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Sheldon's Drum Blog has Moved!!!
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It's easy to think that there are many ways to play the same thing behind the kit. However, once one begins to use a variety of techniques to play the same patterns, it quickly becomes clear that each approach feels very, very different, creating a unique feel within the groove. Although the differences seem subtle at first, even the sounds created with each technique vary significantly, with some being more staccato and articulated, some more legato and washy. Fast swing grooves are a great example of such differences.

Here, Riley utilizes what Jojo Mayer might describe as a push-pull technique. This allows fast, defined patterns since each hit is separate and independent of bounce: The first hit comes from the push down with the wrist, the second - and especially the third - come from the pulling-back motion strictly from the fingers. When I practice this, I am very, very careful not to allow the final hit to be a result (bounce) of the push process. I was surprised to find that the final hit (coming from the finger-pull) can easily be accented above the initial down-stroke. No matter how fast I go, I make sure that I retain this ability, since it prevents the motion from becoming sloppy and allows for a larger variety of dynamic expression.

Now, if we take a close look at the playing of Antonio Sanchez, we can see a few things. First, when he demonstrates his swing patterns at a slow tempo, you can see him using a similar idea in a different position. His thumb is directly over the top of the stick - a defining characteristic of his playing, for me - and much of the motion comes from the elbow and shoulder. There seems to be less emphasis on the wrist compared to Riley's strategy. Riley is in a more German position, as well - not German in the strict sense, but closer to German than Sanchez.

(swing pattern starts around 2:45)

It appears as though Sanchez is relying on bounce at high speeds. It's hard to tell how much he is pulling back with his fingers due to the position of his hands. Regardless, listening to his solo album and his work with Pat Metheny, the sound is still relatively clear and defined.

Ian Froman seems to articulate each hit individually using the wrist, elbow and shoulder, but not the fingers. Unfortunately, I can't find any footage of him playing super-fast, but in this video, the tempo is deceptively quick.

Notice the way this technique allows him to accent different parts of the swing pattern freely. It also allows him to play on a variety of surfaces, and using the shaft of the stick when desired.