This is going to get a bit detailed, so buckle up and here we go:
As we all know, drum solos are typically based on "chops," meaning flurries of fast and complex limb interactions that are intended to impress the listener. But drum solos that are purely based on chops tend to go over the heads of non-drummers, resulting in their being labeled "boring" or "unlistenable."
Steve Gadd, on the other hand, has a way of soloing that has endeared him not only to the famous artists he works with, but also with audiences of "regular people" all over the world. In Japan, for example, Gadd is as well-known (and as much of a draw) as many of the artists who employ him.
So what is Steve Gadd's soloing secret? Well the man certainly has chops, there's no doubt about that. But his success as a soloist does not so much relate to the chops he possesses - it's how he uses concepts like melody, space and drama to develop a solo that is COMPELLING.
Like Gene Krupa (another master soloist who appealed to the masses), Gadd makes us want to keep watching!
0:37-0:49 Gadd states a simple melodic idea between BD and HH. Easy to understand, not too loud, and in no rush. He doesn't try to bash us over the head with everything at once. Rather, he's saying "Hey buddy, come over here and check this out." Needless to say, we go ...
0:47-1:31 Gadd maintains the melodic idea, adding a snare "backbeat" on 2 and 4 (ish). I put the word "backbeat" in quotes, because rather than slamming the stick down, he simply lifts and lets it DROP onto the head. Drummers are so conditioned to obsess on the downward throw of a stick, they rarely consider that by putting focus on the LIFT, they can ALLOW gravity do the work for them, removing all of the effort involved. This is how a deeper pocket is achieved - by focusing on the SET UP and allowing gravity and other principles of physics to take care of the rest. I also put the word "backbeat" in quotes because Gadd doesn't play a consistent pattern through this section, but rather moves his melody around between the three limbs at work. In other words, 2 and 4 aren't always being played on the SD, but we still FEEL them. The effect is that Gadd is able to develop his concept (and keep our interest) with just a few subtle changes. This goes against the grain of most drum solos, which are generally based on a series of rapid and bombastic "gear changes."
0:1:32-1:52 With one loud smack on the floor tom (just one smack, mind you - not a hundred), Gadd introduces a 16th feel into his melody. Again, he teases us by subtly shifting his hands and playing these 16ths between hi hat, snare and bass drum. If you watch his right leg, it is mimicking the motions of his hands - namely, lifting into the stroke and then FALLING, as if he were simply dropping it onto the ground. Again, this "easy drop" creates depth (aka POCKET) - he is allowing for space to happen. This maintains the relaxed feel of a song, and doesn't have the "nervous edge" that so many typical drum solos do.
1:53-2:14 After pausing for almost an entire second (who does THAT in a drum solo), Gadd finally plays a second rudiment outside of single strokes (a flam), which heralds the entrance of one of those patented funk-ish, Latinish, cowbell-ish Gadd patterns that we've all come to know and love. This shift feel like a big change from the original melody, but not because he's changed what he's playing - it is because of the subtle shifts in surface and beat placement. Gadd plays a "call and response" game here, answering his "call" (the primary groove) with syncopated blasts on the floor toms and then with the bass drum. Two points on this: 1) The concept of call and response originally comes from Africa (as does the use of cowbell in a pattern like this). Although we may not realize it, Gadd's use of this motif (just as he uses rudiments a lot) grounds us in our collective past - we dig this approach because we've heard it before in the music that has been with us our whole lives. 2) Gadd's "blasts" on the floor toms represent the first time his dynamics have gone above mezzo-piano (mp). Again, this cuts against the grain of most solos, which start at "triple forte" (fff) and get louder from there.
2:15-3:16 Another patented Gadd-ism emerges, the "16th thang" utilizing the open/close of the hi hat foot. For the first time, we are introduced to an actual backbeat on 2&4, which (not surprisingly) elevates the entire solo. As Gadd plays with this idea, a new rudiment emerges (double strokes), and the ride cymbal makes its introduction.
3:17-3:59 Now we get yet another classic Gadd lick - the 32nd note blasts between kick, snare and hat. This lick has extra drama because of the way he employs dynamics in its use. Now he begins to extend the lick, taking it to new heights of excitement each time. But always, Gadd returns to his original "home base" melody after the fact. The end result? He doesn't lose us as he builds his idea, but remains solidly within the "song" he has created. And while we're here, let's talk for a second about licks. I've heard Gadd use this one (or some variation thereof) in a million recordings and solos. You'd think that I (and everyone else) would get bored of hearing it, but for some reason, we don't. I could listen to him do that sh*t all day! Why?? I don't know exactly, but the way he intertwines it with his main ideas ring with a certain kind of truth. It's like Bonham with his hand/foot triplets, or Max Roach with his 3/4 ostinatos, or Bill Bruford with his cranked up snare. We just accept the idea for what it is, because it makes musical sense.
4:00-4:17 Now we're back to the 16th idea implementing the ride. Notice how we're four minutes in and Gadd has yet to hit a single crash cymbal!
4:18-4:30 Finally, we get a tom fill in the traditional sense, but again, it's NOT followed by a crash. This demonstrates Gadd's commitment to not "diluting" his basic idea with a bunch of random stuff. It's called "control," people! Next, he launches into some "variations on the 5o Ways groove." Again, if you're a Gadd fan, you've probably heard these a million times (but I don't see anyone complaining).
4:31-4:43 FINALLY, we get an honest to goodness cymbal crash. After keeping things under control for so long, this crash really states its business. It SAYS something (and we are appropriately knocked out!).
4:44-5:44 And now a rudimental flurry, reminiscent of Gadd's famous "Crazy Army" solo. This is followed by more cool signature Gaddisms: 32nd note bass drum licks, followed by rolling 16th combinations between the bass drum and toms. The solo is FINALLY cranking on all cylinders, but it's taken a good five minutes to get there. Gadd has taken us on an incredible journey in the style of a grand Shakespearean orator ... and not surprisingly, the audience (and we the viewer) are on their feet and roaring for more!
I will conclude by saying, if you want to be a melodic (and successful) drum soloist, then learning from Steve Gadd is a great place to start.
