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  • Percussion, Pandemic, and Perseverance: Part 4

    by Rhythm Scene Staff | May 29, 2020

    At PAS, one of the ways we are coming together to support each other during the pandemic is to show that we care. In collaboration with the associate editors of Percussive Notes, we are excited to offer the PAS membership a look inside how the percussion community is responding to COVID-19. We reached out to students, teachers, performers, industry leaders, and administrators, and compiled their thoughts, strategies, and responses to four thought-provoking questions that we hope will add value and clarity during this time of adversity. 

    Thank you to contributing editors Gene Fambrough, Marching; Shane Jones, World; Dan Piccolo, Professional Development; Kurt Gartner, Technology; David Stanoch, Drumset; Brian Zator, Keyboard; and Lisa Rogers, Research & Vibraphone.

    Very best,
    Julie Hill and Paul Buyer, PAS Co-Editorial Directors

    What were your initial reactions and challenges in this situation? 

    STUDENTS

    Jon Ortiz, Doctoral Student, Performer, and Educator, Texas Tech University
    The immediate challenge arose when it became evident that the Texas Tech University School of Music community would not be able to be a physical community for the foreseeable future. The rapport and camaraderie established would not be built upon. It was a true “pull out the rug from under you” moment. 

    Jon Ortiz Clay Hoffner Clinton Washington

    Clay Hoffner (freshman) Music Education major, Bowling Green State University
    One of the first things I thought, like many percussion students, was “How will I practice?” It took some brainstorming on my part to figure out what things I had at home that I could use as practice material. I don't have a 5-octave marimba that I can go to whenever I want, so I had to put my percussion brain to the test.

    Clinton J. Washington III (sophomore), Music Performance major, Furman University
    I found a lot of issues with not being able to communicate with my fellow peers, teachers, family, and friends. I am a very social person by nature and I felt as if I was missing out on a lot of the parts of college that I enjoy the most. Part of my decision to be a music major was based around the idea of working with people, especially those who have a genuine care for music. I was very nervous about how I was going to thrive in this situation, especially since I started the music major sequence my sophomore year. Aside from school, my family had a very hard time transitioning financially and with the loss of a loved one. 

    Taryn Marks (freshman), Music Performance major, Furman University
    My first reaction was, “Oh, it won’t be that bad. We’ve had things like this happen before, and it’s contained, so no worries.” This happened during the beginning of our spring break. By the fourth day of spring break, our school said that we were going to do remote learning for about a week and extend our spring break by another week. I didn’t think much of it. I was super stressed about this semester, percussion-wise, and I just wanted to just take a break from everything, from the news to playing. However, my breaking point was when our university president said that school would be closed for the rest of the year and no one could stay on campus. When I saw the email, I started to cry. So many questions went through my mind at that moment. How was I going to practice without a marimba? How do I learn online? When will this end? When is the next time that I will see everyone? Is everyone okay? I had to take a couple days to get myself together and figure out how I was going to gather all of my personal belongings from campus, as well as adjusting to school going online.

    Taryn Marks Cabot Fowler Simon Metzger

    Cabot Fowler (freshman), BA major, Furman University
    As a percussion student, I could foresee many challenges in continuing my education from home the same way as I would on campus. Most obviously, since I don’t own any timpani or a marimba, I knew that I would struggle to practice those areas of my playing. This was a real shame because those two instruments were my focus this semester. I also knew that online lessons were going to be a challenge. Specifically, drum set lessons would be difficult, because the instrument is quite overpowering for one low-quality microphone.

    Simon Metzger, Bowling Green High School
    My initial reaction to this situation was disappointment. Since the shutdown, I have not been able to play in the high school concert band and jazz band, and I miss that part of my life. One of the challenges that came about from this situation was regarding ensemble rehearsals. Since everyone is at home, ensembles can’t get together to play music, so that was the biggest challenge to face for me. Fortunately, I have a few percussion instruments at home (marimba and snare drum) that are staples in a concert band. However, most high school percussionists do not have those instruments at home, and that is a large obstacle to overcome for band directors trying to replicate rehearsals online. 

    TEACHERS

    Jake Lyons, “Virtual Drum Corps” Project Creator (Chattanooga, Tenn.)
    Our initial reaction to the cancellation of DCI was a stunned shock, followed by the urge to want to do something. 

