Practice Tips – Practicing Drummer

Walking Bass Play-Along Recordings

It’s been several years since I posted about Meet The Bass Player. Since then there have been some new bass only recordings that I’ve added to my practice routine.

What I like about practicing with a walking bass line is that I’m forced to listen to (and play) the form, even if it’s a simple blues. It adds another layer to each session that I enjoy and can be an extra challenge.

Most of you probably know about Quincy Davis’ play-along tracks. He has several of them, but the two that I use are:

The blues tracks are great! There are 14 of them, ranging from 60bpm – 320bpm with an average length of about 4:30.

The rhythm changes pack is pretty new. The set includes one 37 minute track that gradually speeds up, starting at 55bpm and ending up at 335bpm. In addition to the long track, Quincy includes 15 individual tracks. They’re chopped up versions of the long recording, so each track is only about 2:30. I wish they were a little longer, but they’re still really useful.

Finally, the newest addition to this category comes all the way from Switzerland! I’ve been a fan of Peter Primus Frosch on Instagram for a while. Many of you likely are as well. His breakdowns of bebop licks are great. He’s a smooth player with a nice feel and touch.

Peter recently released Walking Bass Play Alongs – Blues. There are 32(!) tracks ranging from 50pm – 340bpm and totaling 160 minutes! Almost every track is over 5 minutes, so you can really dig in and get a workout. Highly recommended!

If you know of any other jazz bass play-along recordings, please let me know. I love adding to my collection.

Headphones for Drummers

I don’t play very loud, but hearing protection is still a concern because I have a bit of tinnitus from my years of playing in bands without earplugs.

When I have a gig or go to a show I’ll typically wear my Westone ES49 custom earplugs. These are really great, but when practicing for a long time I need something more (and something I can plug into my phone to play along to albums or use a metronome app).

KAT Ultra Isolation Headphones

I’ve been using the KAT headphones for a couple of years. They sound fine and the isolation is pretty good, though I still get a lot of “boom” from the bass drum that causes some hearing fatigue.

The build quality is okay and for $70 I don’t expect a lot more. I’ve had to make some minor repairs, like re-gluing the pads on and fixing a broken clip. Not really a big deal.

My only major complaint with these headphones is that the size of the ear pads is a little small. My ears hurt if I practice more than a couple of hours because they are being pressed on by the headphones.

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Vic Firth Stereo Isolation Headphones

The Vic Firth headphones are very similar to the KAT headphones.

The reviews are slightly better for these and they’re just $80.

If I were starting my headphone journey again I’d probably order both and return the pair that isn’t as comfortable.

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UltraPhones High Isolation Studio Headphones

I was recently was given a used pair of UltraPhones by a friend. I’ve been aware of them, but the $200+ price tag kept me from buying them. I wish I had gotten these sooner!

Created by drummer and educator Gordy Knudtson, these are simply the best, featuring 3M Peltor hearing protection headphones fitted with Sony 7506 Studio Monitor components mounted inside.

The UltraPhones are incredibly comfortable and the sound quality is awesome. They also block out more bass frequency than the KAT headphones.

I can’t overemphasize how comfortable these are. I’ve worn them for up to 4 hours and barely knew I had them on.

If you can afford it, don’t hesitate buying a pair of these. You can buy them directly from GK Music.

Advice to young musicians: Protect your hearing. You won’t regret it.

The Jazz Musician’s Guide to Creative Practicing

The Jazz Musician’s Guide to Creative Practicing by David Berkman isn’t a drum book, but it’s one of my favorites of all time and I count it right up there with Kenny Werner’s Effortless Mastery.

What this book provides is a way to approach practicing that actually makes the best use of your time and helps you to avoid pitfalls.

I first heard about The Jazz Musician’s Guide to Creative Practicing from drummer Phil Hey, who studied extensively with Ed Blackwell.

When he told me to get the book, I did not take the recommendation lightly. That said, if you’re like me you might be thinking something like “I already know how to practice” or “I’ve got my own system that works.” I get it and I put off picking up this book for a long time, which I regret.

The Jazz Musician’s Guide to Creative Practicing breaks down practicing many of the areas that jazz musicians struggle with in a way that makes them manageable and easier to master.

Some of the topics might lead you to believe that this isn’t a book for drummers. While it’s true that not every chapter will be as valuable for some, the book as a whole is wonderful. It’s filled with hundreds and hundreds of concrete things to work on, along with anecdotes illustrating the ideas presented.

The Jazz Musician’s Guide to Creative Practicing covers a really wide range of topics:

Basic jazz theory, clearly explained
How to practice tunes
Rhythm, deep groove, metronomes and odd meter
How to play fast without losing your ability to make the notes sing

Once again, do yourself a favor and get this book.

David Berkman is also the author of the famed Jazz Harmony Book, which I got to help me with piano and writing tunes.