The Pocket

I take this approach with my spin class set lists: I try to alternate four styles of music. This is to provide a broader sampling, keep the larger picture in perspective, experiment and most importantly, challenge our stereotypes (as contrasted with monotypes) that keep us bound to the whims of the music industry. It is probably best at this point to confess that I am radically biased in this regard. Given the absolute power to spin my choice I would play a heavy rotation of Dead inspired jam-based improvisational sonic adventurers. The reason I do not (I have tried) can best be summarized in Jerry’s own words, “Our fans are like people who like black licorice. Not everybody likes black licorice, but those that do, REALLY like black licorice.” And so it is with both the Dead and the hundreds of jam-bans they inspired, Phish, Widespread Panic, Disco Biscuits, Government Mule, John Mayer and Pigeons Playing Ping Pong among them. 

The four-headed musical monster template I have crafted rotates through these genres/styles/types/sounds:

1) Classic Rock. Gives me the natural feel and grind so important to any graceful movement. 

2) Female Rockers. Same backbone as above, adding sugar, spice and everything nice. Pretenders, Lucinda Williams, Samantha Fish, Janis, Linda, Grace. 

3) Blues. Bonamassa, Buddy Guy, SRV, Jimi. 

4) Country, Motown, World. These three make regular rotating appearances. I have no issues whatsoever with a Waylon>Temptations>Afro Celts flow.

The reason I bring this forefront today is that I have been reading some extraordinary commentaries from drummers on the official definition of the phrase ‘playing in the pocket’. For the musicians among you, this should be as common to your rap as, say, ‘take if from the top’, ‘with feeling’ or ‘fast - but not too fast (allegro non troppo).’ For the non-musicians, playing in the pocket means that the drummer (usually with an assist from the bass) has latched on to the beat so appropriate to the tune's style, intent and time signature, that a cosmic synergy with the universe is suggested by the rhythms he or she is producing. It is, in a word, the groove, and like quality or love it is close to impossible to adequately describe. But WE KNOW IT WHEN WE HEAR (OR FEEL) IT. 

One of the drummers sampled in the interview mentioned a phenomena that resonated with me all the way to the bone. He said that there is an emotional response when this sacred place is obtained as a result of the powerful, spiritual, tribal, truthful and beautiful alignment of accented beats. He further suggested that a sustained rhythm creates an emotional response in both player and audience. We hold this truth to be self-evident. 

That was all I needed. Maybe it is because I am a drummer. Maybe because I take musical chances with sharing my ideas with a group of people riding stationary bikes indoors, going nowhere fast. Maybe because this so colorfully matches the hue and tone of my thinking on the subject. Maybe it is because I like to share the magic. 

Not everybody likes their blues red-hot with a black and white silver lining, but one thing is necessary if we are to find that elusive dynamic flow state we relentlessly seek during practice (or anywhere else), It must have a deep pocket, or as Duke Ellington used to say on the same subject, ‘It don’t mean a thing if it ain’t got that swing.’