    Jake Lyons Sean Womack T. Adam Blackstock

    Sean Womack, Freelance Percussionist/Educator (Atlanta, Georgia)
    My initial reactions to the COVID-19 pandemic were to simply to follow prescribed guidelines, thinking this would last for a month or so, then we would get a chance to see the students again in the last part of the school year. 

    T. Adam Blackstock, Professor of Percussion at Troy University
    My first concern centered on how I could best accommodate my students, in order to support everyone’s continued success. Any studios consist of individuals who differ in many ways: from different states and geographic areas, socioeconomic status, accessibility to technology, instruments, etc. My decision was to focus on a method that was easily accessible to everyone and would not prevent any student from continuing his or her path to a successful semester.

    Eric Willie, Director of Percussion, University of North Carolina at Greensboro
    As someone who likes to project and plan, I work from a master template for my pedagogy and overarching degree curriculum. In this current climate, I was forced to return to the drawing board to adapt my approach for these teaching challenges. At UNCG (like many university campuses, I am certain), we were initially asked to respond to a survey to answer the following questions: (1) Do we want to teach our classes online? And (2) Can we teach our classes online? My initial responses were “no” and “no.” The primary factor fueling these negative responses was that I did not want to set a precedent of teaching percussion lessons in a virtual manner. Once a precedent is set, it is easy to return to that model (I am still concerned that, because of cost savings, we may be encouraged to keep this model). For university percussion education, this is a challenging time to progress because of the multitude of instruments that must be studied.

    The largest hurdle I have faced is adapting the curriculum. The undergraduate students are on a progressive path of study, so we had to stray from this model. I adapted assignments so that students could study only the instruments they have available at home, accompanied with listening and video responsibilities. However, to be completely honest, this has been a refresher and has forced me to look critically at my curriculum and how I am teaching.

    Eric Willie Ana Leticia Barros

    Ana Letícia Barros, Performer, Composer, and Educator, State University of Rio de Janeiro
    Here in Brazil, our universities are mostly public and federally funded. We are obliged to follow the government guidelines for classes since the suspension of classes on March 16, 2020. This was the day of the first recorded death in Brazil due to COVID-19. Our first reaction to the government’s instructions of quarantine was resignation and then acceptance. Several teachers continued their contact with students in an informal manner. Many of our students live in risky areas and have few financial resources. Therefore, the close bond between teacher and student is one of great psychological support. We are still trying to care and teach beyond our professional duties. We understand the main challenge of this historical period on our planet: take care and look after each other! Taking care of ourselves and looking after our dear students has become the main mission of teachers in Brazil. 

    Joe Porter, Performer, Composer, and Educator, University of Lethbridge Music Conservatory
    I was shocked and saddened by all the cancelled ensemble performances. The students were working so hard, and it felt like our best year yet! I was looking forward to the concerts. The biggest challenge was what to do with ensembles, whereas moving to online lessons for individuals worked pretty well.

    Joe Porter Dr. Jeannine Remy

    Dr. Jeannine Remy, Performer, Composer, and Educator, University of the West Indies
    My first reaction was, "How am I going to teach percussion from my computer at home?" My students really don't have instruments at home. Some of them have a drum set and a snare drum, but nobody owns a marimba or any keyboard instruments. So, it's been all battery percussion on whatever they can find to produce rhythms.

    PERFORMERS

    Drew Lang, Dallas, Texas
    As an ensemble freelance player, basically everything just stopped.

    Drew Lang Makoto Nakura

    Makoto Nakura, New York, N.Y.; Japan
    I was flying through the Hong Kong airport on Cathay Pacific at the end of January, and that was when I faced the scare of this virus for the first time. Although the plane was quite empty, I saw a sick passenger who was met with quarantine officers upon arrival. I was heading to Japan for a concert and some teaching, and I was going to stay with my 82-year-old mother. I really didn’t want to pick up the virus while flying and give it to my mother without realizing it. While I was staying in Japan, the U.S. imposed a stricter entry restriction for passengers who had even transited at the airport in Hong Kong, so it was clear that I couldn’t fly with Cathay Pacific to come back to the U.S. via Hong Kong. I bought a new ticket flying directly back from Japan to do so. This experience let me realize that COVID-19 would cast lots of disruptions over all of our lives. 

    Stanton Moore, Galactic, Stanton Moore Drum Academy
    Of course, the primary concern is the financial uncertainty; nobody really knows when we’ll be able to go back to work and what that will look like. I'm hoping that we can get back to work before things get too dire financially.

