JUNE 2009 THE BLACK PAGE DRUMMERS’ ROUNDTABLE PART I NASHVILLE Dave Northrup Rich Redmond Pat McDonald Dave McAfee Ben Sesar THE BLACK PAGE JUNE 2009

4 Nashville Round Table Part I: by Jayson Brinkworth

When the Pen Hits the Page: 19 by Sean Mitchell

22 Roddy Chops & Coordination by Ryan Carver

23 The Final Word Solo drums, beautiful drums, warm drum tones and full-on exhilarating 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 davidjonesdrums.com.au

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Email Jayson at [email protected] for more information couple of years ago when I started writing for The Black Page, A I had an idea for a feature article NASHVILLE based around the Nashville music scene and its drummers. They are some of the world’s best and have a wealth of ROUND TABLE PART I knowledge to share. I had a few players in mind but nothing by Jayson Brinkworth concrete. The first player that fell into the mix was David Northrup from Travis Tritt’s band. David was in town for a show and a clinic, and we ended up heading out for a bite and a long drummer chat. The next player to come along was Dave McAfee from Toby Keith’s band. I met Dave when we were out on tour with Toby Keith, and we had a lot of time to exchange drum chat. The next player is no stranger to The Black Page, as he has graced the cover of our fair magazine: Rich Redmond from Jason Aldean’s band. The fourth player was on a recommendation from the first three and is the talented Pat McDonald from The Charlie Daniels Band. The final player is none other than Ben Sesar who plays with multi award-winning artist Brad Paisley. These players make up a fantastic cross-section of drumming in general. They all have great chops, fantastic technique and are very educated in the music industry. With all of these drumming skills in tact it is their skills as musicians that impresses me most. Playing the song, supporting the lyric, and being dynamically expressive are just a few things that will keep these five great players employed all of the time. I hope you enjoy part one of this educational read from five of the busiest and best players in the industry right now. See you next month! To start off with, could you give us a glimpse into your formative years of playing? Say from the ages of 15 to 20?

Rich Redmond: I started playing drums at age 8. My early lessons taught me grip, reading, rudiments and basic drum set co- ordination. I am totally a product of the great music education system in Texas. Begin- ning in the fifth grade I participated in sym- phonic band, orchestra, marching band and jazz ensemble every year until graduation. I studied classical percussion and drum set and took it very seriously. I played in a mil- lion fun bands in El Paso, Texas, and lis- tened to tons of music. Some of my faves Rich Redmond were The Police, John Mellencamp and Van Halen. Those were the big influences: Dave McAfee: I was in the high school Stewart, Alex and Kenny. I ended up attend- marching band and the college marching ing Texas Tech University and later the Uni- band at Ohio U. Those years of experience versity of North Texas. By the time I was 25 gave me confidence. In high school, driving I had two degrees and had played tons of a 96 piece band as the only bass drummer musical styles. I tried to pattern myself af- was a great experience in time, meter, and ter players like Gregg Bissonette, who could responsibility. The stars had always been play tons of styles with conviction and also the snare line, but the director talked me had an academic degree to fall back on. into being the bass drummer, who was ulti- mately the leader of the Dave Northrup band. I was president of the band and section leader, and the pressure to run the section and know all the parts was a great teaching tool, and years later, ultimately helped prepare me for the responsibilities of driving a huge show like Toby’s.

Ben Sesar: Hmmm. Those were basically high school and early college years. I had al- ready been playing for 6 years by the time I was 15. The goal in those days (as it still is today) was to play, play, play. I sought If you have ever used a out and surrounded myself with people that were like-minded and wanted to play as of- Drum case as luggage ten as I did. College was no exception—the difference there was the additional focus on personal practice. I started playing gigs out on the town within my first semester.

Dave Northrup: I began playing in a school program at the age of 12, played all through high school, involved in concert band, jazz band, and select choirs. I competed in Area All State and All State Competitions. At 15 I began playing in rock cover bands outside of school. Began studying privately around 17, however I didn’t really get serious until my early twenties.

