JANUARY 2010 THE BLACK PAGE The Timeless Art of Responsibility Art The Timeless Denny Seiwell THE BLACK PAGE JANUARY 2010

4 Denny Seiwell: by Sean Mitchell

13 Inspiration: by Jayson Brinkworth

16 Back To Basics: by Ryan Carver

17 Global Educators Database

20 The Final Word Solo drums, beautiful drums, warm drum tones and full-on exhilarating drums. In this double CD, master-mu- THE BLACK PAGE is distributed via PDF to sician David Jones has allowed the email inboxes worldwide. drums to shine in all their acoustic To get the latest edition click below: glory. Not since Gene Krupa in the 1940s or Sandy Nelson in the 1960s www.theblackpage.net have drums been this far out front. David Jones has long been famous for his utilisation of every conceivable Send us your feedback at: percussive instrument – yes, even [email protected] 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 below 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 Chad Wackerman Michael Shrieve Scott Atkins Skip Hadden Pete Lockett Danny Seraphine May 22 - 23, 2010 Liberty DeVitto Bernard Purdie Savoy Theatre Jerry Mercer Glace Bay, Nova Scotia Asani, Ed Mann & Bruce Aitken Canada Paul Wertico Dylan Mombourquette Chris Sutherland Roxy Petrucci Special Guest Stars Sean Mitchell, Ben Ross, Moe Hashie, Carmine Appice Mark Marshall, Todd Mercer, and The Denny Seiwell Pete Lockett Cape Breton Percussion Bill Cobham Ensemble. Virgil Donati Alan White Legends Award 2010 Carmine Appice, Alan White, Jerry John Morrison Mercer, Roxy Petrucci, Virgil Donati Steve Wilton Dom Famularo Click below to visit www.capebretoninternationaldrumfestival.com by Sean Mitchell

number of years ago, a young drummer, paying his musical dues A in the concrete wilds of New York City, attended an audition that would lead him into the history books. That drummer was Denny Seiwell, and the band was to be called Wings. Now more than 30 years after the fact, the phone continues to ring off the hook for the in-demand drummer. What keeps the Pennsylvania native busy is well be- yond his incredible skill and technique. Denny maintains a responsibility for the music he creates and the industry in which he flourishes. Not only does he respect his jazz roots and the catalogue of music he has contributed to in days gone by, Denny also keeps his feet well grounded in the present, as a technologi- cal savvy session and studio player. Denny truly is the stuff legends are made of--99% hard work and a dash of opportunity. In talking with Denny, it is clear now that it is what you do with the opportunity that really counts; for many a player has been content to rest on laurels of past fame and glory. Denny, however, has so much more to give to the music world. What a great relief to know that Denny still has students. In the age of Pro Tools, Seiwell holds only himself and his musi- cality responsible on any project, for his are the philosophies that will bridge the gap between the old school and the new. Advertise with The Black Page THIS AD SPACE AS LOW AS $50 per month Canadian funds. Based on 6 month contract.

Contact Sean at: [email protected] for ad rates

Denny, tell me about your dad. He must I’d be playing on the drums, and he’d say, have been a big influence in your life be- “Get off my drums, dangit!” ing that he got you into drumming. He wouldn’t let me play them but enrolled me in this boy’s band association, and that’s He was a great drummer. He even played how I started taking lessons when I was a little bit with Tommy Dorsey in the begin- seven. ning. They lived very close to us and they He passed away unfortunately in Septem- started in Lansford, Pennsylvania—we ber, 1973. In August I’d left Paul [McCartney] were from Lehighton, Pennsylvania. My dad and my dad passed away from a massive was playing with the local big bands; it was heart attack September 28th 1973—just sit- a very musical town in those days. He kind ting at the Friday night high school football of gave it up when I was born. When kids game with my mom. started coming along (I was the oldest), he got a regular job and knuckled down and If the Denny of today could give the Den- just worked weekends with the guys [in the ny of 20 years ago a piece of advice what band] once in awhile. He put music on the would it be? backburner and tried to provide for the fam- ily. Well, I guess I would have said learn a little When I was three years old I was hearing bit more about the business side of the busi- him play with the big bands up at the Flag- ness. That would have been a good piece of staff. He talked about how I’d be there in my advice to have. You always think that if you baby walker. So I grew up with big band mu- fall into a good situation that it’s going to be sic right off the bat. He played great brushes fair, everything will be taken care of, and you and just had a real good feel. take people for their word. Soon as you start When he’d leave the house to go run an bringing money and music together there’s errand or something, he’d come home and Shea Stadium. He said, “Would you be interested?” I said, “Yeah, man, go for it.” He calls me a couple days later and he says, “I went to the auc- tion and guess what? I got the damn kit!” I said, “Great, how much?” He said, “Well, I’m keeping the snare but you can have the bass drum and the two toms for three hun- dred bucks.” I used them on the Ram album. When Paul showed up in the studio he did a double take because I left the Beatles head on it. (laughs)

