Dyrol Randall
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APRIL 2009 Dyrol Randall Ah sey one THE BLACK PAGE THE BLACK PAGE April 2009 4 Feature Interview: Dyrol Randall To Do or Not To Do 12 by Jayson Brinkworth A,E,I,O,U and 18 Sometimes Parradiddle by Sean Mitchell 21 Double Bass Building Blocks by Ryan Carver Solo drums, beautiful drums, warm 22 The Final Word 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 EARTH FRIENDLY For international sales outside Australia please click here. No Paper,m No Ink, No Waste Savoy Theatre - Glace Bay Nova Scotia, Canada Click HERE to get tickets from www.reservatech.net or call 902.842.1577 Click HERE to go to www.capebretoninternationaldrumfestival.com Dyrol Randall By Sean Mitchell There is an expression among the Rastafarian cul- ture, “Ah sey one,” and its lit- eral meaning, translated from Jamaican Patois to English, is to say that something is “really cool” and “great.” Case in point, a guy I found whilst surfing the net one night for some inspira- tion: Dyrol Randall. Dyrol’s style of playing struck me immediately as unique and innovative. I had, up to that point, never seen reggae played with such enthusiasm and intensity. Upon interviewing Dyrol I got to meet someone who is genuinely an asset to our in- dustry. A guy who lives for the groove and listens to all things that speak rhythm. For Dyrol (as it should be) drumming is not only a means with which to make music, but a way of life. What are the roots of reggae music? when she was at work, and I played the dust out of them until I got the consistency of the Reggae music was born from ska and rock- 4/4 timing and the rock ‘n’ roll patterns. steady in Jamaica in the 60s. One thing they Meeting at church, I would go early before all share in common is that their rhythmic the service would start and practice the pat- style is characterized by regular beats on the terns. Then came my first opportunity to play off-beat, known as the “skank.” Then gradu- in an open service. I was very nervous. The ally the tempo slowed down, and by intro- 4/4 timing was almost perfect but my rock ‘n’ ducing accents on the first and third beat in roll was too slow, as I had not developed the each bar, reggae was born. foot technique in pushing the power of the The origin of the name reggae is traced to kick. I was using the flat foot technique and a song by The Maytals named “Do The Reg- that was killing me. I was not able to keep gay.” It was probably used in musical circles up with the singers and was often given an before that, but that’s when it gained promi- upset face with messages sent to my teach- nence as a genre. er that he needed to come take the drums Bob Marley and the Wailers is probably away from me, as I could not manage it. I felt the most popular band to have gone through so embarrassed because the congregation all the stages of reggae, starting from ska was 2000 members and all eyes were on in the early 1960s, to rocksteady, to reggae. me. I often felt like giving up. Many times I Marley’s drummer Carlton Barrett is recog- wanted to run outside and swear that I would nized for having coined the one-drop beat, never be around drums again, as it was too which is the basic reggae drum pattern with hard for me, but that was only discourage- the hi-hat playing a 16th or an 8th note while ment speaking at the moment. the kick and bass dropping on 2 and 4. I kept on practicing until I became the church’s number one drummer and kept that How did you find your path to the distinction for years to come, which I owe to drums? Mr. Edward Heron, whom I consider a friend, I found the path to the drums in 1991 at the Montego Bay New Testament Church of The most complete God. Initially I started playing guitar, taught by the church’s guitar player, Maseno Wil- online drum community. liams. I thought that’s what I wanted to play. Then Edward Heron, the drummer of the church, came along. He is the one who put the first pair of sticks in my hand. He was very patient and wanted me to learn. I would often sit at the front of the church, so close to the drums that when he missed while play- ing I would be hit pretty hard in the face by the sticks. Click here to visit To practice at home I would set up my www.drummerconnection.com mom’s pots and pans on the living room sofa teacher and big brother for life. er, the legendary jazz drummer. He came once during our lunch time and executed the What can you tell me about Herbert Mor- swing jazz patterns with precision and pas- rison Technical High School? sion. That was truly inspirational. The school was named after the late Dr. Her- Dyrol, tell me about your mentors. bert Morrison, a very popular family physi- cian in Montego Bay and throughout Jamai- Peter Brown, the renowned bass player, ca. It’s where a lot of musicians who have comes first. He plays a seven-string guitar. now made successful careers worldwide Mr. Brown is the only bass player in Jamaica emerged. The reason for that is because that has mastered styles as varied as fusion, its standards and expectations jazz, and latin. I’ve always heard of from the students are very Peter Brown from the early 90’s. high. His reputation is legendary. Ev- The high school ery one knew how he band is the best in was capable of walk- the entire Carib- ing off the bean and has won stage if countless compe- the titions. The pro- gram is run by Mr. Carl Matthews (aka Slowchie). Mr. Matthews is a great theory teacher start- ing from grade one. We would have rehearsals ev- ery day during lunch time and after school for begin- ning, intermediate and ad- vanced bands. Performances sometimes required us to miss class—with permission from the school’s principal. Herbert Morrison’s musicians earn the respect of great players, as the pieces that are given to them are extremely difficult and require a lot of dedica- tion. To close this para- graph, one of my most inspiring moments was the surprise visit of Mr. Winard Harp- music wasn’t right. He would not compro- desire of getting the reggae drum and bass mise. He believed in practicing hard and ev- technique down. We made arrangements eryday. and met at his house. He drilled me vigor- I remember our first rehearsal was un- ously, and I also remember that while the eventful but at the second one he gave me session was going, he was cooking at the hell because I was messing up too much. same time. Onie draws a lot of respect from The studio was filled with six ladies and a the drummers for Shaggy, Maxie Priest, whole lot of musicians. Peter stopped the Gumption Band, Beres Hammond, Chuck rehearsal and warned me he’d stop play- Fenda just to name a few. I give Onie much ing with me if I continued this way. I was so respect and honor for life. embarrassed! I wish there was an elevator And last but not least, Tony “Ruption” Wil- under my throne to take me downstairs and liams is one of the best Jamaican drummers straight home. ever. He used to work with Jimmy Cliff and We did a couple of shows together after now he’s playing with Third World. I met Rup- but I was very much afraid of messing up. tion a few years ago at a gig. I was immedi- One day I decided to face my fear and asked ately taken by his energy and precision and him why he was so hard on me. He told me his particular use of the double pedal during I have too much potential but I was wasting phrases. The other thing that caught my at- my talent. I immediately dropped my guard tention was his demeanor; he was always Click HERE to visit Dyrol’s website at www.dyrolrandall.com and got ready to be mentored. We started humorous while playing. We met several doing one-on-one sessions, just drum and times at his house just to jam. He taught me bass, and, my God, that’s what I needed. To how to keep the patterns clean and execute this day, I’m Peter’s favorite drummer.