Pat McDonald: I started out at age 5 or 6 with a toy kit with paper heads. I promptly destroyed them and lost interest. They end- ed up in the attic for a few years. One day, you might be for no apparent reason, I dug them back out and got completely bitten by the bug! I couldn’t play them much because they were a drum geek in pieces, so I began playing to my mom’s 70s soft rock/disco records (The Eagles, The Saturday Night Fever soundtrack, John Denver, Bread, Barry Manilow, etc.) The most complete on pillows on the couch, set up like toms all online drum community. around me. I think this was a huge positive step be- cause it developed my ears as well as my hands. I learned to really listen and hear what the drums were doing in the music and, unbeknownst to me at the time, why. I tried to imagine the pillows as my kit and copied what I was hearing. I hassled my mom to get me real drums, and she finally Click here to visit relented, buying me another toy kit but a www.drummerconnection.com little better one with real heads and hoops and small-sized wood sic and they started turn- shells. That kit didn’t have a ing me onto other music. hi hat. It had one tiny bass I got turned onto guys like drum, one mounted tom, a Steve Smith with Journey, snare on a stand and one Terry Bozzio, Mark Craney, cheap cymbal. Vinnie Colaiuta with Frank As I got more into it, I Zappa, James Bradley Jr. knew I needed better drums, with Chuck Mangione and, so by the time I was 12 or most importantly, Neil Peart. so she bought me my first I became a complete Rush real kit. It was one of those fanatic and spent hours no-name Taiwanese junk learning Neil’s drum parts kits, but it had a working hi and licks. High school be- hat and real (albeit cheap) came nothing more than a cymbals. I played them all place to study just enough through middle school and to get by in regular classes kept playing along to re- and spend every spare mo- cords, developing my ears ment in the band room. and hands. At that point, I had be- By this point I had be- come a fairly accomplished gun buying my own records player for my age, and my and left her easy listening parents realized I was really music for more heavy rock into this and they got me a music. I got really into Kiss real kit with real cymbals— and learned to copy all of a Ludwig Chrome-O-Wood Peter Criss’ stuff. By the kit with a full set of Zildjians. time I got to high school I I joined a local band and got into the music programs started gigging in clubs dur- (jazz band, marching band, ing my senior year. When I concert band), met more graduated, the band started Pat McDonald people who were into mu- traveling the southeastern

Saskatchewan’s hippest music school. Click HERE to visit www.musicinthehouse.ca U.S., playing rock covers in clubs all over What factors played into you choosing Florida, Georgia and Alabama. Nashville as a base for your music ca- I was diagnosed with Hodgkin’s Lympho- reer over places like LA or New York? ma in 1983 and had a recurrence in 1985 and quit the band to have surgery and che- Ben Sesar: I was in a really good band at motherapy. During my recuperation, I de- the time I graduated college, and we were cided to get really serious and go to music going to move to New York. Two of the college. I applied to Berklee but got turned members bailed at the last moment, leaving down, so I followed all my high school drum- only the lead singer and myself. We wanted mer buddies to Georgia Southern College, to keep the band together but had nowhere played in the jazz band, marching band, to go. We knew some people in Nashville concert band and took nothing but music who graduated the prior year and took an theory courses to get a basic knowledge of interest in re-forming the band with us. So, music—and then re-applied to Berklee. I got we threw all of our stuff in a car and went. accepted this time and went to Boston in the Nashville was a default destination, but I summer of ’87. I took a full load of classes, liked the idea of it from the start. I knew it lessons, private lessons with Gary Chaffee was a music town like LA or NYC, but with and practiced non-stop for about eighteen much less density. My speculation was that months. On Chaffee’s recommendation, I it would be easier to “stick out” here. left Berklee and started gigging full time. I’m still doing it today! Dave Northrup: I always knew someday I wanted to have a family, even from an early

Ben Sesar age. Although, at the time, the music being made and players in New York and LA influ- Dave McAfee enced me a great deal, I just felt Nashville seemed to be the logical choice economi- cally. Between 1992 through 1995, while touring, I had an opportunity to meet several musicians from Nashville who were able to give me some insight on the scene. After a brief visit in early ‘95 I knew it was where I was supposed to be. I just felt right in my spirit.

Pat McDonald: I ended up doing all kinds of gigs—rock, funk, top 40, society dance jazz gigs, weddings, big band, you name it. Those experiences led me to Sarasota, FL, to take a house gig in a jazz club. I did that for a couple of years then joined with a local rock guy who did clubs and played constantly. I became a first call guy in town for gigs and session work and had a fulltime roster of students. I got called to play on a Christian-pop re- cord project with two brothers who lived in Sarasota and owned a multi-million dollar fi- ber optic business. I did their record and did some live shows with them. They decided to move their business to Nashville and asked me to come along. I had reached the top level of what success I could have in Sara- sota and decided to give it a try and see how I could fare in a big pond instead of a small one. I moved up to Nashville in April ’97. I had considered all of the three music cen- ters before, but the opportunity to move to monko was very into time, no matter the Nashville and live rent-free until I got on my genre. I worked on time relentlessly during feet pretty much sealed the deal for me! my time at school. I had moved around a lot growing up, but my dad had always listened Dave McAfee: In school, most of the drum- to country music. He always watched the set guys at Ohio U were studying jazz or Nashville-based music shows. Honestly, I fusion. Our Grad Assistant was from Berke- always liked the vocals in country. To this ley, and our professor was a jazz phenom day, I try to play to the vocal—dynamically, named Guy Remonko. However, Mr. Re- musically, and emotionally. I love the coun- Rich Redmond