Do you still have Ringo’s kit?

No, I sold it back to the drum shop that procured it for me. something evil that comes up. I wish I would As a player who has not only played for have spent a little more time at understand- a number of big names, but someone ing and knowing how to work all that [busi- who has been a founding member of a ness] stuff—a few costly mistakes. band like Wings, how do you overcome nerves, whether it be onstage or off? At one time, you actually surprised Paul McCartney by showing up to a Wings I really don’t get nerves. What I get is a session with the Ludwig kit Ringo used sense of responsibility. You’re not there by at Shea Stadium. How the heck did you accident. You’re not playing with these peo- manage to come into possession of ple just because of some weird coincidence. that? You’re there because you’ve earned the re- spect of these people that call you to work Frank Ippolito’s Pro Drum in New York. with them. After that it just becomes a re- Frank had called me one day and he said, “I sponsibility that you’re going to do whatever heard that the Museum of Famous People is necessary. You’re going to draw upon the is going out of business in New York and musical reservoir that you have to just do they’re having an auction of the stuff they what has to be done. had on display.” There’s no time to get nervous; it’s time to One of the things they had on display sup- get your stuff together. That’s really the bot- posedly (I’m not even certain if this is true tom line. I have to use all my musical sensi- or not) was the kit that Ringo Starr used at bilities, I have to stay out of the way of the vocals, and I have to lay down a good solid player) told me that Zoot Sims and Al Cohn groove. I want to make the perfect drum part were going to have an audition for a drum- for the song and then play it with incredible mer because their regular guy at the Half virtuosity. Note was leaving to go on the road. I went down and played with them—sat in and got

Did you always know that you would the gig. By having that gig, that’s where you end up at this level in the industry, or do kind of meet everybody in town. They come you feel you just sort of got lucky? Right down to see Al and Zoot on a Sunday night place at the right time sort of thing? and word goes out that there’s a new kid in town and kid plays his ass off. That’s how There is a bit of luck involved. I was play- it happened for me. So there is a degree of ing in a show band up in the Poconos when luck. I first got out of the service. I knew Iwas Then one of the hot cats in town, Joe good, but I was playing with singers, dance Beck, heard me playing and started calling teams, and comedians six nights a week. me for little projects of his. Pretty soon I was They were bringing the guys from New York in with some of the cream of the crop guys, City up on the weekend to augment the and I was just getting more work and better band, and some of the top players in the work every month it seemed. world were brought up to this resort. So they In those days it was easy too because would hear me play. I’d get a lot of compli- there was so much work there were a lot ments from the guys, so I felt really good of guys in the same boat. That’s how I met about that. Paul [McCartney]. I just happened to be one One day one of the contractors in the city of the top ten guys that was doing all the subbed for our bass player and he said, best work in town. When he came to town “Man, you gotta get into the city. I’ll get you [to record] Ram, he said, ”Who are the top some recording work.” So that really boost- guys doing the sessions?” My name was in ed my ego, and I thought, geez these guys that batch. say I can be one of the guys that does that kind of work. So I just waited ‘til the oppor- Fair to say, it takes a little luck, but a lot of tunity was right. What happened was an- hard work and being prepared as well. other friend of mine Dave Frishberg (piano Oh yeah, you have to come in with your ass generation? Why do they keep coming through the door. You really have to come back for more? in [the studio] with a degree of confidence, knowing what to do and knowing what not to It’s magic. (laughs) I’ve played with some of do as well. Recording is different than play- the heavyweights of our time, but McCart- ing live. You gotta really edit yourself; boil it ney has a gift—whether he’s picking up an down to the meat and potatoes. Sometimes acoustic guitar and just noodling around, or there’s no room for anything but laying down sitting at the piano, or playing a bass part. a groove for the music to happen. Knowing Whatever he does is just so unique. When what not to play is almost more important he’s performing, playing, singing or writing, than knowing what to play. he’s just in a place of his own. I’ve yet to It still amazes me today when I hear Steve see that kind of talent in anyone that I have Gadd or listen to the old recordings of Jeff run across. That’s why people keep coming Porcaro--the space that he used to leave in back. Today, if you listen to the songs that the tracks that he recorded. He still blows inspired a generation, or me away. more than a generation, they’re still as meaningful as they were thirty or forty years ago. Granted some of the newer stuff doesn’t have the weight that it did, but I can’t imagine many songwriters of anytime that have a body of work to be as proud of as him.