    Stanton Moore David Friedman Julie Spencer

    David Friedman, Berlin, Germany
    My first reaction to the situation was fear. Since I belong to the so-called “risk group,” I was worried I could catch the virus and that would be the end of it. I stayed home, saw nobody, practiced, did some home recording, and watched Netflix. After the first week, I did something extremely productive: I stopped watching the news and was able to totally relax.

    Julie Spencer, Bingen, Germany
    Months before COVID-19 was declared a pandemic, I began thinking about what the world would look like if the virus continued as it had from the beginning. When the studies were made public, confirming the contagion factor, human-to-human transmission, and finally surface and airborne transmission, it was clear that it would engulf human society. It became difficult to imagine what my place would be as an artist, in the transformation the world was about to undergo. Music practice was meditative, but composing felt emotionally raw, and teaching felt urgent, to give as much encouragement and optimism to the students as possible, as long as people were still gathering as usual, in normative educational and capitalist structures of interaction, while most societies believed they would not be affected. I made plans like all of us did, for the next performances, concert series, festivals, recordings, private and public engagements, commissions, and lessons, but with a growing awareness of the inevitability of a tsunami of global proportion on the horizon.

    ADMINISTRATORS

    Kwesi Woma, Director of Dagara Music Center and Saakumu Dance Troupe, Ghana, Africa
    Our initial reaction to this global pandemic as a dance company was the fear of not being able to run our study-abroad programs this year. It has been extremely frightening, since this is the only source of income for the upkeep of the center and the staff as a whole. It has been a huge challenge as to how we are going to support our staff financially through this lockdown period, and most importantly not being able to do music and dance for some time now since that is the only way we entertain ourselves at the center. 

    Kwesi Woma Dr. Thom Hasenpflug

    Dr. Thom Hasenpflug, Chair of Music, Idaho State University
    Our art forms require connectivity above all else. Now we see that there are a large number of ways to engage group activity using social media, but this is often an individual recording something in a room, and then sharing to a master set of uploads that are synced together. The connectivity is artificial, and thus the challenge is how to get a sense of performance accomplishment through distance media, without a master figure acting as “compiler” for a virtual ensemble. I think these virtual compilations are fun maybe once or twice, but are basically gimmicky and are just being done because we don’t know what else to do with ourselves.

    Initially we did not have any problem envisioning turning history, theory, even methods into a fully online format. But ensembles were, and continue to be, a whole other matter. We did not see the ability to continue with wind ensemble, choir, percussion ensemble, etc. We didn’t try to formulate “alternate assignments” for performance ensembles. The students had enough alternate learning to come in all the other classes. Applied lessons for most instruments were much more practical to transition than percussion, since our students don’t own the gear, and couldn’t access the building. I should say that’s the same for me; my marimba is at school, and so is my drumset. I have comparatively little gear at home. So, lessons (other than snare drum) are a huge challenge, and can’t survive a long-term adjustment in this format.

    INDUSTRY

    Andy Zildjian, Sabian, Inc.
    We had taken notice of what was happening to our customers in China, and then in other parts of Asia, and anticipated a drastic change in the market. Being in Canada, we had the luxury of an official government warning about two weeks before anyone in the States, so we started taking action early on. The Canadian government let us know that they would take care of our workers, and the way to ensure that was by laying them off for the time being. To give everyone enough time to get the applications in, and for bureaucracies to catch up, we gave everyone a two-week paid vacation before layoffs were in effect. Everyone still gets their full healthcare and retirement benefits, no changes there. We have seven people working at the factory filling orders from inventory and what they craft on a daily basis. Sales and Administration is down to a skeleton crew. Orders are down to about 40% from normal. We’re learning a lot about what we need for manpower and how to be more creative with work cells and better workflow. As a sage friend once said, “When the tide goes out, we see who is swimming naked.” Which is funny, but true in that we can see our own foibles and fix them since we have the time and opportunity.

    Andy Zildjian Jason Edwards

    Jason Edwards, Prologix
    Once it was official that there were COVID-19 cases in the United States, we knew it was a matter of time until we would be forced to shut down our production facility as the virus continued to spread. It soon entered Ohio, and I immediately cancelled all my gigs with various bands until further notice. My wife is a Respiratory Therapist and advised that it would be a wise decision to cancel so I did not increase the risk of exposure to the public at the clubs while keeping ourselves safe as possible. Prologix immediately prioritized our production schedule so we could ship as many quick-pay orders before our last day on March 20. Ohio Governor Mike Dewine issued a stay-at-home order for non-essential businesses starting March 23. The main challenge for Prologix was for us to keep our cash flow moving so we could pay our expenses as they became due during shutdown.

