Some of my Favourite Drummers are Invisible

I was sitting in a club listening to one of my drum heroes when I asked myself what it was that I found so appealing about his playing. I listened carefully as he played through the head, backed each soloist, took a solo, and wrapped things up. His playing rose and fell beautifully with the music, but for the most part, he seemed to be barely there: supportive but unobtrusive ... almost invisible. Some of the very best drummers are virtually unheard of.  When it comes to the needs of music, visibility -- or, rather, audibility -- is often not high on the list. There are high profile drummers we admire who have the ability to disappear as well as get noticed. Vinnie Calaiuta is a great example. When it calls for flash, you couldn't want for more. But look at Vinnie's recording credits and you'll find loads of examples where he takes musical invisibility to heart.

A lot of drummers who qualify as invisible: Hal Blaine, Earl Palmer,  Clem Catini. Even the more flamboyant drummers -- Buddy Rich, Keith Moon, Mike Portnoy -- fade into the background when it suits the music. They all played out front when necessary but were just as happy sitting back and grooving their butts off. What it comes down to is that these players could be anybody during the body of a tune, but when their creative skills were needed,  well there’s no mistaking a Hal Blaine fill.

Being invisible doesn't mean not contributing or not being creative or not being sensitive to the music. Quite the opposite. Being a musical drummer means that you can sense what the music needs and then deliver just the right thing -- no more, no less. You are part of the recipe, the way that leavening is a part of the cake. So when the drums belong in the background, that's where they should go.

I love the supportive aspect of this approach. These drummers sit in the mix in such a way that the music is fully supported and carried along by the drum beat, it's just that it's not obvious and sometimes you have to listen for it. 

Next time you're Listening to any well-produced track, note whether the drummer is sitting quietly at the back or way out front. Which do you prefer? Which is better for the tune?

Diversify and Conquer Part II

There are lots of gigs within the music industry that do not necessarily involve playing drums. Here are just a few examples.

Second Instrument
Good drummers who are also good singers will always be in demand. So how about a drummer who can double on another instrument: keyboard, sax, wobbleboard -- lots of possibilities. If you're good enough on another instrument, maybe you can get some work with that. I once had a student who got more gigs on trombone than on drums.

Music Store Polymath
During my university years, I worked at a pro music store where I matched drummers (and others) with equipment and provided technical solutions. I also did repairs and so I got to work on a lot of great instruments and a lot of great people. And it turned out to be a good source of students and gigs.

In the Supply Chain Perhaps you'd excel as a wholesale or manufacturer’s rep. Drum companies and their agents need people to demonstrate and educate as well as to look after their customers. There's also a constant need for organizers, promoters and communicators.

Benevolent Overlord
Maybe you were destined to manage or promote. The music business needs people to TCB. That includes managers, road managers, personal techs, booking agents, PR & promotion… . There are many possibilities for someone who is organized, energetic  and proactive.

Author, Author
Think making a living as a musician is tough? It can be a cakewalk compared to writing. Still, there are opportunities for good writers who can find a niche and an audience. Many authors write as a means of marketing. An instruction book, for example, is very good marketing tool. Other avenues for authors include magazines, blogs, guest blogging, educational publications, and industry materials (e.g. PR, catalogs). People will always have a need for good writers, editors and communicators.