What was the pro- cess in the studio for drum parts?

Paul wrote the songs. He would come in with the songs, and he’d play it for us, and then we’d start learning a part that would fit the song. The only time I remember Paul ever giving me any ideas was during Ram, Being that you were a collaborative force like “Uncle Albert” or something. He didn’t in Wings, can you tell me, in your opin- tell me not to play certain things, but he’d ion, what is it about Paul McCartney that say, “You know, that part you’re playing, I keeps him so relevant generation after wish it could find something that wasn’t so much a regular drum part. Can you find ter hearing the song and say, “This music something a little different that went along is serious.” You know, we’re doing records with the melody?” And I said, “Oh, yeah every couple of days—we’re doing another okay!” So he just told me to find something record in the studio with James Brown or a little more different, and that was great John Denver—but this was like so much fun for me. If you listen to the drum track deeper than what we were used to. So we for “Uncle Albert” it’s some goofy stuff that knew it was going to be timeless right then

Photo: Alex Solca - www.alexsolca.com really works. And his music allowed me to and there. That sets you up for what’s to get out of that capsule of just being a “drum- come, you know. You just really say, “Okay, mer.” There’s only a handful of beats that man, this song is going to be heard for 50 get used on every record you’ve ever heard, years or more. I’d better come up with a re- and so, to come up with some creative new ally bitchin’ drum part.” There’s that respon- stuff was beyond fun. sibility thing that I was talking about earlier.

There you are, not just a young guy play- Denny, what is your take on reunion ing with Paul McCartney, but a drummer tours? Is there a feeling that maybe some creating history. That must have been a bands shouldn’t do reunions and some fairly heavy realization when you landed should, or should everyone have a crack the gig. at it?

