While I was in Chicago on tour with Changing Modes, I got a chance to play with PJ Loughran, a good friend and talented singer-songwriter. I have been working with PJ and bass man John McFaul for almost ten years. Although John and I laid down tracks for PJ last winter, this was the first time PJ and I were reunited on stage since he moved to Chicago a few years back. PJ was a little reluctant to play without a rehearsal –but after some coaxing and a pre-gig warm up, PJ was game. The song we performed in the video below was from PJ’s first album release named “Grenadine.” It’s a beautiful album and this song is one of my favorites from it.
While we were in Argentina, Sarah and I had the pleasure of checking out La Bomba de Tiempo at Konex. This percussion ensemble lives up to it’s name. They combine elements of afrobeat, afro-cuban, samba, fusion, tribal, and acid jazz to build their rhythmic explosions.
Here is the interesting part: It’s all improvised compositions that are led by a single conductor. The conductor uses hand signals to communicate with the ensemble to create the piece in real time. For example, pointing to a section and making a fist would mean to stop playing. The conductors also decide volume, tempo, type of rhythms, and just about anything else they want. Regarding the rhythms, it seems they use hand numbers for different style beats. They had a keyboard player join in later in the set and the crowd was happy. This video was from another night, but it sounds like the same keyboard player.
Another interesting element is that there are multiple conductors. Each conductor works for about three pieces and then another conductor takes over the helm. When the conductors are not conducting they play in the ensemble. Needless to say, each conductor has their own style so we got a taste of everything. Towards the end of the set, the ensemble invited the crowd to join in with (clave) hand claps and body movements. Here is a video I took during the first set. We loved every minute.
After two weeks of dancing and having a great time on my BsAs honeymoon, I suddenly got an inch to play some drums. So I went down to open mic at Bar Gitano, hosted by the versatile Bronson Tennis. Bronson hooked me up with the talented Gibbs from the 1060s and we did a few tunes with Bronson on Bass. Sarah taped the last song on our camera, a cover of Blackstreet’s “No Diggity.” I wish I knew the tune better but these guys pulled me through and Gibbs even gave the drumma a little solo. Nice.
Playing drums is a physical challenge. The longer you play the greater the probability of developing a repetitive-stress related condition (RSI) or carpel tunnel syndrome (CTS) symptoms. These types of injuries are also called “overuse injuries” because they are the result of repetitive use and stress to the soft tissues of the body (muscles, tendons, and joints) without allowing proper time for healing. Sometimes an acute injury (injury related to a single event) can lead to an overuse injury. Since I’ve had more than a few acute and overuse injuries to deal with, I’d like to share some insights on what I’ve learned over the years.
1. Rest
If you are dealing with an overuse injury than rest should mean no high impact activities. Low impact activities such as swimming, walking, stretching, and yes, even playing drums will help. For an acute injury rest pretty much means rest. For how long, well, that depends on the severity of the injury. I’m covering overuse issues for this post so I won’t get into any acute injury details; however, it’s important to know what type of condition you are dealing with before moving forward with healing.
2. Technique
Once you’ve figured out what you are dealing with it’s time to focus on your drumming technique. If you haven’t yet studied the Moeller method, now would be a good time to devote energy and time to it. Although the Moeller technique won’t cure any overuse issues on the spot, it’s great for preventing these types of injuries, as well as your overall playing. I recommend Jim Chapin’s DVD entitled “Speed, Power, Control, Endurance”.
3. Body Movement
I’ve recently started taking Alexander Technique classes and I have to admit I really wish I started this technique when I was younger. It’s great for any musician but I think it’s especially helpful for us drummers. Basically, this movement technique helps you become truly aware of your whole body and your tension areas. You can practice this technique while doing Moeller exercises. You can also practice this technique while doing just about anything. Private lessons with a good teacher is the best way to get started; however group classes, which can be more affordable are becoming popular for beginners.
Check out this video that features my instructor Mark Josefsberg:
4. Sleep
Many of us don’t get enough sleep. Unfortunately, lack of sleep is one of the major causes for repetitive injuries. Sleep helps the body repair tissues and rejuvenates the nervous system. Get to know your body and how much sleep it needs for you to have a full tank of gas before you start your day. The quality of your sleep is just as important. I’d rather get six hours of uninterrupted sleep than nine hours of turbulence. I found that good quality sleep is really vital to managing any stress related condition.
5. Yoga
Yoga is great for increasing flexibility and releasing tension. I started taking yoga shortly after I was diagnosed with CTS. After two months, the tingling and numbness in my hands disappeared. If you haven’t taken a class, I recommend starting with a beginner Hatha or Vinyasa class. If you go to a class while having a CTS flare up, it’s best to modify some of the poses. Make sure to tell the instructor before the class starts what you are dealing with. On the other hand, if your not having a flare up then you should focus on strengthening the muscles around the injured area. Check out this yoga journal article about healing CTS.
6. Building Muscular Support
Once you’ve allowed yourself enough rest it’s time to bring on the weights. It’s important to build some muscle mass surrounding the chronically injured area. This helps circulation in the weakened area. The stronger muscles thus help support the whole area. However, it is a balance and the trick is not to overdo it. Ease in to it. Start with light weights, high reps, and focus on your form and movement.