try genre when it comes to drumming for to get connected. I tell them to take every the lyric and the emotion of the song. Larrie gig that comes along, shake hands and get Londin was my hero for playing like that. involved. Sometimes those “small” gigs turn into big ones. That’s what happened for me. Rich Redmond: I moved to Nashville in I met a young Jason Aldean in 2000. He March of 1997. I was having my quarter had a publishing deal with Warner Chap- life crisis in Dallas and knew I had to make pell. I started doing tons of industry show- my move to the coasts. I had decided on cases and demos with him. In 2004, he got LA when a friend of mine told me that a gal signed. When it came time to record the re- named Trisha Yearwood was auditioning cord, he and his producer thought about me drummers in Nashville. I flew to the audition first because we had established a relation- to make my mark. The players on the gig ship. You have to develop and nurture many turned me on to an audition with Deanna relationships to be successful in this busi- Carter, which led to an audition with Barba- ness. Taking gigs with a young and hungry ra Mandrell. I had three major auditions in a Jason Aldean led to me playing on three two-week time period. It seemed like Nash- successful records, six top ten singles, a #1 ville was the place to be. I gave my band song, videos, tours, etc. two weeks’ notice and drove to Nashville with one drum set and my little black cat, Dave McAfee: I had been playing out of Cha Cha. The internet has made the world Nashville with several acts for years. Musi- a smaller place in the last ten years, so I am cians tend to know each other out on the now intensely focusing on making my mark tours. I had known several of Toby’s guys. in the NYC and LA markets, in addition to all I had done an album with the bass player, of my responsibilities in Nashville. who is the band leader. I had been in bands with the utility guy. It was those connections In respect to the current gigs that you all that got my name in the hat. I had jammed have, how did these situations present with Toby on several occasions in the past. themselves? When my name came up for discussion, Toby hired me without an audition, and I’ve Rich Redmond: A lot of new drummers been there ever since. Of course, you have come to town and ask for advice about how to be able to do the job ultimately, but the value of networking speaks for itself in this to stay in town and work my way up the instance. ladder and establish myself as an “in town guy”. Back then you had to make a decision Pat McDonald: When I got to Nashville, I as to what you wanted to do: tour or record. dumped my truck and drove downtown to It was taboo to try and do both, so the first hit the clubs and start exploring—the very five years (1995 – 2000) that’s what I did, first night. I literally went out to a jam night hung in town and tried to break into the before I had even slept one night at my new studio scene. place! I started sitting in and passing out I had some marginal success, each year my number to anyone who asked for it. I getting a bit better up until 2000. Frustrated was getting calls for local gigs in about two with the struggle of trying to stay around weeks. town, I finally just decided to take some au- I ended up getting the gig with Tanya ditions for touring work. I was fortunate to Tucker (my first real tour bus road gig) in get several auditions right away: Pam Tillis, about four months. I was stunned that it all Clay Davidson, both I didn’t land. Then I got started happening so fast. I did her gig for a call to audition for Trisha Yearwood, which almost a year then got fired. I had learned from my buddies in town that getting fired by Tanya was a kind of a “rite of passage”, so Ben Sesar I didn’t let it get me down. She has always been prone to waking up and just firing her whole band for no discernible reason. I be- came one of many victims. I pressed on and kept working locally. I ended up on a house gig at a club outside of town for a year or so. The bass player on that gig engineered at a studio during the day and he called me one day to come over and bail out a session that was running be- hind because the guy who was hired to play drums wasn’t cutting it. It ended up being a solo project by Taz DeGregorio who plays piano with The Charlie Daniels Band. Taz liked what I did, paid me and that was that— back to my house gig. About two weeks later, Jack Gavin left Charlie after fourteen years and Taz told Charlie about me. I got a call to come over and audition and ended up get- ting the gig. I just began my tenth year in the band.

