These are the liner notes for my 4 sticks project. I’ll be posting these tunes for your listening ‘enjoyment” I thought it would be good manners to share my personal information about this project. Enjoy the view……
My 2024 recording project is titled “Four Sticks.” I started experimenting with 4 sticks (Quadragrip) and multiple stick, brush, mallet combinations in 1976. That inspiration came from my mentor, teacher, drummer, inventor, author, friend (1901-1995) Tommy Thomas.
From our first 1972 meeting, Tommy motivated and encouraged me to become a complete percussionist. The history of Tommy Thomas can be experienced in his book, The Tommy Thomas Percussion Library. I demonstrate my 4-stick Quadragrip concept for all 10 tunes of this project. This is my first commercial recording release showcasing my concept. I dedicate this project to the great Tommy Thomas.
About My Drumset: Yes, I don’t use any ride or crash cymbals for this recording. My high hat cymbals are 12” (Made In Turkey) very old (1940s) like me and the rest of my (Drumset/Trapset)
My snare drum is a 5 x 15 inch Leedy, nickel over brass. It was made around 1918. It’s been customized as a thumb screw tunable single tension drum. It has a hole for a heat rod. Used for heating calfskin head drums back then.
1
The “Bass Drum is a CC Conn made in the 1920s. It’s also single tension, 12 x 26 Inches. Its original use was to be carried with a strap. It’s very light and has the original hooks for the strap. Ginger used a 12” deep bass drum.
It was advertised as a Scottish Marching drum. It has a calfskin head (maybe original) on the front. I use a traditional 2 ply modern clear Remo as a batter head. My tuning is very low (floppy) with dampening.
Like the creators of the drumset from the 1920s up, (Baby Dodds-Big Sid-Tommy Thomas) I use a large fluffy bass drum beater on my bass drum pedal. It’s an unusual beater I call Big Fluffy, purchased at my local musicians flea market. I’ve never seen another like it.
My toms are 14” mixed wood, aluminum, single and double tension. I made them from a kid’s tiny toy drumset. The 14” Toms were the kits Bass Drums.
Like Ringo’s (Tea Towels) on the classic Beatles recordings, I dampen and muffle each drum for a dry sound and effect. I love the natural tone and ring from drums, but not for these tracks.
I make my sticks from scratch with store bought materials. (Hobby Lobby) They have double-ended ball grips which benefit my technique.
2
I’ve developed unique bounce, rebound, sound and articulation on drums, heads and cymbals with these double-ended sticks. (BoomboomZ)
The 4 sticks used for this recording appear on the CD cover.
The occasional accented, deep resonant pitched drum you hear in the mix is played on my 1940’s Ludwig and Ludwig Bass Drum. The drum is 14 x 28 Inches. I play the L&L with sticks, upright on a table stand, next to my “floor tom.” (Tuned semi-high for tone, pitch and resonance - a beautiful drum from the past)
Time Signatures: I became seriously interested in alternative time signatures around 1972. I met Tommy Thomas and began my formal quest learning to read music. I was aware of Joe Morello and his classic tune, Take Five.
In early 1970, I worked in my first “Jazz” group. This was in West Palm Beach, Florida. It was a commercial trio with Hammond B3, Saxophone/Flute and myself on drums. My comrade band mates were older- experienced Jazz musicians. They were very helpful and patient in my transition from playing with the biggest drumsticks available to brushes.
3
That trio actually played the Dave Brubeck composition UnSquare Dance, as an audience participation piece.
I vaguely remember them encouraging me to (walk the room) (work the audience) and play the UnSquare Dance 7/4 Rhythm on tables and chairs with my drumsticks. That was a long time ago...that’s my recollection...I’m sticking to it.
To jumpstart my rhythmic time signature studies, in 1972, I purchased Joe Morello’s book New Directions in Rhythm, Studies in 3⁄4 and 5/4 time. Though I couldn’t read the notation, I could play many of the pages.
I signed up for several drum lessons with a teacher in Orlando. He was Principle Percussionist with the Florida Symphony Orchestra. He could easily play through the Jim Chapin and Joe Morello books. It was impressive. He “turned me on” to the music of Don Ellis. The drummer on those records was Ralph Humphrey. I had recently seen Ralph play with Frank Zappa. (1972) I also saw the (1972) early version of King Crimson with Bill Bruford, minus Jamie Muir.
During this time period (1972) there were 2 groups with records that caught my attention. Mahavishnu Orchestra – Inner Mounting Flame with Billy Cobham. Captain Beyond with Bobby Caldwell.
