AUGUST 2009

THE BLACK PAGEW The Many Sides of Alicia Warrington arrington A licia licia 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 I with 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. I like to check out other drummers live and on video for more I stayed up all night learning the inspiration. song, went to the audition straight af- ter work. It was all a blur, really. The How did you land the gig with Kel- day after auditioning, I got a call to ly Osbourne? meet with Kelly and Sharon, played with her band a bit. I was handed a That was my first professional drum- schedule for the next three months… ming job. I thank her and her family the rest is history. I played with Kel- for opening the doors to my career. ly from 2002 to 2005 and then again The Kelly gig felt like it happened this year (2009). overnight. I had a voice message from someone (late one night) asking If you could switch lives with any- me to audition for her the very next one in the world, living or dead, day. I rushed out to whatever store who would that be and why? was still open and bought a copy of her single, “Papa Don’t Preach”. I actually wouldn’t want to. I’m comfortable with me. You don’t know what oth- er people are really going through. All we know is what we think we know about them. We don’t know about their lives and struggles.

You talk about using bigger drums and more open tones. Where did you develop a taste for that sound?

That definitely comes from my rock and metal background, and being in love with the “arena rock” sound and visuals from an early age. I was also very influenced by the old Ludwig and Slingerland kits and seeing set-ups like those of John Bonham. I taught myself on my uncle’s kit, which was a huge, 16-piece, stainless steel Ludwig. There were two 28” bass drums and the other sizes ranged from a 4” roto-tom to a 20 or 22” concert floor tom. I guess that helped in developing a taste for “that sound.”

Take us through your set up. How do you achieve the sound you get?

The gear that helps me get that sound I love… Ludwig, Aquarian, Sabian, Vic Firth and Djem- bes by dabeat, a small company from Denmark. My current set up is a 5-piece, maple, Ludwig kit: 16x24” kick, 10x12 tom, 16x16 floor, 18x18 floor and ever-changing snare drums. I’m using Sabian APX series: two 20” crashes, 22” ride, 14” hats and an 18” Ozone. Aquarian has an amazing new coated snare head called Hi-Velocity. I use that on a couple of snares, as well as their Texture Coated snare heads, Response 2’s for the toms and SuperKick bass drum head. sufficient, mindful and respectful of oth- ers. Touring is the best! Especially when you start touring at a young age. For some- one like me, coming from a small town like Saginaw, MI, touring opened up my mind to so many different things in life. It showed me that there was much more to life than playing in bars, getting wrapped up in bad situations and being an angry teen in Saginaw. I had the opportunity to travel to 44 states and 2 countries by the time I was 18. Some people never get to experience that.

You had an interesting adolescence. Tell What do you have coming up in the near me about the years when you were in future? Fudgegun. Right now I am doing a project called Fudgegun, wow! That consisted (mainly) The All-Girl Boys Choir. It is a duo with of myself, a lady named Marty Novak and a Marlene Hammerle from Gore Gore guy named Ken Sirignano, who was a very Girls, whom I toured 10 countries with cool guitar player. We toured so much, and last spring. Marlene is doing lead guitar, often in poor conditions. We were a young, slide and harmonica. We really clicked very driven, very hard-working post-punk and have been writing music for the past trio. I was involved on two recordings with nine months or so. The AGBC is my debut Fudgegun: “If You Could See My Office” on guitar, bass and vocals (in addition to and “Behind Closed Doors.” We did what drums). I am also producing/engineering/ we had to in order to get our music out mixing our EP, which we’re looking to in- there (independently): booked our own dependently release in summer 2009 (as tours, did our own promo and spent a lot of this publication, Alicia’s EP is currently of time together in a van. On the flipside, available - Sean). It feels great to finally so much time spent in a van with two other be able to do my own thing musically. The people can wear on those involved. sound is a rockin blues, classic country, noise assault. I am also working with in- What has being on tour taught you in die/pop-rocksters The Bruises from San later life? Francisco. I am doing some shows and possibly recording with them this year:. It has taught me to be independent, self- (www.myspace.com/thebruises) m Independence Eh? by Sean Mitchell

