a most genuine quote.

Yeah if you can play with Miles at 17 you are simply a legend

All that power and explosiveness, and willingness to put forth an unapologetically muscular sound- also with an incredible groove that’s as wide as a canyon. He’s like an anomaly.

He's not human tho...

@@WilliamEdwardJacob Ha 🍻🥁

Epc1

I was there too - a memorable event indeed! Got a chance to go back stage and met all the players.

Billy Cobham certainly listened to tony Williams.

I think he has become a good drummer because he is intelligent. Learning an instrument seems to me like a riddle i have to solve. And i never even was able to solve pokemon rubin edition so im fucked

Joey Scrima I'm pretty sure you have seen him many times back on the days, right Joey? Cuz you both are from Boston!

Yes Ari, Every time I saw him, he was incredible , musical, explosive, incredible technique, feel, swing from another planet, and I studied with Alan Dawson also I saw Tony 4 times live- and one incredible Zildjian clinic in LA

Joey Scrima you were my teacher once Joey, I don't know if you remember, like 10 years ago... I used to go to your house in Burlington.... Good times!

:)) exactly

Hahahha Joke fell flat as hell.

Great book, Syncopation by Ted Reed as well.

Man, can you elaborate on this? I love Stix Hooper and don't really see much about him!

Do you have the minute??? I already found Vinnie and his ex-wife.

Andrés Aguilar Danny mentions this in his Modern Drummer interview.

Some new players out there today make me feel confident about the future, thankfully. Hard to keep up with how easy it is to program things these days. But then again, those people couldn't comprehend what it means to play like Tony or anyone who knows how to play with soul, and use the instrument as a tool to communicate.

wow.....

Bro is that Michelle Pfeiffer

Miles told him, “Do whatever you want.” He s 17.

Grips the microphone the same as the drumstick 26:45 :-D

But what he says about his grip is very misleading! Watch his right hand on the snare from 1m 0s in Part 1: kzfaq.info/get/bejne/q6xzfdaQvNzXd2g.html This is very standard German-grip rebound strokes, with the stick held up in a fulcrum between thumb and second finger and being rotated down by squeezing from the back two fingers and back up again by rebound, with some assistance from wrist/elbow motion. Plenty of bounce used, and needed, and the rear two fingers aren't holding the stick, or certainly aren't holding it *up* as demonstrated at for example 26:43. What about his famous fast ride technique? The old KZfaq slo-mo of his ride playing from 1967 kzfaq.info/get/bejne/ipugh5xjlZasgKc.html shows largely more of the same, but here his thumb is up so it's classic French-grip "drop-catch". Again lots of "bounce" and finger motion is core to the technique, and the grip is between thumb and second finger (or *maybe* first finger this time, at least some of the time). But is that representative of how he was playing the ride in 1985? Well, the first few minutes of Part 3 kzfaq.info/get/bejne/qKenZcmQ05aRmGQ.html seem to show him dropping and catching much as before on the ride when he needs to go fast. The place where his technique *does* start looking a lot more like his description of it is when he starts moving around the shells in Part 1. See for example at 7m 13s kzfaq.info/get/bejne/q6xzfdaQvNzXd2g.html . Now the fingers are holding the stick against the palm and there is no rebound, so everything is coming from the wrist and elbows as single strokes. And now the stick does seem to be being held mostly by the two rear fingers, with the second finger seemingly looser (and the first finger clearly loose). But even here there's still a wrinkle: at 7:23 and 8:27 in Part 2 his hand grips seem to imply that he does not play with thumb up and does play with German grip. But here he has switched to a thumb-up grip, away from the German grip he used when playing the snare with rebound strokes.

I agree with you 100%. The stuff about grip at the very end is solid drumming GOLD if you're willing to take it on board. It's not even just about grip, it's a clear illustration of how an artist at his level actually thinks, and he had a very original mind.

Do you mean - consumate MUSICIAN?

That is definitely Vinnie haha. When he takes his glasses off it's party time

N K 🤣🤣

Dude, for weckl’s first clinic in Australia someone asked him to play ‘green sleeves’ 😂

XDrummerSteve Maybe Cobham ....