4
I first became familiar with Billy Cobham from the Dreams record. I had seen and heard local legend, Bobby Caldwell with Florida bands (1966-1967) before he joined Johnny Winter And.
Billy and Bobby were playing progressive music completely unique and inspiring. The Earth was not flat, there was more to music than 4/4 time.
My process to read music and become a more refined academic drummer/musician was a long slow process. My initial meeting with Tommy Thomas in 1972 was just the beginning.
As an elderly 28 year-old College Student, I slowly started getting a handle on reading and playing written music. Most of my studies at that time were classical repertoire, including xylophone and snare drum excerpts. My percussion teacher (Robert Petta) was a Manhattan School of Music graduate. He studied with the New Your Philharmonic percussionist. My favorite lessons were the Anthony Cirone – Portraits in Rhythm: Snare Drum Studies.
From my brief classical studies, I became employed as a percussionist in several working orchestras. Though orchestra employment was creditable, I abandoned those opportunities to conquer the drumset as my single instrument of choice.
5
Four Sticks: was composed by Robert Plant and Jimmy Page. In 1969, I heard their Led Zeppelin debut studio album. I was “On The Road” playing a sleazy club in Little Rock, Arkansas at the time. I immediately noticed John Bonham’s style, sound, technique and bass drum work. (Good Times Bad Times)
At the first opportunity, I bought my $5 ticket, saw and heard Led Zeppelin, August 31, 1971 at the Orlando Sports Stadium. I continue to study, listen and admire their musicianship.
I didn’t discover the Four Sticks recording or it’s history until 2006. The technical-physical concept of John Bonham holding 4 sticks is different from my grip. Steve Gadd does a similar thing on Paul Simon’s / Late In The Evening.
There are stories about Led Zeppelin and John Bonham recording this song in the studio and in live performance.
Their performance discography states they played this tune live a few times. In later years, Jimmy Page and Robert Plant performed “Four Sticks” with a fantastic string - percussion ensemble.
My arrangement of Four Sticks is based on the Led Zeppelin original recording, with minor form and time signature modifications.
6
The song is played in 5/8 with a distinct 6/8 chorus. During the solo, second chorus/bridge I’ve modified the chorus into alternating 6/8 and 5/8. With my Quadragrip 4-Sticks technique, I’m playing multiple- drums and high hat. (No Overdubs on any tracks)
One Note Samba: My first listening experience to the music of Brazil was Sergio Mendez and Brazil 66 on The Ed Sullivan Show. They had several radio hits and performed popular covers. Including music by The Beatles.
Dom Um Romao was the drummer on those TV gigs. Dom also plays on early Weather Report records. I Sing the Body Electric – Sweetnighter and Mysterious Traveller.
In 1972, I heard the beautiful drumming of Airto Moreira on the Chick Corea record – Return to Forever. Airto also played on the 1973 album, Light as a Feather. Those albums continue to be on my 2024 playlist. I eventually discovered the source of the Samba and Bossa Nova standards, composed by Antonio Carlos Jobim.
In 1975, I had the opportunity to play with Charlie Byrd, known for his collaboration with Stan Getz. The 1962 recording Jazz Samba was an early introduction to the Bossa Nova in America.
7
My arrangement of One Note Samba is played in 5/4 with the bridge transitioning between 3⁄4 and 2/4.
Money: In 1973, I was playing around the Clearwater, Tampa, St. Petersburg, Florida area. I was semi-familiar with Pink Floyd. I was impressed and inspired upon seeing the 1969 Ummagumma photo with all of their band equipment.
Drummer, Nick Mason had an arsenal of drum stuff including vibraphone, tympani and gong. I would soon augment my battery of percussion to include Timpani, Gong, Vibraphone and original Remo Roto Toms. (As heard on Dark Side of The Moon)
I spent my hard earned gig “Money” and bought Dark Side of the Moon at my local Clearwater record store.
Money was released as a single and became Pink Floyd’s first hit in the United States. The 7/4 Time Signature was unusual for a pop band.
My arrangement is in 7/4 with the notated 8/4 and 6/4 sections, like the record. I’ve changed parts of the vocal rhythmic structure melody to make it fall on the downbeat. My 7/4 drum pattern is more 7/4 Backbeat “in lieu of” similarity to the Pink Floyd swing or shuffle pattern.
8
Caravan: I was familiar with Caravan in the 60s through Gene Krupa and Buddy Rich.
In 1968, I was playing a 4-week gig in Key West, Florida. I speak and write about this memorable experience in my book, Notes of a Young Drummer 1966-1969.
Those 30 days of March 1968 include being “turned on” to many different artist, group styles of music. Jimi Hendrix, The Doors, Jimmy Smith Trio with guitarist Wes Montgomery and Grady Tate on drums.