7. Stretching Before you Play
It’s common sense to always stretch before doing any strenuous activity. However, sometimes we forget (I admit it) –once we see drums our primal instincts take over and we are too excited to do anything except make noise:). The good news is we don’t have to stretch immediately before playing to gain the benefits. I like to stretch at least an hour before a gig and then focus on keeping loose and warm right up to show time. I do a combination of yoga and hand stretches –getting into the stretch details would entail a separate post. For now, check out this samba drummer’s stretches if you need a few ideas: http://www.puppetista.org/drums/stretch.html
8. Joint Support Supplements
There are a lot of supplements on the market that claim to work wonders. I have taken glucosamine along with chondroitin during stress flare ups and more recently for preventive measures. I can’t say for sure if these supplements work but I am certain that I’ve never had any side effects. I also think they might work well as a placebo effect and if they give you confidence to work through a mentally challenging condition, then more power to them. The main drawback is the money. The better brands can be expensive and most manufactures say you need to take the supplements for at least two months before organic change can occur.
9. Diet (Treat Your Body Like a Temple)
Since both CTS and RSI symptoms are caused by inflammation it makes sense to eat foods that can give you anti-inflammatory benefits. Basically, you want to stay away from saturated fats and refined sugars. I’ve slowly added more raw foods into my diet over the years and it’s made a big difference. Some herbs may also have an anti-inflammatory effect. Ginger, basil, and willow bark have worked wonders for me.
Dr. Linda Mundorff recommends reducing the consumption of alkaloid-containing fruits, vegetables, and spices (many in the nightshade family of plants) that may trigger inflammatory-related joint problems.
Although I’m mentioning it last, it’s probably the most important tip in beating any stress or repetitive injury. These type of injuries can be mentally draining because of the length of time they effect you.We get used to our bodies healing in a certain time frame. I was freaking out after about three months of dealing with my right shoulder tendonitis. I started doubting my technique as well as my body’s ability to heal. I decided to take a few weeks off from the gym but that just made the condition worse. When I returned to the gym I did circuit training and that helped. That gave me confidence to start working on my stick technique and to further my holistic studies. I had to learn how to work through discomfort and not give in to the mental negativity that arises.
Depending on your performance, a live gig can either be bliss or torture. Some nights we are just “in the zone” and other times nothing seems to go right. As musicians, we know there are lots of external variables that can lead you in either direction –quality of sound system, being able to hear yourself, drunk sound engineer, etc. Although some of these variables might be out of our control, here are a few tips that can help keep us in the zone.
Before the Gig:
1. Multiple full band rehearsals
In big cities, where rehearsal spaces are overpriced and empty beer cans are the main ambiance, it’s no wonder we try to skimp rehearsals. As a general rule for bands that play original material, I like to have no less than three full band rehearsals with the material and set list being established before the first rehearsal. If your working on new material I recommend you allocate separate rehearsal time for that. For a Changing Modes show, we usually allocate three or four rehearsals for new material and then another three or so with the set-list. If your a singer-songwriter working with hired pros the rule of three might be challenging but well worth the effort. Try to book the rehearsals as close to the gig as possible. As musicians, most of us have some memory issues.
2. Allocate time to focus/meditate the day of the gig.
If your not on tour and your playing at home be prepared to have many distractions –family, pets, girlfriends, boyfriends, internet, video games, etc.. It’s important to relax well before the show. Shut down the phone, turn off the computer and relax. Visualize the performance and the challenge that lies ahead.
3. Always ask for a sound check
Some venues will offer them and others won’t. Sound checks are mandatory in most upscale venues and if your playing one you should prepare a stage plot. However, if your playing dives sound checks might be harder to come by. As another rule of thumb, no matter what level the venue is, always ask for a sound check. If they won’t agree to it request a line check (checking output on all cables). Some venues will only sound check the first band, while other venues ask for money. Since every stage (or dive bar) sounds different, acclimating before the show is vital and is worth the investment.
During the Gig:
4. Making sure it sounds good on stage (more vocals in the monitors please)
Your band will sound different during performance time than it did during sound check. It’s good practice to make sure everyone is comfortable after playing the first song. Spending the time to tweak the stage sound after the first song is a necessary evil.
5. Making sure it sounds good in the audience
Too many times bands sound amazing on stage but the audience hears something very different. This is why pro bands tour with their own sound engineer (and some with their own sound systems). Until you get to that level, allocate someone to actively listen in the audience and give them authority to manage the sound engineer. Choosing this someone might be a little challenging since they should know your sound and have good ears. A musician friend or someone that has a vested interest in your music are both good choices.
6. Engage the Audience
With the exception of shoegazers, engaging the audience should be considered part of your performance. Guitar players that are fronting the band should practice tuning and speaking to the audience simultaneously. If your not quick on your feet, then you might want to think about speaking content beforehand. If your playing a local show, try to engage the entire audience, rather than just your friends.
7. Go with the Flow
Live performances are never perfect. You never know if someone will break a string, forget lyrics, or count off the wrong song. Your job as an entertainer is to just go with the flow. Don’t react negatively to anything that could throw you off. It’s better to react as if you were expecting it. Think of these flubs as opportunities to connect with the audience.
8. Tell people who you are
There will always be people in the audience that don’t know anything about the band. Share some info with the audience. You can break the glass by sharing a personal story that involves the band members.
After the Gig:
9. Work the room
NOW’s the time to mingle with the audience and try to get as many people to sign up on the mailing list. It’s a great opportunity for you to network, get feedback, and get fans.
10. Tip the Sound guy
Depending on the venue it might be a good idea to tip the engineer. Some venues allocate money from the door for this purpose, so make sure you ask first. If the engineer exceeded your expectations than you can still give him/her something. Five or ten bucks is still better than nothing and they will remember you for it.
