Q. What inspired you to first pick up drumsticks and what were your first attempts at playing the drums like?
A. Believe it or not, it was on a dare. Some guys in my middle school were putting a band together and they asked if I wanted to play drums. I didn't actually have drums at the time but I had always wanted some. Shortly thereafter I convinced my Mother to buy my first set. My first attempts were less than memorable. In fact, I cannot actually recall what I started doing once the drums were set up. Although I do remember how much fun it was setting up the drums and learning all about them.
Q. Did you take lessons or are you self-taught?
A. I took lessons for a few months from a local teacher but he really didn't have in depth knowledge of the instrument. He showed me a few basic techniques and grooves and I took it from there. However in my latter years of high school I started taking lessons and studying music seriously.
Q. Who inspired you to learn drums?
A. I suppose my older brother and his record collection had a lot to do with it. While he was at school or work I used to listen to his records. He had Grand Funk, The Beatles, The Who, Queen, and so on. Even when I was a little kid (7 or 8) I used to air drum along to those records. Eventually I was given a toy drum set and I pretty much trashed that thing in record time! Those are my earliest inspirations.
Q. What is your practice regimen like?
A. Well right now it's pretty much on an "as needed" basis. I'm so busy with gigs, recording, and writing that I have very little time for a lengthy, structured routine. However from about the age of 17 through 26 my regimen was extensive. Oh yeah, I almost forgot, day-to-day LIFE also prevents me from lengthy practice sessions!
Q. How would you define your style of playing?
A. Well, I think one of my best attributes is my ability to play many different styles authentically. So I'd have to say that is a pretty good description. I pride myself on saying that I can play straight ahead jazz like a jazz drummer. You hear a lot of guys say they can do it but really can't. Conversely there are times that I play in the studio all day long with clicks, loops, etc. and I'm just as comfortable with that too.
Q. Tell us about your CD "Jazz Consortium"
A. The CD is a true snapshot of where I was during that time of my musical life. Really good jazz players surrounded me and they were the primary inspiration for that CD. The song choices were made either because they were songs currently being performed by the group or because they were longtime favorites of mine. Overall it was a great time with good friends who were involved in virtually every aspect of the CD (from the players and engineers all the way to the artwork).
Q. Are you currently recording another CD as leader?
A. I've been conceptualizing a solo project for quite some time. I've recorded a few things but I need more time and more focus to bring it to fruition.
Q. I understand that you are currently recording with three other Blue Canoe Artists, JPM, Dan Baraszu and EJ Hughes, deemed the "End of the World Ensemble". Can you tell us about this and what we can expect?
A. Now this project is going to be REALLY different. It's going in the direction of early fusion meets Bill Laswell meets Penderecki and Stockhausen. How's that for a description? JPM and I have been playing together for twenty years and we're working on the basic ideas and letting the musicians add their own unique slant.
Q. Lets talk about your creative process. How do you approach arranging or writing? Do you compose from the drums or do you use a piano?
A. Both drums and piano are used. For instance I might be working on a bass line and it inspires a drum groove or vice versa. For me, finding a great bass line or chord progression is the key. Everything else will find its place from there.
Q. Tell us about your customdrumtracks.net? What is it and how did it get started?
A. I had been thinking about this concept for years and just last year it became a reality. Basically it's my online recording studio. I offer acoustic drum tracks (and programmed drum tracks) to musicians all over the world through my web site. It's not a new concept but my site is a bit different from some of the other guys out there. I feel like I offer more variety in equipment choices (for the buyer) and more stylistic diversity and authenticity in my own playing. I encourage visitors to check it out at www.customdrumtracks.net
Q. What challenges do you face when switching from different styles of music?
A. The biggest challenge comes from having not played a certain style and then being thrust into that particular situation without preparation. That can be painful but if you are playing with good musicians they can put you in a better frame of mind, which is half the battle.
Q. What challenges do you face from switching from touring artist, studio artist, educator, author?
A. Well, touring is a whole animal unto itself. You REALLY have to have the right state of mind to make that work. Touring is such a vastly different reality from what most people think it is. I don't even know where to start except to say that you really have to maintain a healthy state of mind and get copious amounts of rest and proper nutrition. Whenever I get back from being on the road (even if it's only been a few days) I have to detox my mental state and force myself back into the real world. Only after that can I switch hats and go back to being the other things. However, I should mention that I cannot force myself to be an author. That's the one thing that I have to be in the mood to do if it's going to turn out properly. Every magazine article, web article, etc. was a completely formulated thought that just spilled out as a finished product. For all the other music related tasks I can pretty much be given a deadline and be told to create. I can make that happen.