After the gig-late-night-till-sunrise-hookah parties included playing the LP record by Frank Zappa and The Mothers of Invention.
Frank’s lyrics from his 1967 record “Absolutely Free” his song “America Drinks and Goes Home” includes a notable lounge lizard vocal spoof. Lyrics include emulated closing time clichés promoting – The Jam Session - Dance Contest...Last Call For Alcohol - Bill Bailey and the feature...Caravan with a Drum Solo.
Caravan was composed by Duke Ellington and Juan Tizol in 1936. Sonny Greer is the drummer on the early 1936 recording with the Duke Ellington Orchestra.
9
There are many versions of this classic. My favorite versions include Gene Krupa with Eddie Shu, Elvin Jones with McCoy Tyner and Thelonius Monk’s solo piano rendition.
I will mention without critique, that this tune “Caravan’ was a feature in the film, Whiplash.
For my arrangement, I attempt to maintain the traditional rhythmic feel of the melody with multiple time signatures. I use alternating 6/4 and 5/4 during the verses into 3⁄4 and 2/4 through the bridge. I imitate the old school Baby Dodds / Gene Krupa / Big Sid Catlett (Four on the Floor) style bass drum pattern on each bridge. Go-Man-Go
Tea For Two: During my woodshed improvisations playing different tunes for this project, Tea For Two popped into my head without notice. It wasn’t on my long or short list. It’s a song I remember from radio and black & white TV in the 50s. I was a kid living in the cornfields outside Springfield, Ohio at the time.
Those ‘type of songs’ were popular, regular highlights on variety TV shows like Your Hit Parade, Name That Tune and The Arthur Godfrey Show. Written in 1924, Tommy Dorsey’s 1958 rendition became popular in the United States and UK.
10
Tea For Two also found its place as a traditional soft- shoe dance rhythm and melody. Daffy Duck and Johnny Carson used Tea For Two as comedy Segway’s.
As a gigging young drummer in the mid 70s, I played this tune with old guys in tuxedos-twice my age-as a Cha-Cha, many times. I enjoyed it.
Tea For Two “As a Jazz” tune is a repetitive melody and simple harmonic progression. Basic quarter and eighth notes are the rhythmic foundation. I reorganized the tune into 7/4 with a single 8/4 one bar twist. I’ve flipped the backbeat with the snare drum playing the dominant downbeat on one, bass drum on 2 and four, “Usually.”
Take the “A” Train: Composed in 1939 by Billy Strayhorn. Performed and recorded by many including Duke Ellington, Ella Fitzgerald, Anita O’Day and more. My arrangement is very straight ahead with modification to the rhythmic form, played in 5/4.
Giant Steps: is a classic Jazz Standard, composed by John Coltrane. “Jazzers” I’ve been associated with enjoy playing it. It can also be perceived as an academic exercise-ritual, technical callisthenic. I’ve played it in 4/4, 3⁄4 and Bossa Nova, many times.
11
Giant Steps is also the album title recorded by John Coltrane, in 1960. Tommy Flannigan, Paul Chambers and Art Taylor are documented as the musicians playing on the Giant Steps track.
There is folklore about that original session and piano solo. Story Goes - the music notation sheet presented by John Coltrane at the session, was initially thought to be a ballad, which it wasn’t.
In the mid 90s, I was affiliated with the NARAS Foundation, The Grammy Organization. (Yes-I was a voting member) As an invited member - to a special event – I met the legendary recording engineer / producer Tom Dowd (1925-2002). I consider Tom Dowd and Rudy Van Gelder (1924-2016) true genius in the recorded history of music.
Much of Tom Dowd’s work was contracted with Atlantic Records. He recorded an eclectic array of artist including Ray Charles, The Coasters, Ruth Brown, Bobby Darin, Cream, The Allman Brothers and a long list of popular groups. Tom Dowd recorded classics by Charlie Parker, Ornette Coleman and Thelonious Monk.
12
Tom Dowd was in charge of the John Coltrane, Giant Steps sessions. Face-to Face, Tom and myself, in a quiet corner of the room, he shared several historical stories about those sessions. He told me that he performed multiple tape splices on the Giant Steps track, to incorporate the piano solo. (There are alternate tracks without the piano solo)
Listening closely with phones to the Giant Steps track, it always presented a strange transition coming out of the piano solo, with Art Taylor’s displaced fill on top of Trane’s return. (To me, It’s always sounded like a tape splice)
For my arrangement, I’ve compressed the original Giant Steps melody into measures of 3⁄4 with a sequential 2/4 transition of the form.
