Chad's Lesson With Marvin

       My first in-person lesson with Marvin Bugalu Smith occurred on Friday, Jan11, 2008.  Due to a number of scheduling conflicts, Marvin was kind enough 

to set aside some time for me to travel up on that Friday to have a lesson at his place.  Coming from a great distance, I was concerned that obstacles would present 

themselves in front of me that would impede my chance to study with Marvin.  The less I filled my mind with worry, the easier the venture unfolded.  This is an interesting 

point.As I arrived at the train station in town, Kesai Riddickwas there to pick me up.  It was great to meet Kesai finally.  It seemed like we had known each other for a 

very long time.  As we drove up to Marvin's house, he greeted us through the window.  Everything was cool.  Marvin had the film entitled, The Secret playing  on his 

DVD when I walked in.  He and Kesai let me cool out for a few minutes while I watched a bit of The Secret.  It was great to finally meet master drummer 

Marvin Bugalu Smith, and as I expected, be introduced to heavy concepts the moment I stepped foot in the door.  An Introduction to Daimoku and Gongyo provided 

a widening of the spiritual riverbed through which the water would flow more freely. The attitudes of Marvin and  Kesai were bright, like beacons.  The space felt like a 

sacred, small area.  Kesai's drums were set up, as were Marvin's. Marvin guided me to the drums and asked me to play a bit.  In the past, when I've taken lessons like 

this and  have been asked to sit down and just play something, I've encountered nervousness and mental resistance.  Not so this time.  The drums felt very good to play 

and I felt among brothers.  Marvin then began to explain and demonstrate  a number of powerful concepts, of which were the Algerian 6 rhythm, feeling 4/4 time with

inverted counting in 6 to create flow, and the 21 count roll.  The Algerian 6 rhythm is profound, not only in groove and sound, but under the surface, how it affects your 

nervous system.  Marvin's ability to translate the rhythm to me was flawless.  I was able to at least grasp the mechanical portion of it, even if not perfectly, Marvin made

it very easy to understand.  He quickly created a drawing that functioned as a roadmap, an infinite guide toward understanding the core of the rhythm itself. Immediately 

upon trying it, I felt as though my breathing changed and as though my internal structure itself was shifting.  I noticed that thinking about the rhythm and how to execute 

it seemed to stop my flow.  This would surface again later in the day's lesson. Marvin then expanded by demonstrating a method for creating more flowacross time by 

using inverted counting in 6.  Again, as I began counting in this way, I felt a new kind of flow and expansion, as if someone had unlocked a series of new doors for

 exploration.  Hearing and feeling 4/4 time...or any time in this way...creates a much wider and fuller beat expansion.  I began to sense that a shift in my nervous 

system was occurring.  This created a new looseness I hadn't known before. Following this, Marvin also introduced me to the 21 count roll, a great musical tool that 

can be used to really create that massive roll in the spirit of  Art Blakey or Elvin Jones.  Moreover, though, when practiced properly, it really centers everything and 

provides relaxation in the body.  I really couldn't believe the way I felt after going through it, even once. These concepts seemed simple on the surface, but I couldn't 

believe the shift that I felt internally as I attempted to play through these new lessons.  This is truth that technique is only part of the whole picture. We took a break 

and watched more of The Secret and had a bit of tea.  Kesai and I then spent some time working out on the drums, trading 8 bar phrases and playing time.  Having

been familiar with Kesai's playing online, I thought I knew what he could do.  Rather, the longer we played together, the more I began to see his ideas unfold and stretch.  

Kesai had a powerful flow that was stronger than I expected.  I frequently found myself laughing at the creative ideas expressed.  I found a new respect for Kesai's 

clarity and flow.  This was a very valuable workout. We then took another break and waited on Andrew Greeney to arrive.  When Andrew arrived, again, it was as if 

another long lost brother had stepped into the spot.  We ordered some food and ate while Marvin shared some stories and wisdom with us.  After a nice break and food, 

Andrew and I sat at the drums and worked out on the Algerian 6 rhythmic concept.  Kesai joined in on the cowbell.  It was especially during this workout that I began to

face my weaknesses head on,not just with the flow of the rhythm, but at the core...the 6.  The mind was trying too hard to understand the many facets of the rhythm, yet 

stopping my flow and ability to play the rhythm, much less flow freely through it.  Kesai and Andrew both directed and gave suggestions on ways to grasp the core, the 

root of it, and did so with great clarity and compassion.  Marvin has taught them well.  It was during this workout when I realized the connection of all the concepts 

Marvin had introduced me to that day.  Everything became one.  The strength, love and compassion given by Marvin, Kesai and Andrew was on a level of deep family.  

The drums are truly sacred and reach well beyond what most people realize. However, later that night, Marvin, Kesai and Andrew loaded up Marvin's special drums for 

me to use at a performance I had scheduled that evening. They kindly transported me to the gig and helped set up the drums.   When I played the first notes, I felt an 

openness on the bandstand that I hadn't felt before.  I felt a warmth from the people and a sense of love in the room that I hadn't known on that level before.  Marvin 

played two tunes on the bandstand and brought the room up to their feet.  Everyone was emotional and filled with joy just hearing the music coming from the bandstand.

          I wondered how I was going to be able to go back and follow that when he was done.  Marvin brought me back on and I just let go, listened and played what 

came naturally.  The music seemed to flow more clearly than ever.  Everyone seemed happy and full of spirit.  The drums even seemed to be tuned to the room. 

Aside from the lessons earlier in the day, I felt the heaviest of lessons came on that bandstand watching Marvin and following him back up.  All of the teachings 

seemed to rise up clearly and light a pathway that hadn't been lit.  There is only so much that can be properly absorbed in one day...and all of the teachings Marvin 

shared just in that one day will last me a lifetime.  But more so, it wasn't just the specific teachings that uplifted and cleared the path, it was the clear and passionate 

way that Marvin taught these concepts that really inspired me to reach out and flow with the wave of the music, and embrace the audience, the band, and the Ghost.

"Marvin Bugalu Smith is a true master drummer...a master of time...and a master Teacher."

by Chad Anderson January 2008