On Drumming and Boxing
“ Any accomplished drummer knows the value of solitary practice but it's also important to spar! ”
I've always been a fight fan. Growing up outside Washington, D.C. Sugar Ray Leonard was one of my heroes. A few years ago my interest turned into an obsession. I began collecting fight films and studying boxer's styles. Here are some things I learned about the art of drumming by watching these master athletes at work.
The mechanics of drumming are similar to the boxers form. Playing the ride cymbal or riding the hi-hat is akin to a boxer's footwork. They set up the flow and feel for both the drummer and boxer and are significant to the style of both. When I watch the footwork of Sugar Ray Robinson I can't help but think of Philly Joe Jones. Ray was probably the slickest boxer ever to enter a ring and Philly Joe defined "hip" not just for drummers but for all Jazz musicians. Ray's dazzling footwork and smooth combinations are much like the way Philly Joe combined rudiments into seamless musical statements. Philly's impeccable ride was as effortless as Ray's footwork, making everything on the bandstand poetry in motion. This concept can be seen among the heavyweights as the determined, ominous stride of Joe Louis is like the greasy, medium swing of Elvin Jones. Both Joe and Elvin are superhuman forces in their fields with Louis's punching power much like Elvin's "bashing" at peak level.
When a drummer plays accents or drops bombs I view this like a boxer's jab. The jab is the boxer's staple and must be timed perfectly to be effective. A drummer's accents also must be timed correctly and placed in just the right spot. Also the boxer doesn't want to be too predictable with his jab. If he bobs his head or drops his shoulders before he jabs, his opponent will pick up this signal and be able to retaliate with a well-timed counter punch. Consequently if a drummer drops bombs or resolves fills in the same place the music will become dry and predictable. In other words don't always jab on "one".
Combinations lead off the boxer's jab as a drummer's fills lead off his ride. Boxing combinations should be a fluid motion not merely a series of disconnected punches. In drumming fills should be organic, integrated with the groove not a static event. Jack DeJohnette is a master of this concept. Jack doesn't play "fills" but a constant wave of rhythmic ideas. To me Joe Frazier is the Jack DeJohnette of the ring. In perpetual motion, Smokin' Joe's combinations flow seamlessly out of constant upper body movement.
Pacing is another important factor in both drumming and boxing. If a fighter comes out with all he's got in the first couple of rounds and doesn't land a lucky haymaker he'll most likely run out of steam if he has to go the distance. Likewise, if a drummer plays everything he knows in the first tune not only will this be unmusical but also he will have nothing left to say and will most likely be spent by the end of the set. In boxing, featherweight Willie Pep took pacing to an unprecedented level winning a round throwing no punches. Years before Ali began boasting (1946) he even predicted in which round he would do it (the 3rd). His longevity is a testament in pacing a career. Pep fought 242 bouts over a twenty-six year period winning 230 times with one draw!