Dave Northrup: My initial goal when I moved to Nashville was to be a studio guy, I was real excited about. I had always been rest” (i.e. don’t worry about “making it”, be- a fan of her music. Unfortunately I lost the ing recognized, getting paid, etc.) I eventu- gig to Charlie Morgan, Elton John’s drum- ally played in front of, and befriended, the mer. people who would put me in touch with a Soon after that I was recommended to a local guy managing artists. I auditioned for a new artist named Rebecca Lynn Howard. female artist of his at the time. I got the gig, The bass player from that gig was hired by but her career quickly fizzled. A year later Travis Tritt’s management to put together he called me about a new guy he had: Brad auditions for a new band. He asked if I’d be Paisley. He told me they only had a few gigs, interested in checking it out. Of course I said and not to expect much, but I didn’t care be- yes. A few days later Travis’ management cause of my “play, play, play” attitude. Ironi- asked if I would hang after my audition and cally, Brad had the same attitude, so we hit play for the other fiddle, bass and keyboard it off right away. auditions which they would pay me for. I had a chance to play with Travis more than any As I say to all of my students, it is one of the other auditioning drummers. thing to get a gig, but the real work comes in keeping a gig. What do you each bring Ben Sesar: Using my basic philosophy of to an artist’s music that helps you keep “play, play, play, and don’t worry about the the gig?

Ben Sesar: You have to really screw up to Dave Northrup lose your gig with Brad. He is a very loyal person who doesn’t like to let anyone go. Having said that, the early days were a chal- lenge for me. I was coming from a mainly rock background, and I was very new to country; Brad was a traditional country art- ist. I knew right away that there were many subtleties I was missing. I submerged my- self into the genre, finding an appreciation, not only as a drummer but as a fan of music. This helped me to get inside Brad’s mind by learning to appreciate the same things he did. He took notice and very much appreci- ated the extra effort, which helped reinforce his loyalty. This was ten years ago, and the process has not stopped since.

Dave Northrup: I think one of the most im- portant elements in approaching an artist gig is respect for the music—their music. Taking the time to really learn and pay atten- tion to detail. Play for the music and always be song-supportive. I’m a around you. are tons of great players detail freak. I love nuances here who can do your gig in and subtleties, ghost notes Pat McDonald: I think first a heartbeat, so babysitting that sometimes don’t always and foremost is profession- a guy with a pile of person- translate as well in live per- alism and a good attitude. al baggage is really low on formance situations but are This is a business and you most folks’ list of priorities. I so crucial for the groove, in must be a pro. Attitude and think in my case being a sol- my opinion. personality are huge here. id player with a varied musi- Having spent a fair amount You will not go far if you get cal background and having of time in the studio I pay at- a reputation for being dark, a sense of humor and abil- tention to those things. Also gloomy, negative or just a ity to bring some levity into from a hang perspective I drag to be around. The guys the room has helped me im- try to be flexible. You have who succeed here are the mensely.

I don’t believe that drummers at our level get to have good nights and bad nights ... You have to be dependable night after night. Dave McAfee to deal with many different guys who people just enjoy Dave McAfee: You have types of personalities on the spending time with. They’re to be tuned into many road. Being easy going and laid back and relaxed, flex- things, not just drumming. flexible with the ability to get ible, patient, dependable, You almost have to be part along with others is crucial. pleasant and able to roll with psychologist and part coach You only spend an hour, an the punches. in order to be an artist’s “go- hour and half to two hours You have to be organized, to-guy” night after night. It on stage. The other twenty- have good gear, play well helps to be a team player two hours you have to live in and be on time, ready to go and a friend. Atmosphere is close quarters with others, when the red light comes very important in a big tour. so you have to be able to get on or the lights go up. That It just works better if it’s fun. along. Being positive and is what keeps you on a gig Of course, you have to be being able to do “the hang” around here. If you get a rep- consistent, and the band and is very important. You can utation of being weird or dif- the artist have to be able to be the baddest cat around, ficult or burdened with piles count on you. but with a crappy attitude of personal issues, people My goal was always to be and the inability to get along stop calling you. Drug or al- one of the successful drum- with others, no one will re- cohol problems or personal mers in Nashville. I ultimately ally care how good you are issues that spill over onto wanted to find an artist that and won’t want to work or be the gig will kill you. There felt like they would almost rather not play without me. Obviously, there joining forces with him, so there is a built in are many great drummers in Nashville. I “family factor” to all we do. That would be think realizing that fact makes you better. my advice: Be a team player, take direction, Then, of course, you still have to strive to offer direction, be a solid person and play at do your artist’s show as good as it can be a high level always. done. I don’t believe that drummers at our level I know that Nashville has had a pretty get to have good nights and bad nights. An cut-and-dried studio scene for years. You arena country show nowadays is very drum- have all played on some great records. prominent. You are definitely in the mix. You What is your opinion on the live versus have to be dependable night after night. studio scene in Nashville? Toby and the band certainly never need me to be the star, but they do need me to run Rich Redmond: The line in the sand be- the show like Toby feels it every night. To- tween session and road player is disappear- by’s main directive has always been that the ing. I have been spoiled rotten since I cut a show be fun and the crowd be standing all record called Right Now with my last band night long. I am coming up on my ten-year Rushlow in 2003. That opened the door to anniversary, and it’s still fun out there. me playing on the recordings for every band I work with. I have such freedom with my Rich Redmond: Great question! I have al- current gigs that it would be very difficult to ways been a journeyman drummer. I have go back to a job where I had to mimic some- played with one-hit-wonders, legends and everyone in between. Most of these acts Pat McDonald like a drummer to play their part and stay out of the way. Occasionally, you get lucky and work for someone who really champi- ons what you do and encourages you to be completely you. Jason encourages me and the entire band to be ourselves, and it’s a big part of the act. Pat [McDonald] plays a drum solo every night! What a dream. I have recently started playing a drum solo every night in the show, and it is a thrill to get to play an 80s inspired arena drum solo in front of 5,000 people! I always try to make myself indispensable to the act. When you aren’t there they really miss you. I try to bring a consistently positive attitude and performance level to the stage every night and a producer’s ears to record- ings and rehearsals. It really helps that my best friends in the world make up Jason’s band. We played together for years before Dave McAfee

