Following Kym’s departure in 1998 David McEvoy was recruited, forming the Boss Trio.
During the mid 90s, he also recorded his first albums, Trio Juice, Catherine Lambert & The Kym Purling Trio, and Let's Swing! Ben was a member of the Kym Purling Trio up until Kym moved to the United States in 1998. The trio received wide recognition all around Australia and also served as the rhythm section for many of Australia's leading jazz musicians and vocalists. He met Kym Purling and Tim Bowen during this period, they formed the first Kym Purling Trio. Ben continued his studies at the Adelaide University under the guidance of lecturer Laurie Kennedy. When in High School Ben was taught by Ray Haughn, who introduced him to the Ted Reed book 'Syncopation For The Modern Drummer', he began having private lessons when he was in year 10 with Laurie Kennedy, and had his first paid gig while in school filling in for Ray Haughn in the band 'Polished Brass'. The amount of variation is staggering! The more you practice this stuff, the easier it gets though, and the more coordinated you become.Jazz drummer BEN RILEY joins me in The Engine Room this week to discuss his drumming journey. So if you play the melodic line in swung 8ths on your kick drum, you fill in every triplet snare between. a more advanced concept is filling in notes between the melodic line. Stylizing (buzz's, accents, rimshots, orchestrations, etc) Adding feet ositnatos (jazz feet, samba feet, tumbao feet, baiyao, etc) Hand ostinatos (8ths, 16ths, jazz ride, triplets, any combination) (I think there are 8.) Here are a few core concepts: I've gone through some of it, but after a few pages I sorta of got the big picture, and ever since I started to customize my own exercises to fit the musical situations I was encountering.įor the Syncopation solos in the middle of the book. And yeah, it's like really really really intense, long and challenging. Did this guy you're referring to go to North Texas? My teacher, Randy Drake, went to UNT, and gave me a copy called, "Melodic Line Coordination" or something like that. I've got a couple weeks till my next lesson, thankfully, but I'm struggling with this really badly on day #2 with some heavy practice time, so I'm worried I'm not going to make much headway.
but was just curious if anyone had any suggestions? When I try and think of this as first or last notes of a triplet, I seem to lock up completely. I feel like I'm way, way overthinking this and giving myself a mental block. Saddest of all, it's not like I'm coming at this as someone who's never listened to jazz or is uninterested - it's practically all I listen to these days, which is why this is more embarrassing and painful to admit. I've tried singing some of these but I can't seem to make it happen when in time, and when there are patterns with kick on the beat and snare on the offbeat, I fall apart when trying to sing it. I thought I had kind of gotten the feel but when I try and read through it becomes a mess or seems like I'm leaning more towards texas shuffle or sixteenth note interpretations (eg, swung eighth coming out more like the last sixteenth). I could do this all day with straight eighths, but for some reason, I'm completely locking up with swung eighths. On something really easy even - playing the exercises on pages 34-45 (or 33-44 on older versions apparently) with swung eighths. I'm almost embarrassed to admit it, but I'm doing some of the dawson-style exercises to get more out of the book with my teacher in efforts to deepen my understanding and facility with jazz drumming, and I'm getting completely destroyed.