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Alicia Warrington Arrington a Licia Licia the BLACK PAGE 3Rd Anniversary Edition: Dedicated to James Forbes Chapin

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Alicia Warrington Arrington a Licia Licia the BLACK PAGE 3Rd Anniversary Edition: Dedicated to James Forbes Chapin AUGUST 2009 Alicia arrington WThe Many Sides of Alicia Warrington THE BLACK PAGE THE BLACK PAGE 3rd Anniversary Edition: Dedicated to James Forbes Chapin Forward by Dom Famularo first met Jim in 1969 here on Long Island. He was friends Iwith my teacher Al Miller, and we would go to see Buddy Rich perform backstage. Jim would tell me what Buddy was doing and an- alyze it to the slightest movement. My visit with the “Chapin Magic” started. Jim was always so sharing with his hard-earned knowledge. He simply taught the best drummers in the 20th century and was work- ing on the 21st century. His books, CDs and DVD is a university of information; owning them all is a must! I have learned from him, taught with him, performed with him and even played for him while he sang. He loved life and music equally. I am a better person for having experienced the “Chapin Mag- ic!” He was called the Father of Drumming Independence. How ironic of him to pass away on July 4th, America’s Independence. Jim will live long in his contributions ... I ask the future generations of drummers to continue in seeking out the wealth of sharing that Jim gave us. Now on the 4th of July, look up at the fireworks and cel- ebrate the magic of Jim Chapin! Dom Famularo THE BLACK PAGE AUGUST 2009 5 Alicia Warrington by Sean Mitchell Independence, eh?: 12 by Sean Mitchell The Kenny Aronoff Experience: 15 by Jayson Brinkworth Virg’n It Up Part II 20 by Ryan Carver Global Educators Database 21 Solo drums, beautiful drums, warm drum tones and full-on exhilarating 23 The Final Word drums. In this double CD, master-mu- sician David Jones has allowed the drums to shine in all their acoustic glory. Not since Gene Krupa in the THE BLACK PAGE is distributed via PDF 1940s or Sandy Nelson in the 1960s to email inboxes worldwide. have drums been this far out front. To subscribe, visit: David Jones has long been famous www.theblackpage.net for his utilisation of every conceivable Send us your feedback at: [email protected] percussive instrument – yes, even the kitchen sink – to make interesting Sean Mitchell Publisher soundscapes and rhythmic flourishes Jill Schettler Editor in Chief that leave an indelible mark on the Jayson Brinkworth Writer heart and soul of his listeners. Ryan Carver Writer Click Here to visit www.davidjonesdrums.com.au EARTH FRIENDLY For international sales outside Australia please click HERE. No Paper,m No Ink, No Waste 2010 THE YEAR OF THE LEGENDS Feature Artists Scott Atkins Skip Hadden Pete Lockett Danny Seraphine Liberty DeVitto Bernard Purdie May 22 - 23, 2010 Jerry Mercer Savoy Theatre Asani, Ed Mann & Bruce Aitken Paul Wertico Glace Bay, Nova Scotia Dylan Mombourquette Canada Chris Sutherland Billy Ward Special Guest Stars Sean Mitchell, Ben Ross, Moe Hashie, Roxy Petrucci Mark Marshall, Todd Mercer, and The Carmine Appice Pete Lockett Cape Breton Percussion Denny Seiwell Ensemble. Bill Cobham Virgil Donati Legends Award 2010 Carmine Appice, Alan White, Jerry Alan White Mercer, Roxy Petrucci, Virgil Donati John Morrison Steve Wilton Ticket Sales Dom Famularo Tickets available from July 1st 2009 Click HERE to purchase online Click here to visit www.cbdrumfest.ca Alicia Warringtonby Sean Mitchell s a drummer it is often a prereq- uisite to wear two, three, even Afour different hats, metaphorical- ly speaking. For, like the fashion con- scious, a drummer must also adhere to style-- but of the drumming sort. Glendale, California’s own Alicia Warrington is proving that not only can she wear the hats, she can fit the shoes that go with, metaphorically speaking. The 28-year-old drummer has stayed busy with some of pop’s biggest names including Hannah Montana, Kelly Os- bourne and Lillix, but before we apply any more labels, let us not forget that the talented Ms. Warrington grew up listening to the likes of Dokken and Motley Crue and even fronted her own death metal band from behind the kit. Yet just when you might be tempted to brand the drum goddess a rocker, you would be wise to check out her lat- est effort with The All-Girl Boys Choir, as she struts her stuff on vocals, bass, guitar, production, engineering and co- writing on the duo’s country/blues in- fluenced EP entitled Walking