one else. It would have to be great money acclaim sometimes. I have to admit, though, and exposure to want to go back to that. that I love the pressure of the big tour live Darryl Worley, Jamey Johnson and many show. I love taking every variable into ac- other acts are using their touring bands to count every night. Tuning, groove, perfor- play on their records. It’s a nice step forward mance, tricks and tracks… there is always for Nashville. However, there are many road something happening that needs your undi- bands I hear that could never cut it in the vided attention. studio. Turning in a great show in spite of the myr- There is definitely a set of skills that have iad of things that may go wrong is a terrific to be in place to do session work. Many challenge. Making it look easy and fun is Nashville cats are juggling studio and road the goal. It is tremendously rewarding when work because of the economy and simply a sold out arena crowd never sits down all because they like to have that balance. night! Sure you are striving for perfection, Guys that I pattern myself after like Kenny but having the time of your life every night Aronoff and Mark Schulman have always for years is a much better way to live the done both. I couldn’t choose between them. dream. I believe that in that one way studio I like doing both too much! and live are the same. The audience isn’t having fun until you are! Dave McAfee: I do absolutely love both. I feel like I mostly owe my success to the Pat McDonald: Live work in Nashville is live gigs I have been lucky enough to have. pretty wide-ranging. There are club gigs Studio world has been great to me this last in honky tonks, singer/songwriter nights in couple of years, and I am certainly grateful! I clubs, new artist showcases, as well as the am fortunate, though, that since 1986 every standard road gigs that everyone is com- live gig has led to a more successful one. I peting for. There’s a lot of work, and each admit I have been lucky, but they say luck is of those kinds of gigs have circles of peo- when ability meets opportunity, right? ple who are involved in them. You become Making records is obviously a dream come friends with people in those circles and true for any drummer, and I am a workaholic hopefully get called to play with them on when it comes to playing and producing in their gigs and projects. The circles of people the studio. It is awesome to create projects all overlap, so you’ll invariably work with the and then watch them come to life. It’s great same guys in different situations. if they are successful and even get critical The session scene kind of overlaps all that as well. Lots of guys who do gigs will also really quickly. Sadly, that usually ends up dabble in production or own small studios, being the same kind of track you did on a so it’s really common to do a gig with a guy similar song last week! I love being in the you haven’t seen in a year then get a call studio, but I get stir crazy after too much of to come to his studio and cut a project with it. I gotta get out and play and have fun! some new artist that he’s producing. There I know there are guys who stay in town are tons of small independent studios that and do sessions five days a week (although do projects like that. not as many as there used to be) but I just The upper echelon of the studio world is can’t do that. I need variety. I’ll do sessions a hard nut to crack, but most of the guys I when they come along, but I don’t know if know who have broken into it got their start I could handle doing nothing but session by doing road gigs and demo sessions. The work all the time and not balancing it with people you meet on every gig have their con- some live work. nections and will bring you into their folds where you’ll meet other guys who know oth- Dave Northrup: As I briefly touched on ear- er people, and it just feeds on itself. It’s a big lier, back when I first moved to Nashville in web of folks who all work together. 1995 the scene was divided—either you The session world is different than live, were a touring guy or a session guy. That though, because there is a different set of has changed significantly in the past five concepts and musicality that is expected. years. More and more guys’ session guys It’s the nature of the business of selling re- are now also doing some touring work, and cords. You learn really fast what a producer some artists are actually using their touring expects from you, and you do your best to band to record on their records. deliver it. I’ve played on so many demos Back in 1998 I had the incredible privilege and records here now that I know imme- of working with bass great Anthony Jackson diately when I hear the rough mix exactly for several weeks. One of the many conver- what I should do and what is expected from sations we had was about the studio scene the drum part. It’s really become a “paint in Nashville and how he thought the whole by numbers” kind of thing in the majority of “road guy, studio guy” was absurd in his cases. opinion. He shared with me the importance There are exceptions, of course, but gen- of being able to do both well, and the only erally you are there to provide the kind of way to continue to improve and grow as a track that they’ll like, that will serve the song player is to do both. Musicians all have dif- first and foremost and be able to get it down ferent seasons in their career where they Click on the names below to visit the guys online Ben Sesar Dave McAfee Dave Northrup Pat McDonald Rich Redmond might do more of one then the other, but the whole Nashville stereotype to him “You can be the baddest cat around, but with was ridiculous. That opened my eyes and gave me a a crappy attitude and the inability to get along totally different outlook on what I was doing and what with others no one will really care how good I should focus on. Both are important, and you should you are.” - Dave Northrup be able to do both well.