He's like "check this out baby, watch me absorb this man's knowledge from the ether"

It may be - and it looks this way from the stroke he's doing whilst talking - that he's meaning using the rotation of the hand as opposed to using an up/down or side-to-side movement of the wrist joint. If you rotate your hand as when turning a door knob and look at your arm you'll see that rotation is happening right up the forearm to the elbow joint, there's two bones in the forearm that rotate around eack other from the elbow. Have a look at an anatomy video to see. It's an important thing to be aware of, particularly if, like me, you have issues with the wrist joint.

JohnFive Eagles Szuros 1997!!!!!

Cindy Blackman explains, he didnt rely on rebound, however it doesnt mean he didnt use rebound.

+huh kuntz I know what he means. You can use rebound but for control keeps his back fingers there to control the stick. I do that too and yeah I cheat sometimes and go to the finger/thumb sometimes. I don't have the power though. Man his signature stick is a 2B. www.musiciansfriend.com/drums-percussion/zildjian-tony-williams-artist-series-drumsticks

In Kendo master swordsman Musashi talk about cutting with the hips, but not the arms or wrist, and vice versa- fire and stones vs falling leaves cut. Here Tony talks about playing with the hand but not the wrist. At one point he goes deep about 'the hardest work is lifting the drumstick, because gravity brings it down". I cant help but think these are related- when we know the mark and have raised the drumstick or sword with the proper angle, and put it in the right place for making a clean strike, using the wrist, hand, elbow, shoulder (and hip with a sword and many percussion instruments such as tambourine or Japanese taiko)- each joint extension/projection provides different effects. And as he says, how one holds produces limits to the potential strikes possibile. Being able to switch grip and stance is important for meter and timing, depending on desired effect. Martial Arts and musical arts are very similar, I think. I should study more music! I'm rambling here. My point is, after 25 years of martial arts, when I listen to him play I can tell hes a master. When I listen to him explain, I can tell hes a great teacher. Just found him today. 6 hours ago. Still digging.

Nice comment

I disagree. I use traditional grip to get a certain sound from the snare drum and for me, traditional grip is great for jazz, funk and blues. There are certain techniques with traditional grip that can get a certain feel. I change depending on the style of music and what sound I'm trying to get.

stick shots are harder in matched its more a feel thing anyways both are valid.

AquaAnim Yeah, it's all what you feel most comfortable with. I used to use traditional only, then I switched to matched only, and then I go back and forth as some styles one, to me, I get better results or a better feel for that style music. for me, I just can do more finesse work with traditional and I can slam a rim shot actually better with my left hand. I tried to learn left hand ride playing, but my right hand simply doesn't do well with traditional. I'm not used to it, so my left is trained to do both, my right is matched only. :-)

Oneness100 I recently started playing both actually, for soft passages i love traditional grip.

AquaAnim Yeah, traditional grip is for finesse playing over matched, at least for me. What's funny is I heard from students of Tony that he demanded that his students played traditional grip when they took lessons from him, but when Tony plays live, he played mostly matched grip unless he was playing on a 4 piece kit, which didn't play towards the end of his career. Tony cracks me up, he's funny in a cool way. :-)

Tony changes himself "drammatically" after Miles. And i'm another one that thinks we have lost something great with this change. But I think i't true that with traditional grip we have the opportunity to think "differently" . I'm not against matched grip (there's no reason to be against that) but I believe you think drumming in a different way. Bill Stewart, a giant, uses matched grip but i see that left is "different" than right when he plays his great music. Just an opinion

giovanni natoli "If I hold in this way i think in this way", just a choose of thinking, that is different!

***** a lot of people switched from matched to trad when they plays jazz. I think it's both psichological and cultural but not only. Maybe lots of years of jazz played in trad way had created something different in language and approach. But...all the ways are good if you play great things like Bill Stewart. I've noticed that his left hand is a little bit different from the right hand. Jazz is a kind of different music from all the others musics, philosopically, in language, in approach. It's a "different" music . It's just an opinion, maybe right, maybe wrong...maybe LEFT (:-))

***** Ditto!

My god Carlos.If you have have the creative energy this man had,you must be brilliant.Learn it all try try and play it all.Third person lol