Miracles. A sonic swagger down a catwalk of groove, Miracles shows she can be de- fined in just one word -- unforgettable. Alicia, you are obviously ways had the R&B and clas- very driven and practical sic rock (Anita Baker to The in your approach to your Beatles), my sister was get- musical career. Where do ting Ozzy tapes banned from you feel you developed our house, and my uncle was those qualities? pushing Queensryche, Dok- ken and Quiet Riot at me. I was never told that I You see what I’m saying? couldn’t do something I love music. Period. If it’s I really wanted in life. good, I’m going to listen to I wasn’t brought up it, I’m going to play it and thinking that there I’m going to be influenced was a limit to suc- by it -- in one way or another. cess and in fulfilling I grew up listening to abso- goals and dreams. I’ve lutely everything and today, always been encour- you will find just that in my aged and supported in collection. I like everything my career decisions. from En Vogue to Lamb of “No” isn’t a final an- God. swer for me. Tell me about your folks. You play with various pop acts , but at one point I am my mom’s biggest fan. you were the singer be- She is a wonderful, wonder- hind a death metal band, ful woman who has been and you grew up grooving nothing but supportive of to stuff like like Dokken, anything I’ve ever wanted Motley Crue etc. How did to do in life. I come from a you end up in a pop vein single-parent family, and my when your roots are a little mom did an absolutely amaz- edgier? ing job of raising me and my older sister. She worked long, I grew up with my grand- hard hours in Michigan’s parents playing polka music struggling auto industry to in the house, my mom al- make sure that her kids were well taken care of. What do you use for mo- What is generally the first She bought me my first tivation when you are go- thought on your mind guitar and two drum sets, ing through a learning when you get up? turned a bedroom into a process? band rehearsal space for Coffee. I usually wake up me, paid for guitar lessons, My higher power is always with ideas and being ready went to every show that I my biggest motivation. I to go and make the most of did in the area. know that things happen for my day. Lately, I’ve been I’m not going to tell you a reason and that I have to in the process of recording, the most interesting thing make the most out of every so as soon as I wake up I’m about her because then situation. I try to step back thinking about something I you’ll know too much about and find the positive. want to change or approach my mom. differently in whatever I re- corded the day before. How do you think a drummer is influenced in their choice of stick? And what do you feel comfortable with? I have tested many brands and started off using sticks from a company that would break all of the time. I wasn’t completely happy until I started using Vic Firth. I stopped searching after that. Choosing brands is completely personal preference. In choosing a stick, you want to get the best playing experience as pos- sible. You want something that will project the sound you want, in addition to feeling right in your hands (the right weight, length, tip, etc). I am most comfortable with the Vic Firth 3A wood tip - for faster/light rock and the American Classic Rocks for full/heavier sounds. Click here to visit Alicia online Click below to hear her new EP Can you take us through any specific techniques and practice routines that really had an impact on the type of player you are today? I taught myself drums (when I was around 11 years old) by watching and lis- tening to other drummers. My Uncle Kevin had a huge kit in his basement. It was set up on a platform with lights, fog machines, and huge speakers, and I would just put on a tape and play along to what I heard. I would play songs over and over again until I thought it sounded exactly like what I was hearing on the recording. I felt like a rockstar under the lights, with the music blast- ing. (laughs) I’ve been blessed with being able to play with artists of differ- ent genres and have had to learn their music in short periods of time. That way of practicing when I was younger has helped me be able to adapt to differ- ent styles quicker and to pick up drum parts easily on recordings. Today, I still implement that into my prac- ticing, but these days I mostly play along to a click track with the music in my head. I also work on different exercises, patterns and fills repeatedly.
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