Ben Sesar: It’s true. Over of guys can do both. I mean, There are so many, and a lot the years, a large disconnect it’s understandable from a of my main influences were has evolved between the record label point of view; people I knew growing up, live scene and studio scene. they don’t want to waste musically or otherwise. Very rarely do the two mix. I precious time and money on suppose it has to do with the people who haven’t proven Dave Northrup: Wow, yes different skill sets, as well they can handle the pres- this could be a long one be- as varying degrees of pres- sure of the studio. But like cause I have so many per- sure required to perform in anything else, the more you sonally and professionally. either setting. For example, do it, the easier it becomes. Drumming-wise I’d have to I guess it’s viewed (by the The so-called studio guys say Jeff Porcaro has been powers that be, who helped here in town were also inex- my biggest influence. Other drive the system to where it perienced at some point, but drummers are Steve Gadd, is today) that any common someone took a chance on Carlos Vega, David Garib- thug could come in and re- them, and they developed aldi, Bernard Purdie, John hearse for weeks and get the the skills needed to survive Bonham, Rick Marotta, Jer- music right for a tour. In the and flourish in that world. ry Marotta. Manu Katche, studio, they don’t rehearse. Stewart Copeland, Vin- Your musical instincts must I know the list could be nie Colaiuta, Dave Weckl, be honed sharply, as you very long, but who are Ed Greene, Russ Kunkle, are expected to play songs some of your biggest in- Zigaboo Modeliste, Matt you’ve never heard before fluences, drummer or oth- Chamberlin, Shawn Pelton, with speed, brilliance, and erwise? Clyde Stubblefield and Jabo taste. In addition, the stu- Sparks, Steve Smith, Simon dio is really about mastering Ben Sesar: This is in no par- Phillips, Dennis Chambers, your emotions. ticular order, and I’m leaving Steve Ferrone, Grady Tate, The misconception is that out a lot: Steve Gadd, Eddie Peter Erskine, Will Ken- those who are pigeon-holed Bayers, Buddy Rich, Kenny nedy, Troy Luccketta, Frank as “live players” don’t pos- Aronoff, Ronnie Vannucci, Briggs, and there are so sess the evolved skills re- Stewart Copeland, Joe Mo- many others. quired for the studio. In real- rello, and John Bonham. The music of Pat Metheny, ity, this simply isn’t true. Lots Honestly the list is so long. Weather Report, Jaco Pas- torius, Miles Davis, The Yel- Steve Gadd, Steve Ferrone, Londin was amazing to me lowjackets, Marcus Miller, Alex Van Halen, Buddy Rich, the one time I got to spend Stanley Clarke, Tower of Joe Morello, Tony Williams, time with him. I absolutely Power, James Taylor, Steely Jack DeJohnette, Paul Wer- wanted to be him when I Dan, James Brown, and Mo- tico, Jim Keltner, Lars Ul- was growing up. Jeff Por- town. Personally speaking, rich, Mike Wengren, Daniel caro, Dave Weckl, Ritchie my mom and dad, my wife Adair, Trilok Gurtu, Greg Albright and J.R. Robinson Sandy, and my relationship Morrow, Shannon Forrest, are all influences of mine, with God. Eddie Bayers, Earl Palmer, among many others. Buddy Harman, Chad Wack- Pat McDonald: My big- erman, Rod Morgenstein, Rich Redmond: In no par- gest influence in life was Terry Bozzio, John Bonham, ticular order: Gene Krupa, my grandfather. My mother Phil Rudd, Danny Gottlieb— Rich, Max Roach, Baby raised two kids as a single heck, that’s just the begin- Dodds, Ringo, Charlie Watts, mom, and he stepped into ning of the list! Keith Moon, John Bonham, the role of father when I was I listen to everything and Jeff Porcaro, Kenny Aronoff, young. He taught me re- always manage to find Carmine Appice, Eddie Bay- sponsibility, fair play, how to something cool about what- ers, Stewart Copeland, Alex handle trouble when it came ever it is. Any good music is Van Halen, Nigel Olson, along and the difference be- influential to me. Steve Gadd, Shawn Pelton tween right and wrong. He and the list goes on and on. gave me basic life lessons Dave McAfee: My cousin They all bring something that I still lean on today. Joan was a great influence unique and special to the As far as drummers go, on me when I was a kid. table that I have soaked up as I mentioned before, Pe- She was and is an amaz- from repeated study, tran- ter Criss was the first big in- ing drummer. She is now a scription and listenings. I’m fluence when I was kid. He teacher and a great one at always checking out new was followed by (in no par- that. My high school band stuff and the iPod has every- ticular order and overlapping director Jim Billingsley really thing from ABBA to Zappa on in the timeline) Neil Peart, made me believe I could do it! I also really enjoy books James Bradley Jr., Vinnie this. on motivation, life coaching, Colaiuta, Tommy Aldridge, My dad was a hard work- spirituality, philosophy, mar- Dave Weckl, Dennis Cham- er and instilled a good work keting and business. That bers, Jeff Procaro, Bernard ethic in me. As far as legend- stuff is just as important in a Purdie, David Garibaldi, ary drumming heroes, Larrie career where you are your