Very much so. During the Ram album, ev- There are some bands—I won’t mention eryday [McCartney would] come in and he’d them—but there are some bands that don’t play us the song we were going to work on need to do a reunion. But I love to see these that day. Hugh McCracken or [David] Spi- guys get out there and do it if it still works. nozza and I were the only other guys on the I think it’s just marvelous because the busi- record, and we’d just look at each other af- ness [of today] has changed so much, the musical taste has changed so much, what it’s all done at somebody’s home studio gets played on the radio has changed so track by track. Then when they get around much. I don’t think the kids get a fair shake. to the drums they’ll put a machine on it and They don’t have a wealth of music like we they’ll send it over to me. I’ll wipe the ma- did when we were growing up to draw from. chine off of it and try to put live drums on it I think the teenagers of today are getting and try to ignore the click to really make it short changed by the music industry—and feel like a human feel, even though they’ve technology as it’s gone. got it narrowed down to a perfect tempo us- ing a click track to record it. I’ll try to make From your experience, where do you see that breathe a little bit. It’s not nearly as re- technology headed in the music indus- warding, but that’s the way it’s gotta be done try? Are we in need of an industry over- these days. haul? Big studios are going out of business, and people don’t spend that kind of money on We really are. You know, I teach a lot of records anymore. Everybody’s got a home young students, and I really want to inspire studio, a computer and Pro Tools. It’s like them to go and make records and teach isolation booths for musicians. You don’t them how to get into that head of being a really get that magic that happens. That’s studio musician—learn what to play the first why I still play jazz. I need to get that thing time and be able to perform that. But to tell that happens that we can’t put a name on— you the truth, I don’t know if those days are when you’re playing and somebody plays ever going to be back again. I just put in a something that makes you play something Pro Tools home studio. I miss playing with else. You play off of each other and every- the bands, where you’re all together in the body inspires everybody else. God, there’s same studio, you know, playing off of each nothing better than that. other, bouncing ideas off of each other. Now If you could put to- I was up at the [Cape gether an all star band Breton Internation- of players past and al Drum festival] two present, who would times. The first time I you invite along? was up, Bruce [Aitken] had a local cable com- Well, you’d have to pany film it. They filmed make McCartney the everybody’s clinic at the piano player and singer festival that year. Some in that case. I’d have of it was good, but it my buddy Chuck Di had a lot of problems Monaco be the bass to it. Then the second player. I don’t know. time I was up for the If I had to do a tour of Legends award, they the music that I really filmed it again and this wanted to do maybe time it was a little bet- there would be some- ter so I just put the two one like John Coltrane years together and took on sax and Bill Evans pieces from each one on piano and Chuck Di and turned that into a Monaco on bass. It cer- clinic if you will. There’s tainly wouldn’t be pop some jazz tracks, music with those kinds there’s some big band of people. Even Miles stuff, there’s an orches- Davis. I’m sorry that I tral piece that I do. The New from DW DVD, missed a chance to play DVD opens up with The Love Project Journey. Studio and touring drummer Yael with Miles. I’m from that “Live and Let Die”--I’m takes drummers on an inspiring rhyth- school. The first record just playing along with mic journey that has no boundaries. This is a groundbreaking must-see I made was a jazz re- the original tracks. I just DVD for everyone in the band! cord and I’m still partial picked the best pieces There’s no better holiday gift for a drummer to that. I’m still partial to out of these two years than pure inspiration. DW DVDs are not the the Brazilian music, the performances, put it to- instructional videos of the past, they’re a look inside a drummer’s head, their dreams, Samba stuff. [The sing- gether and Drum Work- their story, their life. Get your favorite drummer what they really want this holiday er] in that band might shop helped me edit season, get them a DW DVD. be Astrud Gilberto who I it down and put some used to work with years bells and whistles on it ago. and that’s the DVD.

Tell me about your What is some ad- DVD “Performance vice you can give to and Legends Award younger players in the Ceremony”. industry to be more business savvy? Well, anytime you’re entering into a situa- May 15th and 16th, I’m going to be perform- tion that’s going to yield some money, it’s ing in Chicago at the Chicago Drum Show. just nice to have it in writing, whether it’s a I’ll be doing the clinic there. The following letter of agreement or an actual contract or weekend the 22nd and 23rd I’ll be performing something. So much of it when I was doing up at the Cape Breton International Drum the thing was all done on a handshake and Festival. During the time between now and there was actually no documentation. It’s May I have my compliment of students that just not a good thing. I work with. I’m always looking to record my Even if you’re writing a song with some- jazz trio with a young fellow by the name of body, you might not do anything with the Joe Bagg and John Cudini the guitar player. song for ten years, then all of a sudden that We had a regular gig there for a little while, song might be the perfect song for some so I’m looking to do some more of that. I artist. And if you didn’t have an agreement want to record that trio so I have some of with your partner, you might loose a friend- that stuff to play with in these new clinics that ship over who wrote this thing—How come are up and coming. I’ve got a whole bunch you’re getting all the money from it? Pay at- of tracks from people all over the place that tention to these little things as life roles along have heard about my drum room and their and make sure that everybody is covered. sending me tracks to put drums on. Going to keep me very busy. c What do you have coming up in the next few months?

