Pocket change is a concept of approaching playing music to build a long,stable career.As a musician the intent is sometimes to rein as an individual.Longevity and stability are based on being versatile and adapting to the contemporary styles.In order to stay on top of the working ladder,one must alter their playing approach to be inclusive of all of the players in any situation and become adequately accommodating.
Playing in the pocket is the concept that takes a drummer to the next level,which is that of a musician.Working drummers are prepared for all musical situations and always bring something fresh to the music without losing the essence of its intent or purpose.The discipline of being both leader and follower is one of the key attributes to building a stable and great career.
Your life is forever changed after you discover the passion and joy of making music happen for everyone including yourself. Everyone wants a winner,and the winner is always the one who consistently makes it all happen effortlessly in most musical situations.
Pocket Change is making music and money by becoming a major contributor to music over some years.
Ndugu Chancler is a drummer,composer,producer,and Professor of Jazz and Popular Music Studies at The University of Southern California,Flora L.Thornton School of music.Ndugu has recorded with the likes of Miles Davis,Frank Sinatra,Micheal Jackson(being the drummer on the Thriller album),Geoarge Duke,and Santana to name a few.Ndugu has also composed hit songs for the Crusaders,George Duke,and the hit for the Dazz Band"Let it Whip".As an educator,Ndugu travels worldwide doing workshops,clinics,and concerts with various bands.Mr.Chancler is a member of the Percussive Arts Society,and the Jazz Educators Network.
Foreword by Washington Irving Rucker
It's easy to mispronounce his name — Ndugu. But it is impossible to overlook his talents if you are a student or lover of music.
Leon Ndugu Chancler's resume reads like a fantasy children daydream about. Starting out as a youngster on 119th Street in South Central Los Angeles, Ndugu honed his craft at Locke High School, nurtured his love for music on the inner-city stages of Los Angeles and, eventually, took to the bandstand in venues all around the world in the company of a host of music luminaries.
Ndugu's introduction to jazz came when he was 19 through his playing with Miles Davis. The jazz communities on both coasts took notice of this brash, young player. He brought a different kind of fire and abandon to jazz and, later, to the genres he embraced. Ndugu's contributions as a hit maker — in his own right, and in collaboration with others — stand unmatched by most of the drummers I know.
His signature two-beat introduction makes Michael Jackson's "Billie Jean" the only song in history that is instantly recognized by a bass drum beat and no melody. His Dazz Band hit "Let it Whip" became the funk party anthem of a generation. His powerful drum solos with Santana remain among the most riveting in live concert performance. And his collaboration with musical partner, Patrice Rushen, changed the color of West Coast jazz, transcending its cool and mellow attitude and giving it an intensity previously associated only with the East Coast variety.
Despite all his success, Ndugu has never forgotten his roots. His work to teach and mentor innercity youth and aspiring artists around the world attest to his professionalism and his commitment to giving back. When his contemporaries found success and took up residence in tonier parts of L.A., Ndugu stayed in South Central among the friends and influences that nurtured his talent and spirit.
Our countless discussions and debates about nearly everything under the sun have given me insight into this genuinely beautiful cat. We talk shop about the industry and craft we both love and, once in a while, he deigns to let this "Old Lion" impart a nugget of wisdom or a technique or two. So, while his name may not trip easily off the tongue, its Swahili meaning — brother — truly sums up the man and the player I feel privileged to know, respect and love.
— Washington Irving Rucker
contents
SECTION 1
CHAPTER 1: MUSICIAN AND ARTIST DEVELOPMENT
Building a Strong Technical and Musical Foundation
Developing a Sound and Concept
Approaching and Applying Yourself to Various Styles and Genres
Creativity Through Music and Other Influences
CHAPTER 2: DEVELOPING YOUR MUSICAL HOUSE
Getting Your Equipment in Order
Equipment Care and Transport
Necessary Equipment to Groove
CHAPTER 3: READING, WRITING, AND INTERPRETATION
Learning to Read
Writing What You Play
Interpreting and Creating Your Part From Other Instruments
CHAPTER 4: FINDING THE PATH
Learning to Play With Others
Learning to Record
Doing Business and Becoming Professional
CHAPTER 5: THE GROOVE PHILOSOPHY
What is a Groove?
Elements of a Groove
Developing a Consistent Rhythmic Feel
Consistent Musical Sound
Audible and Distinguishable Musical Parts
SECTION 2
CHAPTER 6: DEVELOPING A GROOVE: TECHNIQUES FOR SOUND, TONE AND TIME DEVELOPMENT
Hands
Feet
Eyes
Ears
Brushes
CHAPTER 7: TECHNOLOGY
Staying Ahead of Technology
CHAPTER 8: TAKING CARE OF BUSINESS
All About the Paper
Get the Money Owed to You
Residual Income
CHAPTER 9: THE SOLO
The Drum Solo
Going Solo: Being a Bandleader