or us Canucks, Canada Day my life as a full-time musician. (July 1st) marks the day Needless to say the independent Fwe ceased being part of the drummer, writer, and business British Empire, our true inde- man persona has its quirks, as I pendence as it were. However, am sure many of you can relate. as unpatriotic as it sounds, this It would seem that my choice of past July 1st came and went for “Final Word” last month turned me without even so much as a to sad irony as our industry lost pang of pride, nor even a swell yet another true drumming giant of true patriot love. I don’t think and independence guru just two I uttered even a single “eh.” days after the issue went to pub- Now don’t get me wrong, I lication. am not professing my anti-es- Jim Chapin’s passing is very tablishment-ism (Eeesh, is that much a passing of the torch. even a word?). I love Canada It was a mentor of mine, Dom and all that is in it-- save for the Famularo, (who was mentored bitterly cold weather in some by Jim) that wrote an appropri- parts of the aptly named Great ate forward for this edition of White North. Instead, I took the The Black Page, as we dedicate opportunity on that very Cana- this issue to Jim’s memory. dian Day to reflect on one very Upon hearing of Jim’s passing appropriate (and now seemingly I asked Dom to write the forward ironic) word: independence. for this issue to shed some light Being that my life and choice on how big an impact Jim really of livelihood have taken on had in the industry. I mean can some drastic changes and chal- you imagine? This was one of lenges as of late, I reflected on the guys who taught Famularo how to play! Yikes, talk about a monster! my left side to encourage the south paw But it was Dom’s words that once again in me to come out of his shell. Indeed it stressed that word independence, that had has worked, as my lovely future wife and been resonating since my Canada Day ex- I toil over material for our first CD. I have perience, to my state of consciousness: taken it upon myself to first come up with “He was called the Father of Drum- some musical drum parts as a righty, then ming Independence. How ironic of him to to switch hands and learn to play them as pass away on July 4th, America’s Indepen- a lefty as well. This is still very much a dence.” work in progress. Think three-year-old Independence. I can’t seem to escape riding a bike. this word lately. The last few months have But for me independence goes deeper seen me and my kit go through a major than the old-jazz-ride-pattern-against-six- overhaul and drastic set up change. Many teenth-note-triplets routine (although that of the changes to my kit are to have at is a great little ditty to warm up with). I least 60% of my drums and cymbals on am talking about the independence that

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       shapes our very sound, the isms that come out when we play. That “insert your name here” sound. Jill (the lovely future wife, for those keeping score) recently asked me why I have such an affinity for one John Henry Bonham, which got me to thinking, what them as the blue light special. In my mind, was it about John’s style that draws me anything that makes me take notice of in? something I have done (right or wrong) is I have heard a million players ask a myself saying, “Hey, check this out! That sound tech to give them “that Bonham was authentically you. Build on that.” kick.” What is this sound? Can it even be In exploring some of these “blunders” I defined? If you (or Jeff Ocheltree, for that have come up with some incredibly cool matter) tuned your kick just as Bonzo had, concepts for the tunes Jill and I have writ- would you then get that sound? Doubtful. ten. I have come to believe that the only What John had above all else was that time we are truly being is when we have inner independence. That “thing” that was messed up. Why? Because we weren’t just purely him. It wasn’t how he tuned the able to censor ourselves enough to prevent drum or how he played it; it was all of that what came out. That lack of censorship is and more. There is no such thing as that what I have come to trust is just the inside “Bonham kick sound” now that he is gone, showing up to take part in the game. All because no one but him could achieve it. that we have to say, all that we are capa- You may come close or even emulate it, ble of, all that we need to accomplish our but you will never achieve it. greatest feats is on the inside right now. Similar to a proprietary eponym (when a If it weren’t for all my fears and self doubt brand name becomes the generic descrip- I’m sure I would find myself in a state of tion of a product-- Xerox, Kleenex), what revelation on a daily basis. Mastering my a huge accomplishment for a drummer that independence is deeper than two limbs we now describe aspects of his playing as working simultaneously, yet separately, a particular sound. That Bonham kick, that on the bigger musical picture. It is about Purdie shuffle, that Van Halen snare. This, uniqueness and everything Sean Mitchell my friends, is the independence we seek does behind that kit while he’s there. above all; letting the music inside come There is one mantra I feel we all must out. And Jim Chapin would be the first to remember to assert to ourselves and insert attest to this. into our playing: There is no one better at Lately as I sit at the kit, I have been pay- being the drummer you are; never will be, ing attention to the mistakes I make. Not never was. to correct them, rather I have been using The Kenny Aronoff ERIEN XP C E E

