This interview is the first in a series I’m calling “The Metacognition of Drumming”. Getting musicians to speak in concrete language about performance and other forms of musicking is notoriously difficult, but it’s crucial that artists, scientists, and amphibians dissolve our hard disciplinary edges. To this end, I will share my conversations with drummers (and maybe a lucky few non-percussionists) in an attempt to articulate these very non-wordy things we do when we play music together.
James McRae is a Vancouver Island institution, a fabulous musician, and a stalwart friend. I’m sad we don’t jam so often since I moved to England, but I’m grateful we could exchange some thoughts on the types of cognitive/active strategies drummers use here. If any readers have a perspective they’d like to share, drop me an email! And stay tuned for the next edition, featuring Robert Glasper Experiment drummer, Yamaha-sponsored artist, and Grammy Award-winner Mark Colenburg.
ADM: What is your approach to groove, both as a drummer and as a teacher?
JM: All music has to feel good. If it doesn’t feel good, people are going to turn away! How much of this is based on groove? A lot, probably. The feel changes based on the tempo. Steady tempos are great, but having metronomic time seems more artificial than natural.