Today I want to share one of the most unique drum performances I’ve watched in a long time. The track comes courtesy of my pal Steve Goold who is the drummer for Sara Bareilles and Owl City as well as several jazz and church ensembles. I had the pleasure of interviewing Steve for a feature in Drumhead magazine a couple years back titled “The Gospel of Goold”: http://www.pinstripepress.net/Goold.pdf. Since then Steve has become one of my favorite drummers. Following that story Steve and I became friends and he has provided me with some excellent insights and inspiration. We both share much of the same philosophy both musically and spiritually. This track was filmed at the Drumeo studios where Steve was appearing as a guest. Check out the offbeat rhythms throughout, the cool use of the splash cymbal and shaker, as well as the interesting pattern he uses on the hi-hat. His playing transitions seamlessly throughout the song and his timing is locked in. In an interview with Priority Access Steve shared his affinity for the groove. “I play music because I love music and I specifically entered the music world with the drum set because I really love groove.” If you want an example of an innovative groove that is dependent on the fundamentals of drumming this is it.
UPDATE: Steve offered some additional insights on this post: Thanks for the shout out, Mike! Trivia facts: this entire part was my attempt to recreate the synthetic loop that’s present in the studio recording of this tune. We tried it at rehearsal with me just playing the track samples on my SPD but it lacked the energy that Sara wanted, so I had to figure out a way to make the transcription and feel of the loop translate to an actual drumset. No toms, no ride or crash, and the splash on the snare helps to create a distorted clap sample.