by Jayson Brinkworth k, so here it is. Thursday June 4th and the big day has arrived. I have been If you have ever tried promoting this drum clinic with theO one and only Kenny Aronoff for the using drumsticks past five months, and Kenny and I have been communicating for the last year. My as chopsticks, music school, Music in the House, along with other sponsors (St John’s Music, SaskMusic, Zildjian, Tama, Shure, Remo, Meinl and Vic Firth) have all come together to make this happen. Kenny is to fly in on a commercial flight at 4:30, the clinic is at 7:30, and he will leave tomorrow morning at 10am to get back to Calgary and resume the John Fogerty tour. This is his only day off on the tour, so I am extremely lucky to have him do the clinic. I am getting ready to leave the house around noon to get the drums re-skinned and make sure everything is in order before he arrives. My cell phone rings at you might be a 11:15am, and it is Kenny. “Jayson is there any way we could cancel the flights and the hotel?” drumgeek! I am confused and ask why. To this he responds, “There is a friend of mine here they leave Calgary at 4:00. My head is still in Calgary who is an executive producer not processing all of this, but we go along on a project I am doing, and he wants to setting up and getting everything ready. get a private jet and bring me to the clinic I head to the airport to pick up Kenny, and and back.” whoever else came along, around 5:15. The I am taken back a bit, but after further jet has just landed and I greet Kenny and discussion, it seems like a good idea. So two other gentlemen, Mark (who rented I cancel the hotel and the flights—I had the plane) and his friend Parker. Kenny backup flights booked as well. After all of can’t believe this has happened either and this, I leave and resume my duty in getting is also feeling very rockstar-like. This is a things ready with my buddy Ross. Kenny first for him as well. keeps me posted all day on his status, and We head to the venue and Kenny begins to setup and do sound check. It all goes great with the help of our soundman, JJ. In the meantime I am hanging out with Mark and Parker, who are great guys, and taking care of administrating the event. It was a treat to see Kenny work in sound check and setup. What a pro! This is why everyone hires this guy. The clinic doors open at 7:15, and the people pile in. Some have been waiting for over an hour. Kenny and I hangout backstage running through the format of the event and making sure everything is in place. After everybody has made it in, we finally start around 8:00 with my introduction. Kenny hits the stage and is in non-stop playing and educating mode for two solid hours. He is a machine. He played every note like it was his last and was as excited about drumming as a beginner. The show wrapped up at 10:00 with his blazing version of “Straight No Chaser,” followed by a killer solo just to make sure

photo: Aimee Hoffman Saskatchewan’s hippest music school. Click HERE to visit www.musicinthehouse.ca After hanging out with Mark and Parker The most complete for the evening, we really hit it off. They are not musicians but love music and have online drum community. never seen or heard of a clinic before. They were blown away! After the clinic, Mark said to me “Why don’t you come back to Calgary with us tonight on the jet, hangout for the day tomorrow? We will go and see Kenny play with John Fogerty tomorrow night, and you can come home on Saturday.” My first reaction was “absolutely” but after Click here to visit realizing my responsibilities here, I said I www.drummerconnection.com would love too, but I didn’t think so. Well, after getting a talking to by my amazing wife Laura, I answered “yes.” We left the venue, I picked up a bag of Advertise with clothes and stuff at home, and we were off. We boarded the jet, and I sat across The Black Page from Kenny Aronoff for the one hour flight chatting about music and such. We • Incredible rates arrived in Calgary, got into Mark’s car and drove to the hotel (Kenny drove us there • Interactive weblinks as well!). Kenny retired for the evening, at no extra cost but Mark, Parker and myself hung out for a couple of hours. • Reach a global audience The next day I woke up and thought, Contact Sean at “What is happening here? How did I get [email protected] this opportunity of a lifetime?” The day for ad rates involved Mark and I hanging out chatting about music, business and life. That night we picked up our tickets and backstage everybody left totally mesmerized. passes to the John Fogerty show, and, man, We gave away a ton of prizes and Kenny did they rock! Kenny was on fire, and John signed autographs for about 45 minutes. Fogerty has the energy of a 15 year old. The clinic was amazing and the 200 plus We made our way backstage after the in attendance were extremely motivated show to hangout with the band for an hour and excited. Now here is where the story before they left for the next show. Again I takes a twist and gets even better. am standing here thinking, “How did this photo: Aimee Hoffman all happen? This is my second night in a started rehearsals at Music in the House at row hanging out with Kenny Aronoff.” 1:00. We were also hanging out with two skiers I am not sure what the lesson was in all from the Canadian Olympic team, Jan of this, but I am more inspired than ever to Hudec and Paul Stutz, more great people. play my @#$ off all of the time and to be Mark returned me to my hotel, and I the best musician/human being that I can just sat on my bed again, “WHAT JUST every minute of everyday. HAPPENED?” I was up early. My flight Thank you, Kenny, Mark, Parker and left at 11:00am. I got home at 12:00 and Laura.

