Playing the Parts from the Album
&
Incorporating Your Own Ideas
by Ben Jackson 

     One of the questions I get asked about most often is when I play an artist gig, do I
play exactly what’s on the record or do I change the parts for the live show? The
answer, at least for me, is to play whatever will best support the artist and make him/her
the most comfortable. Knowing when to play a part exactly like the record and when it’s
a good idea to change it up can be tricky. Every artist is different, and sometimes, it can
even change show to show. The challenge is in knowing when it’s time to stick to the
original part and when it’s time to make a change.

ORIGINAL RECIPE

When you are auditioning or when you first get the gig it’s a good idea to play the part
down just as it was recorded. At that point, you’re new to the gig and don’t yet know the
artist’s preferences and how the band is used to approaching the music. Your safest bet is
to go in and nail the parts just as they were recorded, giving your playing the best chance
of fitting into what’s happening musically. This will also show your artist and
bandleader that you have taken the time to learn the material and represent it accurately.
To get an idea of how close the band is sticking to the record, try to get your hands on
some recent live recordings and compare the parts being played live, to those on the
album. You will also ALWAYS want to retain any standout or signature drum parts/fills
that are really recognizable, and are important to the song.

THE RULE OF CHANGE

Once you’ve been on the gig for a while, and are comfortable with the material, the band
and the artist, then it becomes more of a matter of interpretation. Ultimately, your job is
to make your artist look and sound as great as they can, so whenever the idea of changing
something comes up, I refer to this fundamental rule. ONLY MAKE A CHANGE IF IT
WILL INCREASE THE COMFORT LEVEL OF THE ARTIST, THEREFORE,
ALLOWING HIM/HER TO HAVE A BETTER PERFORMANCE. This rule helps me
eliminate any ideas that are selfish in nature such as playing a cool lick or fill that serves
no purpose other than to showcase myself. As part of the rhythm section we are
SUPPORTING our artist, therefore, any changes should only be made on the basis of
making the artist’s job easier, and enhancing the performance.

KNOW YOUR ARTIST

Every artist is different and has a different philosophy. Some artists are very particular
about the live show representing the album note for note, other artists want the live show
to have its own personality and feel, and encourage the musicians to put their own stamp
on the music. Knowing your artist’s preferences can be the difference in keeping or
losing a gig, so take some time to ask your bandleader, or if he/she is accessible, the artist
themselves. Most artists will fall somewhere in between the two extremes, and it will be
up to you to make those decisions.

HOW DO I DECIDE?

I always take the approach that I’ve been hired not just to be a living record player, but a
human being that will make good, musical decisions that are always in the best interest of
the entire group. Many musicians can play a part, but fewer can use their ears and good
musical judgment to play what best fits the situation, so let that be your guide. Be aware
of what the other members of the band are playing, and how that compares to the
recording and what you are playing. Another great thing to do is record yourself on the
gig, go back, and listen objectively to how your playing is or isn’t supporting the music
as well as it could, and adjust accordingly. Making good, musical decisions can really
help increase your level of trust with your artist!

WHAT ABOUT WHEN YOU HAVE TO CHANGE A PART?

There are a few situations where changing a part might not just be an option, but a
necessity. Some of those situations include:

The Tempo That the Song is Played Live Differs Greatly from the Album’s Tempo:

This happens a lot and can make a groove that felt great on the recording, feel not too
great live. When this happens, I try to retain as much of the original part as possible, but
mainly, I shoot to give it the best feel I can for the song at its new tempo.

The Live Instrumentation is Different from the Record:

This happens a lot less these days with so many bands using backing tracks, however,
there are times when a record has all kinds of instruments on a song that cannot be
realistically put into a live show. This might mean as a drummer, playing something with
a little more note density to help fill up that space that the other instruments were
covering previously. In turn, if you find yourself on a gig with an orchestra backing you,
it might be a good idea to lay off a few of those busier fills and really go for simplicity
and clarity to help guide the extra musicians and leave room for them to be heard.

The Arrangement of the Song has been changed for the Live Show:

Almost every show will change the arrangements of a few songs to enhance a live
performance. This can include new intros/outros, segways, transitions from song to song,
punches/hits, stops, you name it. When those things come up, it often becomes necessary
to change your part to fit the new arrangement. Again, this is where that rule comes in.
Make your changes to support the new arrangement, and don’t abuse the opportunity by
cramming in your favorite lick.

You’re Playing Someone Else’s Gear:

This one should be fairly obvious, but when you’re doing a fly date or playing
somewhere with a house kit that has a different set up from your usual kit, some changes
will be necessary. I try to take a look during soundcheck at what I’ve got to work with,
think about what will be different or challenging, and go through the show mentally so I
can anticipate any trouble spots, and when possible, figure out how I’m going to get
around those before I get on the bandstand. You’ll always run into a few that you hadn’t
thought of, and that’s where focusing on maintaining a good feel, combined with the
ability to improvise will get you through unscathed.

