Talking 'Bout Their Generation

Daniel Glass Talking ‘Bout Their Generation Story: Michael Aubrecht Photos: Jose Altonaga 012 Cicero once said: “Who knows only his own generation remains popularity of big-band music that erupted, thanks to the efforts of always a child.” This is a timeless proclamation that the Roman RCR and its peers, continues to resonate today. philosopher used to warn us that, before any generation can ef- Ever the historian, Daniel continued to play roots music with fectively grow in the present, it must first acknowledge the contribu- his own group, the Rhythm Club All Stars. He became a popular tions of its past. This theory of “looking backward in order to move clinician who conducts 25 or 30 clinics every year, and routinely forward” is no more evident than in the arts, where poets, painters appears at major drum festivals like the Modern Drummer Fes- and musicians routinely draw upon their predecessors in order to tival and the Percussive Arts Society International Convention develop inspiration and more importantly, a foundation. Therefore (PASIC). Daniel also published five books to date: The Ultimate it is no surprise that the inspiring sources for many successful History of Rock’n’Roll Drumming: 1948-2000, The RCR Drum artists can be found by Transcription Book examining the legacies and the award-winning of their forefathers. Commandments of Daniel Glass under- Early Rhythm and stands Cicero’s phi- Blues Drumming. losophy. It has guided One of Daniel’s him through a diverse most recent offerings career as an award- comes in the form of winning drummer, two critically acclaimed author, historian and DVDs. Created in educator. Few percus- conjunction with sionists have done drumchannel.com, more to preserve and these documentaries present the roots of are the culmination of American music than a journey that started he has. From his 19 over a dozen years years as a member ago. It was while of the pioneering playing for Royal swing-band, Royal Crown Revue that Crown Revue, to his Daniel first began to side work with the In everything that I do, I want to research the origins of Brian Setzer Orches- his instrument. Soon tra, Bette Midler and impart some historical perspective. after, he came to the Liza Minnelli, Daniel startling conclusion is the embodiment of Not just HOW we play what we play, that if one could the classic American understand more drummer. but more importantly, WHY we do it. about the life of the Growing up in Ho- drum set, he or she nolulu, Hawaii, Daniel could inevitably began playing the understand more drums at the age of about every single eight. After graduating style of popular music from Brandeis Uni- that we play and versity in Boston, he listen to today. This moved to Los Angeles revelation ignited a to study at the Dick passion for preserving Grove School of Mu- and presenting the sic. He later worked as history of both the a freelance musician drums and drumming. in LA, recording for a The Century Project: variety of independent 100 Years of American labels and touring with Music From Behind jazz and blues per- the Drums takes the formers. Daniel was viewer on a 100-year also a student of be- thrill ride from 1865, loved master-teacher at the end of the Civil Freddie Gruber whose War, right up to 1965 own approach to drums echoed the sentiments of Cicero. and the dawn of the British Invasion. TCP’s timeline presents In the mid-‘90s Daniel joined Royal Crown Revue and how drums and pop music evolved hand-in-hand, and how, by became the backbone of a swing phenomenon that 1965, the drumming blueprint that we follow to this day routinely landed the band’s handiwork in movies had been cemented. Multiple solo and ensemble per- and on television. These high-profile gigs enabled formances provide lively musical demonstrations for Daniel and his counterparts to introduce a new each genre of music discussed. From decades generation of fans to their parents’ and before the arrival of Baby Dodds and Zutty grandparents’ dance music. The response Singleton, through the swinging years of was overwhelming and the resurgent Gene Krupa, all the way up to Beatlema- 013 nia and their col- Ringo lectables Starr, TCP to the glass presents display case, an inti- Daniel fully mate and intended to definitive play on his look at their contributions to investments. He soon verified the the craft. old adage: They don’t make them like TRAPS: The Incredible Story of Vin- they used to. “I look at vintage drums just like tage Drums (1865-1965) is a complementary the cars of the 1950s,” he said. “They may not follow-up that presents an in-depth look at the have all of the bells and whistles, but they are evolution of the instruments themselves. Daniel sure built to last.” Remarkably, Daniel still