Check out Antonio Sanchez

Check out the stuff he has done with Gary Willis and Scott Kinsey...

I saw him with the Frank Gambale All Band and it was unbelievable.

the snare has a nasty ring to it… Listen carefully at 1:00 into the video...

RIght..

Overthinking can be a big problem

@@avakinlifeuser6888 I go both ways, really. I wouldn't stress one over the other for every groove and situation.

That's the curse of being a drummer u always try to figure out whats going on

I guess being able to play that groove by feeling means you're on a certain level. But knowing what you're doing brings you to the next.

Ki vagyok ütve, kösz a napi kacajért :D

Remélem kezet ráztatok utána 😉

LOL :DDD

Turned me onto Formula 602's and I've not looked back. Fabulous!

That Great Gretsch Sound!

The snare overtones are bothering me a bit

+einarabelc5 I will. Fabulous groove! Thanks for the heads up

+einarabelc5 Thanks for the recommendation. I love his playing. No matter how crazy it gets he's still right in the pocket. Phenomenal

20/17 makes no sense. No such thing as a 17th note

20/16 is 5/4.

You do know he's making a joke about a date, right?

i honestly feel stupid

+Jack Penders I'm a drummer so I've come to terms with my limited understanding. LOL.

It's a shame he went to Zildjian

Agreed. Btw, Like your user name. Jez I am. Nice

It's not easy, it's greasy...

Don't give up friend! If you could accidentally come up with 19/16, who knows what else you could come up with!!!

....what means he is FAST

And 4years later... kzfaq.info/get/bejne/eKiIddKc1NXJpZc.html 10:15

Dennis asked for Drum Lessons ;-)

Dennis called him over to shake his hand after his own showcase at the Zildjian gig

Dre Cor looking forward to your video demo of that! 😜

... to me it sounds a bit like a skipping vinyl. Of course the backing track does not help with that. Still impressive thou! And I am sure it is a lot of fun to play if you can handle it. I´d also love to see a drummer who has a more relaxed and maybe 'elegant' approach to odd time signatures.

Billy Cobham did it in 1973, this guy is a great player though

Exactly

Look up the MadRasana Unplugged Kanjira Quartet and the TM Krishna at Afghan Church videos. The quartet does something similar to what you're talking about, but it's 15.5 beats split up into a half-time 5 beat rhythm (so ten beats total), then a four beat single time rhythm, then a double time 3 beat rhythm (so 1.5 beats). The total turns into effectively a 15.5/16 or, more accurately, a 31/32 time signature. A 19/16 signature would likely be played as 6 in half time plus 3 in single time plus 8 in double time (12+3+4), or alternatively 10/6/3, or something even weirder, potentially - 14/5. That would give you rupak in half time (7 beat rhythm x 2), then jhaptaal in single time (5 beats). There are a million different ways to make it work. The Afghan Church video is even more complicated, and you can watch the video to understand it properly. And to make your brain explode even more, if you want, you can play something called a tihai, which is usually a section repeated three times to throw off the listener but one that actually fits within the confines of the underlying rhythm. And you can even layer tihais inside OTHER tihais. So coming back to the 19-beat rhythm: Let's say we want to end a piece with a 4 bar conclusion. That gives us 78 beats to work with. This is divisible by three. So now we have sections of 26 in which we can make a tihai. But to make things even crazier, we can layer a tihai INSIDE this 24 beat section itself and make it a tripalli (which is a single rhythmic line repeated three times at single speed, 1.5 times speed, and double speed). The way that works is you do an 10 beat rhythm with two silent beats at the end, which is 12 beats. When played back at 1.5 speed, it is 8 beats, and double speed is 6 beats (5 beats rhythm + 1 beat silence). 12+8+6 is 26. HOWEVER. You need the last beat of the very last double-time rhythm to land on the FIRST beat of the FIFTH (nonexistent) bar. Since there is one beat of silence at the end, you need to add two more full beats to the rhythm, which are put in between each of the sections of the tihai. So your structure now looks like this: [10+2\\6 2/3+4/3\\5+1] + 1 + [10+2\\6 2/3+4/3\\5+1] + 1 + [10+2\\6 2/3+4/3\\4] | 1. And the very LAST beat of the last rhythm is the FIRST beat of the next bar, which doesn't exist. It's very trippy, and I'm not sure I did the best job explaining it. And I've been playing tabla for 25 years. Lol. EDIT: 76, not 78. Dammit lol. But if the beat was 19.5/16 (or 39/32), it would work. My point is, nested rhythms are a big deal in Indian percussion.

I thought the same thing too.

Good catch!!

he literally mentioned that it was a zappa song just before saying that vinnie played in it hehehe