Jayson Brinkworth is an accomplished drummer, percussionist, vocalist, educator and writer. Click HERE to visit him at www.jaysonbrinkworth.com When the Pen Hits the Page by Sean Mitchell

s woodshedders, wood in my little corner of the living room we bear the burden running rudiment after rudiment as Jill (my A of many jobs on girlfriend and partner in crime) sits and tries stage: the meter keeper, so valiantly to understand why exactly I must the groove master, the repetitively hammer out the most incommo- protector of the pocket dious sounds on a small piece of rubber and the click track cad- pad. As the tempos increase, and my dex- dy. My pedantic friend terity proves that my hands do in fact have a and guitarist extraordi- breaking point, I am always given the same naire “The Chad” once said goofy grin from my sweet and loving future to me, “Guitarists are much wife. like drummers, just without all the I know most people have no clue why we social problems.” While this may be a com- do this, why we tap our way into oblivion mon misconception, I can explain why The day after day. Only drummers have their Chad hath been led into such non compos own secret language, invented for the sole mentis hypothesis. purpose of talking amongst ourselves. This Admittedly we are much like our distant is the beauty of being a drummer—knowing cousin the goalie (who favors standing in how to speak that language of paradiddles, front of pieces of rubber travelling in excess flams and ramatacues. Some mere mortals of 100 mph): neither breed is too tightly may have had a look down the rabbit hole wound and apt to some eccentric behav- to grasp a few phrases, but in reality until ior. It is with good reason that we drummers you have sat and ran rudiments until your tend to favor the more abstract walks of life. hands are numb and the hoop sweat has After all, you don’t end up of sound mind soaked through your jeans, none can say after two hours of ta ta ti ti ta over and over they speak “drummer”. again. Come to think of it, isn’t there a form Hopefully by this point in the article I have of torture similar to that? given you enough ostentatious words for Which brings me torpidly to my point and you to ascertain that I either have access to the reason for this month’s ramblings. Every an incredible thesaurus or somehow gained month around this time I fire up ye old laptop a Masters degree in English in the past and ponder a subject with which to assever- month. Yes, folks, the theme ate my inner voice upon these eco-friendly of my contribution to this pages. I spend most of my time shedding month’s Black Page is much ado about the literary arts. Like our distant relative the goalie, as much as we are often the sole representa- tive of our craft on any given stage, we are Advertise with still very much a part of the game. While our own drummer dialect is beautiful thing in it’s The Black Page own right, one of the keys to the kingdom of musical success and prosperity lies in the lyrics and melody. The last time I checked, • Incredible rates you cannot collect royalties on the intro to “Wipeout”. The savvy players are the ones • Interactive weblinks who know that when it comes to royalties, at no extra cost the pen is mightier than the stick. Writing songs isn’t about rhyming or about sitting down to specifically write an epica la • Reach a global audience “Hotel California.” Most songwriters will tell you that their best work didn’t come from sit- Contact Sean at ting down to pen a ditty; rather, a song will often write itself, so long as the musician [email protected] can see clearly and put pen to paper. What for ad rates they don’t often talk about is the years of writing that preceded said masterpiece. In drummer lingo, Dennis Chambers doesn’t have the chops and technique he does be- blue? No way. It is as simple as keeping a cause he sat around waiting for inspiration journal handy to write in everyday. Nothing to play. But you can bet that when inspira- in particular to start other than the thoughts tion hits him, it is a thing of beauty. in your head, for they are the fodder for the musical masterpieces of many a genius. “I keep a legal pad on the bedside table be- side my bed. I try to keep them all over “I don’t have to say I’m going