Rhythm-A-Ning: Thelonious Monk is my favorite piano player. I also love his compositions. As a musician, artist and performer, he is one of the most eclectic, interesting entertaining humans ever.
His quartet with Frankie Dunlop on drums is my favorite Monk group. Frankie’s drum tuning and style are the perfect fit for the music of Monk.
When Monk’s band was swinging, Monk would go into his dance. His movement and steps have a syncopated, rhythmic stutter step.
13
My arrangement of Monk’s tune, “Rhythm-A-Ning” transitions between 6/4 and 5/4. My arrangement’s rhythmic break between those two measures, are dedicated to the memory of Thelonious Monk’s rhythmic stutter dance.
I Got Rhythm: Was composed by George Gershwin in 1930. His brother, Ira Gershwin wrote the lyrics. This tune became a Jazz Standard because of its “Rhythm Changes” chord progression. The song is featured in the 1951 musical film, An American in Paris.
My arrangement utilizes the original four-note melody played in 2 measures of 5/4. Followed by the melodic response in 6/4.
Would George approve of my rhythmic liberties with his tune? (Probably not) Maybe...my arrangement will appeal to fans of The Mahavishnu Orchestra.
Blue Rondo Ala Turk: This piece definitely took the longest to get a good take. (It wasn’t the playing of each measure. The form was difficult) “Help Me Rondo”
In todays music technology (I Use Logic) I could have played a 9/8 measure or group of measures, copied and pasted them to get the track. I didn’t do that, for sure.
14
I worked on, practiced my drum parts for two + years. (Shed Time) Four Sticks, Giant Steps, Caravan, One Note and Blue Rondo included.
These tunes and arrangements were casual solo improvisations before I thought about recording a project.
I’ve become a real admirer of the Dave Brubeck group. (And Joe Morello) With Youtube, it’s great to see historical performances from musicians and groups. You can learn so much from observing while listening. I’m that kind of learner.
When I became more involved playing “Jazz” Brubeck was not high on my list. Occasionally, Take Five would come up. Blue Rondo was not a jam session or jazz improvisation class tune you would play, not in my crowd.
Then, In Your Own Sweet Way was called. Alongside the Hip A-List of tunes by Keith Jarrett and Bill Evans, this tune was beautiful and fit in. It seemed so modern.
I was an early 70s fan of the ECM catalog. (Their trademark ECM cymbal sound and non-bebop rhythmic texture/attitude) In Your Own Sweet Way, was a tune I could imitate in that ECM style. Older and wiser has an advantage.
15
My arrangement of Blue Rondo copies the recording, up to the solo. Shortened to 3 repeats of basic 12 bars. I also borrow a couple ideas from Dave’s arrangement to get out of the solos.
Playing Blue Rondo with 4 sticks creates a polyphonic- polyrhythmic layered sound from my drumset. This tune especially, has a combination of rhythmic and melodic texture.
That’s one of the key advantages of my Quadragrip technique. It can be a “sheet of sound” unlike Duo-Grip.
I’ve been playing the drumset as a lefty from day one. If I would have seen drummers like Billy Cobham, Gary Husband, Lenny White, Simon Phillips, Rashid Ali and other “open handed” drummers in the 60s, I would have learned to play like that.
In 1967, Mickey Dolenz from The Monkees was the only unorthodox lefty / righty drummer on my radar. Ringo was smart and played like a righty.
It’s been a disadvantage in many ways. Drummers at Jam Sessions and Sound engineers hate switching stuff around. When I was employed at Walt Disney World and EPCOT Center as a drummer / musician, they hated me. The WDW, Theme Park drummers avoided calling me to sub on their gig.
16
The only advantage to being left handed (in my mind) and playing the instrument, happened when I started playing mallet instruments and tympani. Those instruments are lefty, as is the piano. My lefty drumset/up follows that rule, pertaining to high---low-- -right to left pitch around the instrument.
Playing a piece like Blue Rondo, I’m thinking about the rhythms and notes Dave Brubeck plays on the piano. It works with the 9/8 Rhythm and melody. I’ve utilized this concept since I began my first experiments playing the drumset with multiple utensils, sticks, brushes, mallets and more.
Listening to my drum tracks, I hear myself playing / sounding similar to hand drummers. My non-use of Ride or Crash cymbals for this project has an effect. I love the artistry of Giovanni Hildago, Triloc Gurtu, Mongo Santamaria.
At age 74, each time I sit at my old vintage drumset, something still happens. It’s rewarding to sound like I have fresh ideas. Being creative and original is the number one priority in my playing.
Playing music and the drumset continues to be an interesting journey.
Michael Welch (2024)
17