Michael Baker Mhimself “The Last of the Dinosaurs,” but Whitney Houston’S Longtime Drummer Is Definitely Attuned to the Traditions of an Earlier Time
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ichael Baker is joking when he calls contents Michael Baker Mhimself “the last of the dinosaurs,” but Whitney Houston’s longtime drummer is definitely attuned to the traditions of an earlier time. New Baker says his real education start - s ed after he graduated from the North SheDaiissyy:: Hooww Krriissttyyn Ossborrn u Texas State University jazz program, 2 Sounds when he took a gig with jazz trumpet Makkess Her Songwrriittiing Garden Grow m from Old Traditions titan Clark Terry. “It was like being in the CCarrlloss’’ Keyyss:: jazz army,” recalls Michael. “Clark made Chestterr TThhoommppsson off Sann ttaannaa 44 m me look at the real basics, like keeping Drrum MMaacchhiinnaa:: time, corralling the beat, and pulling a Smashiing Pumpkiins’’ Jiimmy Chamberlliin 5 e big band together.” Baker went on to Allan Parrssonss’’ r drum with such jazz legends as Jimmy Laatteesstt PPrroojjecctt 66 Smith, Freddie Hubbard, Wayne Shorter, Orrggyy:: / Kenny Burrell and Joe Zawinul before New Lows IIn Syntth Guiittar 7 f turning to pop work. Nasshvviilllle’’ss a Baker absorbed additional old- Bestt--Keptt Songwriittiing Secrett 8 school influences as the drummer for the Manu Kattcche:: l song-and-dance revue “Sophisticated 10 Drummiing Beyond Tiime l Ladies.” A former ballet dancer himself, Paattrriicckk LLeeoonnaarrd’’ss Baker learned volumes from accompany - Diiggiittaall DDeesskk SSeett 1111 ing such African-American dance legends Edwiin MccCCaiin:: 2 as Gregory Hines and Harold Nicholas. More Than Mellllow 12 “They executed everything a little ahead Wiillll tthe Reall 0 of the beat,” notes Michael. “That way, Clliifffford Cartter Pllease Sttand Up? 13 0 by the time the audience perceived the Miicchaell W.. Smiitth:: motion, the beat had arrived. Nothing Neww SSoouunnddss ffor Neeww Tiimmeess 1144 0 was right on the beat, but it felt like it Melliissssa MManncchesstterr:: was right in time from the audience’s The Power off PPrrooaaccttiivvee AArrrraannggeemmeenntt 1166 perspective.” JJD Bllaiirr:: “Such flexibility of placement is the Shaanniiaa TTwwaaiinn’’ss GGrroooovvee Reguullaattoorr 1177 defining trait of a great studio drum - JJamess Newtton Howarrd:: mer,” insists Baker: “You have to be able Soundttrack Superrssttaarr 1188 to play each drum like a separate instru - Van Hallen’’ss ment. Maybe the bass drum will feel Miicchhaaeell AAnntthhoonyy ttoo UUnnvveeiill SSiiggnnaattuurree BBaassss 1199 ahead of the beat, the snare drum will Betthh Niiellssen CChapman:: lay way back and the hi-hat will be right Makiing Musiic & Mud Piies 20 in the middle. People like Jim Keltner Sllam--G’’ss and Steve Gadd are masters in that ability to make each drum sound like a different voice.” Fiindds Beautty iin Bubbllegum 21 There’s a touch of the traditional in Baker’s choice of gear as well. He prefers a Yamaha Beech Yamaha’’ss 01V Miixxerr:: Custom kit with old-style wooden hoops. “For me, the Beech Runniinngg RRiinnggs fforr Rosiiee 2222 kit doesn’t have such an identifiable sound as the Maple kits. Savvagge Garrden’’ss I like the fact that the tone isn’t so instantly recogniza - Benn CCaarreeyy RRuunnss tthhee TTrriiaatthhlloonn ooff TToone 2233 ble. I use three different Yamaha snares. I like the 5 Darryyll Siimmonss:: 1/2”-deep Manu Katché snare, because it sounds great Pllaattiinnuumm IInspiirattiion 24 in so many situations and never interferes with the tone of my New ffrrom tthhee YYaamahhaa Drream FFaccttorryy:: 22” bass drum. My Ndugu [Chancler] snare is similar, it’s lac - Ty Tabor and Frank Gamballe Siignatture Modells 25 quered-steel, with a real tight sound. The Steve Gadd snare is JJaniiss IIan:: great for dramatic, slower ballads; it’s deep, but transpar - on God and tthe FBII 26 ent enough not to be overbearing. I use all Yamaha drums Sttevve Horrnnbbeakk:: and hardware. I think their systems are perfect.” Cellebrattiingg aa CChhaanngge off Faiitth 27 Miicchaell Bakerr:: New Sounds ffrroomm OOlldd TTrraaddiittiioonnss 2288 TTherre’’ss aa YYaammaahhaa PSSRR KKeeyybbooaarrdd iinn tthhee TToowweerr ooff PPoowweerr IInnssiiddee RReeaarr CCoovveerr Beech Custom in Y2K brown 28 Yamaha all acc es s Yamaha all acc es s 1.