to make a the house, I’ll start three or four different song. A song is always there. I just have songs on the same pad and write things on to open my mouth and a song comes out.” different pages. That’s why it takes me so - Peter Tosh long to make an album. It’s not writing One great exercise is to call upon a friend the songs, it’s sorting out.” = Don Henley whom you feel you could write with. Have them write out ten really random sentences Just as it is so important for us to keep our about whatever they want and you do the chops up by hammering out rudiments, so same, numbering each sentence. Don’t let too is the skill of writing. Does this mean the other see what each is writing. When you must sit and ponder the complexities of you are done, have your friend read their rhyming with orange or why violets may be number one, then you read your number one, then on to number two etc. The trick is work that muscle. Songwriting is no differ- to try and connect the sentences to create ent, many songwriters who say they write lyrics for a tune. strictly by inspiration are also writing years You will find that even though two people of poetry or journaling on the side. Some- are living two distinctly different lives, your times it is not so important to know what streams of consciousness will have some steps to take as much as taking the steps commonalities. While this exercise is really at all. Inspiration comes only to the active meant to induce creativity, trust and non-lin- participant. ear thinking, along the way you never know what gems lay within the potentiality of the whole randomness of it all. “Music breeds its own inspiration. You can Being that I am ham-fisted on any melodic only do it by doing it. You may not feel instrument, I keep a small voice recorder by like it, but you push yourself. It’s a work me at all times. I may not be able to play piano or guitar well, but my subconscious process. Or just improvise. Something will doesn’t care. I am inundated with melodies come.” - Burt Bacharach all the time. As Lauren Bacall might say, “You know how to whistle, don’t you? You Music is simply expression and communi- just put your lips together and blow.” Melo- cation. Whether that expression is a voice, dy is melody, just getting it into the recorder drum, guitar or sitar, it is meant to convey the and out of my head is half the battle. Hum, pieces of feelings that live in the conscious- sing, whistle…doesn’t matter. I’ll get it in my ness of the artist. If the work has been done, little recorder and I can find someone who the artist becomes vaguely aware of how can do something brilliant with it later. those pieces fit together and how to mold That is my process. But the importance them into intellectual property. lies in the action. Saying that you would like In the end you don’t have to know how to to play more precise triplets doesn’t get the write a great song, you just have to know job done; you have to spend some time and when to let the pen hit the page.

THE BLACK PAGE WANTS YOU The Black Page is looking for a few good teachers. We are starting a global database of educators to publish every month in The Black Page. Education is the future of drumming, and the more access we have to great teach- ers, the better off our industry will be. To submit your name, email address/website to our database, email Sean at: [email protected]

The listng is free for full & part-time drum educators. Please provide some reference material for us to look at. Roddy Coordination & Chops: by Ryan Carver This is something I saw Derek Roddy playing in clinic. He was alter- nating hand and foot at different rates around the kit. I wrote down the different rates with the hi hat keeping time with the foot. Practice each slowly to get the spacing right. When you are comfortable you can try to voice the phrasings around the kit. Keep all notes clean and clear. To get really advanced, try to play some ride variations and play each line with the remaining hand. Also, practice these using your left foot!

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 “You give and take. That whole bit about ‘Hey, that’s my stuff’, that’s pub- lic domain, man. Once you play it, it’s open sea- son. If anybody plays it, it’s a salute to you.” Billy Cobham