  • Kat Percussion, Tracktion

    by Rhythm Scene Staff | May 27, 2020

    KatKT200KAT PERCUSSION
    KT-200 Drum Kit
    KAT Percussion has introduced a new electronic drum kit. The KT-200 features a new look and features. Stepping away from its long-standing design look of gray cymbals, white pads, and a chrome rack, KAT Percussion has turned to a black and charcoal combination for this new kit, with the only hint of white showing up on the mesh head of the snare pad.

    The KT-200 is designed to be used as a professional electronic drum kit but is easy enough to set up and use that any beginner would not feel intimidated, and its modest footprint means it can be placed just about anywhere. It comes with 232 built-in drum sounds featuring French Dream's sampling technology, which utilizes digital technology to record the sound of real instruments, rigorously collecting the sound quality of the original drum. The user will also find a simple and easy-to-use interface and a fully customizable sound library. With its state-of-the-art velocity-sensitive triggers, you can set parameters on the drum pad triggers, thus ensuring the best possible playing response, avoiding potential sound delay and repetition. The innovative Coach function combined with the built-in metronome will help all drummers with their accuracy, tempo, timing, and quickness. The hardware of the KT-200 is specially designed to minimize crosstalk, and the control unit has a USB port that supports USB flash disk audio players and USB-MIDI.

    TrakctionWaveformTRACKTION
    Waveform Free DAW 
    Tracktion’s Waveform Free is perfect for making and sharing music for anyone stuck at home, self-isolating. It has no restrictions other than your imagination, and more capabilities than most enthusiastic producers will ever need. Stay safe at home, keep busy, get the creative juices flowing, and dive into a genuinely complete, stand-alone, free DAW.

    This new DAW is suitable for Windows, OSX, and Linux, as well as the Raspberry Pi. It is fully compatible with the new generation of expressive instruments and also supports MPE. Waveform Free includes many of Tracktion’s recent innovations including the MIDI Pattern Generator to create synchronized melodies, chord progressions, bass lines, and more, plus the 40SC Virtual Synthesizer and the Micro Drum Sampler.

    The Waveform Free can tackle a wide range of tasks and produce professional results. With an unlimited track count and a truly adept feature set, users can add as many plugins as they like to start writing right away.Getting started is easy with dozens of tutorial videos as well numerous templates such as EDM production, band recording and mixing, location recording for churches and schools, and many others. Whether producing the next smash hit, designing sound for video, recording and editing podcasts, or live recording, Waveform Free has it covered.

    To Download Waveform Free, visit marketplace.tracktion.com/shop/free-daw.

  • In Memoriam: Jimmy Cobb by Rick Mattingly

    by Rhythm Scene Staff | May 25, 2020

    Jazz drummer Jimmy Cobb, who played on Miles Davis’ Kind of Bluealbum and many other classic albums, died on Sunday, May 24, 2020, at age 91, after a battle with lung cancer.

    Cobb was the last surviving member of the Kind of Blue band—which included Davis, saxophonists John Coltrane and Cannonball Adderley, pianists Wynton Kelly and Bill Evans, and bassist Paul Chambers—and one of the last of the drummers who defined the post-bop style of the 1950s and ’60s. Although Kind of Blue is the best-selling jazz album in history, Cobb was not as widely known by the general public as some of his contemporaries such as Philly Joe Jones, Elvin Jones, or Roy Haynes. But as his extensive discography confirms, countless musicians wanted him in their bands for his solid, swinging timekeeping. With his understated, non-flamboyant approach, Cobb could drive a band harder with quarter notes on a ride cymbal or brushes on a snare drum than many drummers can with fast and furious cymbal patterns enhanced with syncopated snare and bass drum punches. 