Jayson Brinkworth is an accomplished drummer, percussionist, vocalist, educator and writer. Click HERE to visit him at www.jaysonbrinkworth.com Virg’n It Up Part II This lesson is a continuation of the Virgil Donati inspired lesson from last month’s issue. Hopefully you are still shedding part 1, the groups of 3 and 5. Now we will extend the phrases to groups of 7 and 9.

Ryan Carver is a member of the Academy of Drums faculty, the Vic Firth education team and PASIC. Click either link below to visit him on the web or to email Ryan your questions and groove requests. www.carverdrums.com www.myspace.com/ryancarver GLOBAL EDUCATOR DATABASE Education is the life blood of any pursuit and must be accessible now more than ever as we enter a new age of wisdom and awareness. The Black Page proudly provides this database of ed- ucators from all over the world, for students of all ages who want to take the next step and get serious about playing. This listing is free for all pro and semi pro educators, with the intention of connecting the student to the teacher. To have your name listed in our database please contact Sean at [email protected]. AUSTRALIA m Jayson Brinkworth Regina, Saskatchewan Contact Info: [email protected] www.jaysonbrinkworth.com Dan Slater www.musicinthehouse.ca Melbourne, Victoria Contact Info: Adam Hay [email protected] Toronto, Ontario www.drumhappy.net Contact Info: [email protected] www.adamhay.net

CANADA Mike Michalkow Vancouver, BC Contact Info: [email protected] www.mikemichalkow.com

Bruce Aitken Randy Ross Marion Bridge, Nova Scotia Woodstock, New Brunswick Contact Info: Contact Info: [email protected] [email protected] www.bruceaitken.net Murfreesboro, Tennessee USA Contact Info: www.davidnorthrup.com w Intermediate to Pro Level

Dyrol Randall Dallas/Fort Worth,Texas Stefano Ashbridge Contact Info: Los Angeles, California [email protected] Contact Info: www.dyrolrandall.com [email protected] www.drumlessonsinLA.com Rich Redmond Nashville, New York, Las Vegas, LA Ryan Carver Contact Info: Brick, New Jersey www.richredmond.com Contact Info: [email protected] Billy Ward www.carverdrums.com New York, New York Contact Info: Chris DeRosa [email protected] New York, New York www.billyward.com Contact Info: [email protected] www.chrisderosa.com THE BLACK PAGE Dom Famularo New York, New York WANTS YOU Contact Info: www.domfamularo.com The Black Page is looking for a few Sean J. Kennedy good educators. Ambler, Pennsylvania The global educa- Contact Info: tors database is [email protected] published every www.seanjkennedy.com month in The Black Page. To submit your name, email address/website to Dave McAfee our database, email Sean at: Mount Juliet, Tennessee [email protected] Contact Info: [email protected] Listing is free for all pro/semi pro ed- myspace.com/davemcafee ucators. Please provide some refer- ence material to be considered David Northrup “Think in terms of how do you relate to other musicians? How does it feel to them when you play? Do you make them hap- py? Do they make you happy? Is it a happy interrelation- ship?”

Jim Chapin 1919 - 2009