Q. What other types of music or artists do you derive inspiration from?
A. I can be inspired by any music as long as it's good. I really appreciate the craft of songwriting as much, or more, than the actual performance. I would much rather hear a simple, musical performance inside of a well written song than a chops-ridden, over-played performance of a poorly written song. Some particularly inspiring artists are: Tony Williams, Miles Davis, Wayne Shorter, Roy Haynes, Bill Stewart, Chris Potter, Dave Douglas, Bill Laswell, Steely Dan, Sting, James Taylor, Carl Newman, etc. I could go on but the list is too long. There are many fantastic songwriters and performers out there. You just have to know where to look.
Q. What's the most important bit of advice you were given by another musician?
A. Don't think too much. A lot of times if you think too much you'll sabotage your intentions. It's the classic case of not being able to "get out of your own way".
Q. What equipment do you use live and in the studio and why?
A. I been using and endorsing Bosphorus cymbals for almost 10 years. I was one of the first drummers in the world to find and use their products and from that time I haven't used anything else. I also endorse Regal Tip sticks and brushes and Aquarian drumheads. Both of these companies make fantastic products and have been very good to me. I really appreciate their constant work in developing new and better gear. I primarily play Gretsch drums and a huge variety of different snares. All of the gear listed I play live as well as in the studio.
Q. What one piece of equipment would you advise all drummers to own?
A. Wow, tough question. However, I'm going to go outside of the percussion genre and say that all drummers need something to record themselves. That, in my opinion, is one of the most important things you can own. Sometimes we don't hear ourselves as honestly as we should. It's easy to fix problems once you know they actually exist. Plus one cool byproduct of that exercise is that it lets you hear how your drums and cymbals sound when they are recorded. Mics hear things differently from our ears and you can learn a lot about tuning, head choices, mic placement, etc. In the long run it'll save you a lot of time and embarrassment in the studio.
Q. What's been your proudest playing moment?
A. There are many moments from the past and hopefully many in the future. I can honestly say that every time I perform to the best of my ability it's a proud moment. I pride myself that my "bad" is still good enough to make a gig go well. If I have a bad gig without messing up the rest of the group I can deal with it privately and hope that the rest of the band can lift me up. Finally, I remind myself daily of how fortunate I am to be able to play music for a living.
Q. What's the biggest disaster you?ve ever had onstage, and how did you cope with it?
A. There have been a few but I think I must have blacked out the details! However I can tell you that anytime I'm on a gig and the band (or band leader) is not prepared (i.e., no charts, no communication, bad playing, etc) but they expect you to read their mind ? and if you don't they get mad! That's a bad thing. It's even worse if you come from bands/gigs where everything IS prepared and then you have to put up with that sort of nonsense.
Q. Do you warm up before a concert and if so how?
A. I almost never warm up unless you include the sound check. However, on rare occasions I will bring some sticks into the dressing room if I'm working on something new or particularly challenging. There is something nice about NOT warming up before a gig. I love the concept of coming to the stage with my musical mind a blank slate. I feel like if I've prepared properly I really don't need the warm up time.
Q. What's the most important bit of advice you could give to new drummers?
A. Develop a good work ethic from the start and find out what you want to do with drumming and music. Lots of people have natural talent and never develop it. I've seen some super talented young kids, who have tons of natural ability, get thrust in front of big audiences at conventions and trade shows and a few years later you never hear from them again. Who knows if they got burned out or never got past their initial introduction into the business? However, I do know plenty of guys that worked on their craft and developed their own sound. A lot those guys were not the most talented or gifted when they were growing up but they knew what they wanted and they worked toward a goal.
Q. Thanks for your time and consideration for this article and interview. Any last thoughts for our readers?
A. One thing I want to say to musicians is that "preparation is not overrated". When you take gigs, take them knowing that the job starts BEFORE you get to the job site. Be prepared for every facet of the job. That includes things like your transportation, appearance, attitude, and gear. For listeners I would encourage them to challenge their ears and listen to as many different types of music as possible. Just remember that you probably won't appreciate listening to the "Art Ensemble of Chicago" if you're using the same criteria to judge it as if you were listening to Norah Jones. Try to appreciate what is going on at the moment for the moment. Don't always try to force order onto something that doesn't necessarily have a conventional form.
