Post by Britt Turner
Mickey Hart of the Grateful Dead has an practically religious approach to playing the drums: In the way that other people define themselves as a Catholic, a Protestant or a Jew, Hart defines himself as a drummer. “Exploring the spirit side of the drum has been the major adventure of my adulthood, if not my whole life, ” he writes in `Drumming at the Edge of Magic.’
As Hart recounts it, drumming has constantly had a spiritual and physical impact on him, which includes a variety of degrees of ecstasy and trance. Touched by what he perceived as the primal power of the drums, he set out to collect and study the folklore of percussion instruments, specially in regard to their religious and ceremonial uses.
Although it typically aspires to be a primer on the anthology of drumming, `Drumming at the Edge’ succeeds a lot more as a history of his obsession than as a history of the drum. Amongst the book’s most engaging segments are his recollections of playing parade drums as a child experimenting with fellow drummer Bill Kreutzmann in the Grateful Dead playing the `tar,’ an African hand drum, with Egyptian musicians all night around a desert campfire and attempting to replicate the `chilla,’ a ritual retreat of Indian drummers, by drumming nonstop for four days.
Although convincing in relating his obsessions, Hart is on shakier ground when he tries to substantiate the mythic and metaphysical properties of the drum. In Hart’s cosmic scheme, the universe is built on noise and pulse rhythm and all drumming is an attempt to touch the universal. When Hart listens to rock & roll drumming, he hears the echo of Africa’s Yoruba drummers worshiping an earth goddess thousands of years ago. For Hart, each and every drum has a personality at times malevolent, occasionally excellent that drummers need to coax out and meet he describes gongs in his own collection as having monks and tigers “in them.” There are times when Hart’s absolute conviction is the spirituality of the drums is itself inspiring at other times it appears so private as to be incomprehensible to everyone else.
Despite the fact that a individual account, `Drumming at the Edge of Magic’ is not an autobiography. However it successfully uses Hart’s search for his own father, an accomplished drummer and con man whom he by no means knew as a child, as a counterpoint to his search for understanding about the drums. Fans of the Grateful Dead really should be forewarned that Hart has extremely little to say here about the group’s music.
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