      Good musicianship and knowing your gig/artist are the main criteria that will
determine what you play and how you play it. You have to use your own judgment to
decide what will best suit each musical situation. It’s always a good idea to start with
the original parts for a foundation, and consult your bandleader or artist. Once you’ve
done that, as long as you stick to the Rule of Change, you should be able to have a
great personal and musical experience with the members of your band and your artist.


Ben Jackson is currently the touring drummer for NIPPIT recording artist Aaron Tippin.
He attended the University of North Texas from 2001-2006, and graduated with a degree
in Jazz Studies. When not on the road with Tippin, Ben maintains a busy schedule in
Nashville with recording sessions, artist and label showcases and various other
performing engagements with his fusion band and his jazz quartet. He also remains
involved in music education through his private lesson studio. Ben is endorsed by
Innovative Percussion.

For tour dates and more info, please see:
www.myspace.com/benjacksondrumming


Tim Haines Encounters a Drum Hero!

Greetings and Salutations,

As the Heidi Newfield Tour kicks into full swing, sold out shows and unexpected surprises give rise to buffered country artists and otherwise uneventful days. Mobile trucks filled with all the recording gear one could fathom and a sense of satisfaction permeated one day in particular.

The day was April 18th, 2009 and the place was Grand Rapids, Michigan. I stand at a table cramming my newly health conscious face with vegetables, I look up, only to notice a person that was unmistakably familiar. My ability to recognize this person stemmed from countless hours of looking at album covers and being him via headphones. Now mind you, being him was an attempt and not necessarily a successful one. Now a side note about myself. Anybody that knows me, can tell you that I very rarely get "star struck".

This was that rare moment in which I transformed from being a drummer for a successful country artist to "full on" stalker fan....in every sense of the word. This target of my "germness" was the prolifically influential Phil Ehart, drummer from none other than KANSAS. After attempting to get confirmation from those around me that it was really him, I gobbled the rest of my bland meal, and prepared to firmly plant lips on butt cheeks. Yes, I proceeded to raise myself to the top of all time "brown nosers", complete with a frantic phone call to my best friend and monster drummer, Sean Paddock (Kenny Chesney). Sean and I share the same enthusiasm for our childhood drum heroes. (Mr. Ehart, White, Bozzio, Bruford, Gadd, Colaiuta, Smith, Phillips and the list is never ending) Get the picture? We're drumming for country artists but our roots lie deep in the rock/prog rock/fusion era. On to the actual stalking.

I proceeded to introduce myself and as he reciprocated, I responded with, "Oh, I know who you are." Very matter of fact like.

Creepy, huh!? I agree. So ensues the gratuitous compliments and my attempt to make him extremely uncomfortable. One question after another along with 30 plus years of blabbering praise while, all the while, trying not to date either one of us. Mr. Ehart could not have been more genuine, humble or classy. Fielding all my, line drive, questions with a cool and appreciative demeanor. We talk about everything from touring, click tracks, playing with a symphony and his approach to music all the way down to his white tube socks with yellow stripes, on the inside of the "Two For The Show" live album. I guess that totally confirms the fact that I'm a little on the creepy side! This whole dialogue with him is taking place over the course of a few hours. In the meantime, I'm bouncing back and forth between bus and venue only to return his proximity and move in for more bombarding questions. At one point in our conversation, I call my buddy Sean again and hand the phone to Mr. Ehart. The whole time me being so proud of myself. He returned the phone to me with the sound of a giddy Sean on the other end. Yeah....we were definitely 13 again!

Very few people get to meet their occupational/childhood heroes.  Even fewer get to thank them in person. I've met a few that have tarnished the fantasy but this was not the case. In all actuality, Mr. Ehart would have been justified in having the "white coats" haul me away. There was no entourage, no disguise, no one to tell you to avoid eye contact and he wasn't being carted around in a custom wardrobe case. Dig, dig, dig! He made himself accessible not only to me, but my boss and my bandmates/crew. For a brief moment I saw him as my peer....I soon came to my senses!

As I took the stage there was an unfamiliar nervousness that could only be attributed to Mr. Ehart's presence. I secured my "in ear monitors" and made my way to the imaginary basement and became a 13 year old kid in a grown man's body. Unleashing the fury and excitement that was taught to me many years ago through headphones, a drum kit and Mr. Ehart. All element's were present and I had arrived at "full circle". After the show, Mr.Ehart was gone and my inner "little dude" felt compelled to send a note of gratitude via text.

As I lay in my bunk, wondering if I had breached the "Point Of Know Return" in my OCD, a message appears on my phone. "Tim....It was a blast! C-ya Phil". All was right with the world.