Indebted To Datta

One of the lessons of Billy Ward's "Inside Out", mentioned in a recent post, is for drummers to be open to inspiration from all sources – and all kinds of players, not just drummers.

Unlooked-for inspiration came to me this week from sarod-player Soumik Datta whom I was fortunate enough to see in concert at London's Cadogan Hall as part of a stirring ensemble paying tribute to the words and music of Rabindranath Tagore.

Datta is one of those musicians who is utterly at one with his instrument, possessed of a facility that enables him to express himself totally, and which seems to result in great joy – for him and for those who hear him.

Prior to the Tagore concert, we were treated to a preview of an episode from a future TV series Tuning 2 You in which Datta (filmed by his brother Souvid) travels across India to meet and play with the sub-continent's "lost musicians" – the traditional local players who will never be famous but who are the lifeblood of their communities.

The film itself also provided endless musical inspiration – plus the clear message that music is at its best when it is played by those who are devoted to it and for whom there is no life without it.

As Greg Lake, who died recently, put it: "The greatest music is made for love, not money."

Drumming Without Your Kit

I've been away... I'm back. And I haven't been drumming for a while, following the successful release and launch of the Unison Bends' album 'Liquor And Iron' at the end of November. As forecast, it was a night to remember, particularly as the amazing Alex Patterson graced the album launch with her vocals.

So no drumming for a week or two, apart from in my head. Which leads on perfectly to 'Inside Out', the brilliantly challenging book by drummer Billy Ward that does exactly what it says: explores the mental aspects of drumming.

Apart from making the oft-neglected point that drummers are musicians and have brains, Ward also looks with great honesty at the fact we are also human and beset with all sorts of failings.

There are almost no drum exercises in this book – it's all about you, your musicianship, your strengths and weaknesses, and how you get the best out of yourself in any situation.

When I get back to the practice studio, I know I'm going to be a better drummer – just from reading this collection of perceptive essays.