    Wilbur James “Jimmy” Cobb was born on January 20, 1929 in Washington, D.C. In a 1978 Modern Drummer interview he recalled buying his first set of drums when he was 13, from money he saved from being a busboy at a drugstore lunch counter. He studied briefly with National Symphony percussionist Jack Dennett, started playing drums in his school band, and was soon getting professional gigs. When it came to drummers, Cobb cited Max Roach as his biggest influence. “At the time, that was the hippest music going,” Cobb said. “I also listened to Kenny Clark, Shadow Wilson, and Big Sid Catlett. Then a little later there was Art Blakey and Philly Joe Jones.”

    Cobb’s first major gig in Washington was with saxophonist Charlie Rouse. While in Washington Cobb also played with Leo Parker, Benny Golson, Billie Holiday, and Pearl Bailey. When Cobb was 21, he went to New York and landed a job with Earl Bostic. A year later he went with Dinah Washington, with whom he recorded an album called For Those in Love, which had some of Quincy Jones’s first arrangements.

    After working with Washington for three and a half years, Cobb joined the quintet of Cannonball and Nat Adderley for about a year, appearing on the album Sharpshooters. After that band broke up, Cobb worked with Stan Getz and Dizzy Gillespie and recorded with Tito Puente. In the meantime, Cannonball Adderley had joined the Miles Davis band, which had Philly Joe Jones on drums. Adderley told Cobb to come to the Davis gigs and play if Jones did not show up, which was often the case. Cobb ended up playing on half of Davis’ Porgy and Bessalbum, and then Davis hired him to be in the band. After joining Davis’s group full time, Cobb appeared on several Miles Davis albums, including Sketches of SpainSomeday My Prince Will ComeLive at Carnegie Hall, and Live at the Blackhawk, along with Kind of Blue.

    During the time Cobb was with Davis, he also recorded with a number of prominent jazz artists, including solo albums by Cannonball Adderley, John Coltrane, Paul Chambers, and Wynton Kelly—who were all in the Davis group with Cobb—as well as with Kenny Dorham, Wayne Shorter, Paul Gonsalves, Art Pepper, Bobby Timmons, Donald Byrd, and Pepper Adams.

    Cobb also appeared on a 1960 album called Son of Drum Suite, which was a six-movement piece that featured drummers Mel Lewis, Don Lamond, Charli Persip, Louis Hayes, Gus Johnson, and Cobb. Around that same time, Jimmy participated in some Gretsch Drum Nights with Elvin Jones, Alan Dawson, and Art Blakey.

    Cobb left Davis in 1962. The next day, he recorded Boss Guitar with Wes Montgomery. Shortly after that, Cobb, Paul Chambers, and Wynton Kelly formed a trio. In addition to performing and recording as the Wynton Kelly Trio, they toured with Montgomery and backed him on several albums, including Smokin’ at the Half Note and Willow Weep for Me. They also backed J.J. Johnson and Joe Henderson, working together until Chambers died in 1969.                       

    In 1970 Cobb began working with singer Sarah Vaughan, with whom he stayed until 1978. Cobb cited the 1973 recording Sarah Vaughan: Live in Japan as one of his favorites. Afterward, Jimmy freelanced with a variety of artists throughout the 1970s, ’80s, and ’90s including Sonny Stitt, Nat Adderley, Hank Jones, Ron Carter, George Coleman, David “Fathead” Newman, the Great Jazz Trio, Nancy Wilson, Dave Holland, Warren Bernhardt, and many others.

    Cobb also led his own groups starting in the 1980s, often under the name Jimmy Cobb’s Mob. Some of his notable releases include: Four Generations of Miles with guitarist Mike Stern, bassist Ron Carter, and saxophonist George Coleman; Yesterdays with Michael Brecker on tenor, Marion Meadows on soprano, Roy Hargrove on trumpet and flugelhorn, and Jon Faddis on trumpet; and New York Time with Christian McBride on bass, Javon Jackson on tenor sax, and Cedar Walton on piano. He released his two final albums, This I Dig of You and Cobb’s Pocket, in 2019.

    In June 2008, Cobb was the recipient of the Don Redman Jazz Heritage award. The following October, he was one of six to be presented with the National Endowment for the Arts (NEA) Jazz Masters award. In December 2009, the U.S. House of Representatives honored Cobb and the 50th Anniversary of Kind of Blue. In 2011, Cobb was inducted into the Percussive Arts Society Hall of Fame. “It’s fitting and appropriate that this assembly of percussionists give Jimmy Cobb the greatest honor possible,” said Peter Erskine at that time. “Simply put, the world’s a better place because of Jimmy Cobb’s drumming.”

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