per- and drum historian John Aldridge bring together forms frequently with the very first vintage kit that an unprecedented collection of gear, including he purchased in 1995, a beautifully preserved 11 vintage drum kits and other museum-quality 1957 WFL kit. pieces. Daniel also uses more than 300 product It was this combination of Daniel’s playing stills and catalog shots to touch on a wide range experience and penchant for collecting classic of vintage-related topics. Not just a documentary, instruments that ultimately influenced his desire TRAPS also presents some practical instruction. to produce DVDs that present both legacies. Among several special features, the DVD also Daniel also felt a distinct need for capturing this includes an instructional video with tips on how subject matter due to an acute awareness of the to make a modern drum set sound more vintage. dilemma that those who strive to preserve and What one immediately grasps when watching present history constantly face. “I spent over 12 these DVDs is that Daniel Glass clearly knows years interviewing many of the classic American what he is talking about. He not only presents drummers whose contributions we still use today,” a century of drumming history, but he does so he continues. “You cannot even begin to imagine while playing incredibly creative and accurate ex- the wonderful stories that they told me. Many amples of each era that he presents. This ability of these guys eventually became my friends. to immerse himself in the music of our forefathers Unfortunately most of them are in their golden harkens back to his early days with Royal Crown years and they are leaving us more frequently Revue. In an exclusive phone interview Daniel each and every day.” explained his path from percussionist to historian: The Century Project (a two-DVD set) is an “When I joined RCR in 1994, all of the guys excellent effort on their behalf. Presented much were already deep in the pop culture of the ‘30s, like a drum clinic, Daniel speaks to a studio ‘40s and ‘50s. They collected vintage cars, wore audience about the evolution of American music vintage clothes and had a tremendous knowl- from the drummer’s perspective. Vintage kits edge of that era. I couldn’t help but do the same. on pedestals dress the set while an incredible Collecting the artifacts, dressing in the period assemblage of period photographs is projected suits, combing our hair the way they did, these above. Appropriately beginning with a drum solo, things enabled us to gain a larger perspective of Daniel plays a historically progressive sequence the music that we were playing.” He added, “By of styles. Starting with a marching cadence living in that era, it put things in proper context and reminiscent of the Civil War drummer boy, he helped us to understand, beyond the music, WHY skillfully evolves through time, visiting milestone the musicians played like they did.” eras such as ragtime, swing, bebop, jazz and Understandably, vintage drums were rock. It’s quite striking how seamless these among the collectable items that caught genres appear to transition and build Daniel’s interest. Touring with Royal upon themselves. Daniel goes on to Crown Revue enabled him to find share the incredibly compelling and purchase rare drum kits and story of American drumming accoutrements. Unlike some while covering topics from collectors who relegate the most influential players 014 of each era and technological advances in equipment, to the separate film that focused just on the drums.” He added, “I think social influences and repercussions of 100 years of music. folks are surprised when they see that many of the items they Daniel explained the origins of The Century Project. “I had think of as modern, such as the remote hi-hat and double-bass been doing these clinics that presented a portion of the mate- pedals, were actually being used decades ago.” rial that we cover in the film. As I continued to grow in my own As one of the music industry’s most active and enthusiastic knowledge, my clinics kept getting longer and longer.” He added, drum historians, Daniel Glass has built a résumé around a “In order for me to tell the whole story, I had to create something career that truly pays homage to the drummers and musicians of outside of these speaking engagements. The Century Project days-gone-by. Remarkably, he has found a way to make it fresh, is really an enhanced and extended version of my clinics that interesting and timeless. His ultimate goal is not only to entertain, enable me to cover everything I wanted and more” but to educate by instilling a greater appreciation for the forefa- TRAPS: The Incredible Story of Vintage Drums (1865-1965) thers of his beloved instrument.

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