, a fantastic attorney, etc.] That's because emotion is flawed to a degree...I won't digress into any type of philosophical discussion right now... ;) I'm not knocking a person for stating that because extreme book knowledge (read proficiency) can oftentimes make a person appear aloof, uninspiring or even dismissive to us, when in fact they are at one with their instrument. Does that mean that I'm saying that you have to feel Tony's style of playing, No. To each his own, you say toMAYto, I say toMAHto. :D It's that this proficiency vs emotion argument has been going on forever. Hopefully, I contributed something positive to the discussion. If not, I'm sure I'll be called out..... :P
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DESQ, you are on point with what I was saying.
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Everything being considered let us all acknowledge a truth:
It is extremely hard if not impossible to appreciate and or connect with a place one has never been to.
For those of us whom have never been to the 'Zone' you'll never understand the fact that time ceases to exist in the Zone or the colors you see in the Zone. neither will you be able to appreciate the emotional calm or absence of emotion at times when in the Zone. There is an point of spirit where there is no emotion things simply are.
Often times we discredit some extremely passionate and emotional players with saying they have no emotion in there playing when in act they merely have out grown the place we view them from. Weckl, Lang, (Chris)Coleman, Donati even Chambers amongst others have fallen into this category.
I do not deny that some people/players loose connection with their audience however WE THE AUDIENCE cannot limit the artist to our own stunted growth. we have a responsibility to grow with the artist in order too support that artist or the art of music itself. Most of us are still trying to reach the level Tony Royster, Jr. was at when he was 12 which we are just now able to wrap our heads around. When you spend some time really listening to Planet X, Mahavishnu Orchestra, Porcupine Tree, Return to Forever, Al DiMeola, Tony MacAlpine and countless others you find out that there is a whole other planes that exists in music. These other planes call for the listener to embrace a something far beyond and deeper than where they are currently. Often times this place is exclusive and the majority simply were not meant to go.
Great post, Sabe... As always, you share some wisdom here :)
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Yeah I don't even know what to say to that!!! LOL wow
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Tony is killin this joint!
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Everything being considered let us all acknowledge a truth:
It is extremely hard if not impossible to appreciate and or connect with a place one has never been to.
For those of us whom have never been to the 'Zone' you'll never understand the fact that time ceases to exist in the Zone or the colors you see in the Zone. neither will you be able to appreciate the emotional calm or absence of emotion at times when in the Zone. There is an point of spirit where there is no emotion things simply are.
Often times we discredit some extremely passionate and emotional players with saying they have no emotion in there playing when in act they merely have out grown the place we view them from. Weckl, Lang, (Chris)Coleman, Donati even Chambers amongst others have fallen into this category.
I do not deny that some people/players loose connection with their audience however WE THE AUDIENCE cannot limit the artist to our own stunted growth. we have a responsibility to grow with the artist in order too support that artist or the art of music itself. Most of us are still trying to reach the level Tony Royster, Jr. was at when he was 12 which we are just now able to wrap our heads around. When you spend some time really listening to Planet X, Mahavishnu Orchestra, Porcupine Tree, Return to Forever, Al DiMeola, Tony MacAlpine and countless others you find out that there is a whole other planes that exists in music. These other planes call for the listener to embrace a something far beyond and deeper than where they are currently. Often times this place is exclusive and the majority simply were not meant to go.
I had some change so I thought I'd add my two cents. :)
In other words. Tony is a Vulcan and the rest of you are mere humans or even worse, Klingons. ;D ;D ;D You STAR TREK fanatics will get that reference. :D
It's funny, as imperfect beings, when we encounter "perfection" we often don't understand it and thus critique it according to our own imperfect mindset. We state that NOBODY can be that clean, fast, accurate, have perfect timing, perfect pitch etc ,etc. And once a person has reached that level on an instrument I had heard on more than one occassion the following phrase" That person is quite mechanical and their playing is devoid of emotion." [Actually the same thing applies to other things in life as well e.g. a great surgeon, a fantastic attorney, etc.] That's because emotion is flawed to a degree...I won't digress into any type of philosophical discussion right now... ;) I'm not knocking a person for stating that because extreme book knowledge (read proficiency) can oftentimes make a person appear aloof, uninspiring or even dismissive to us, when in fact they are at one with their instrument. Does that mean that I'm saying that you have to feel Tony's style of playing, No. To each his own, you say toMAYto, I say toMAHto. :D It's that this proficiency vs emotion argument has been going on forever. Hopefully, I contributed something positive to the discussion. If not, I'm sure I'll be called out..... :P
yes yes yes! Exactly!
Sometimes I wish I was articulate as you gentlemen. Great responses.