Denny’s Legends Award Performance DVD is available online. Click HERE to purchase the DVD. INSPIRATION by Jayson Brinkworth

elcome to 2010. I am proclaim- I believe that as a musician we should ing this coming year to be the always surround ourselves with music W year of great inspiration. What and musicians that inspire us to do our does this mean exactly? How can I very best all of the time. I know this make this statement so early in the isn’t always possible, but we should year? Have I had a little too much holi- aspire to it as much as we can. day cheer? But music is not the only strong force of inspiration. Inspiration can come from other areas such as family, friends, a good book, Advertise with a great movie, and the list can go on and on. When we feel inspired, it seems as though the sky is the limit (which it always is The Black Page anyhow), and nothing can get in the way of us working towards our goals and dreams. THIS AD SPACE When I am asked who has inspired me as a drummer, the answer can go on for days: Jeff AS LOW AS Porcaro, John Bonham, Billy Ward, Buddy $20 per month Rich, Steve Gadd, Manu Katche, Shannon Forrest, Kenny Aronoff, Vinnie Colaiuta and Canadian funds. about a hundred more. Although the work of Based on 6 month contract. these brilliant musicians will always inspire Contact Sean at: me to be a better player, sometimes I feel that the daily inspiration that I am directly [email protected] connected to has as much, if not more, for ad rates impact on my playing. I have split my forms of inspiration into the two following categories: indirect and direct. Just note that one is not Indirect inspiration is made up of the music better than the other. We need both to be we listen to, musicians we look up to, gear inspired to always do our best. we wish we had, books we read and much more. I know people will argue that the music we listen to can also be direct, but unless we wrote it or participated in the piece, I view it as indirect. This inspiration is the one that most of us acknowledge and look at as our driving INDI - force. We will obviously be inspired by the great music out there: Steely Dan, Toto, John Coltrane, Led Zeppelin, The Beatles, R E C T James Brown, Motown, Jeff Buckley, The Rolling Stones, Fleetwood Mac—this list goes on for days. Listening to this music and studying the INSPI - great players is a must and should push us to new heights in our own music. It would be unbelievable if we had a direct connection to this inspiration—a lunch date with Ringo, RATION see a Stones show in the evening and drinks later on with Mick Fleetwood. I am sure there are only about five people in the world that could have this as their direct inspiration. For the rest of us, it remains an Also knowing that my heart is in a good inspiration but on the indirect side—but it is place with my wife by my side inspires me to still an inspiration. push beyond my limits. As well, working my Some of my recent indirect inspirations have hardest and trying my best is my gift back to come from really listening to Steve Jordan’s my parents who taught me these important playing, reading Paul Shaffer’s book “ We’ll lessons. Be Here for the Rest of Our Lives”, listening Here is an exercise for you to try. Make to the latest Jay-Z CD and the latest CD by a list of five people or things that can be a Them Cooked Vultures (you all need this, direct inspiration to you. These don’t have by the way). to just inspire you musically; they can be on a spiritual level as well (this also affects our music). Once you have your list, beside each inspiration write down as many ways DIRECT that this person or object directly inspires INSPIRATION you. It can be a good friend who comes out to every show you do, who is willing to I view direct inspiration as the elements help you pack up at the end of a gig and around me that I have contact with on a daily who keeps you honest and grounded in this basis. These include my wife, who is a great crazy music industry. musician in her own right—she won’t let me Some of my recent direct inspiration has pull any ego or BS about the music industry. come from my dad, my Black Beauty snare My kids, who work their butts of at school drum, killer tunes I played on in a December and try their very best at all they do. My dad, session, watching my kids play hockey, who is the hardest working man I have ever hearing my wife sing and play piano, and known and has a heart the size of Canada. our cats. My students, who put up with my nagging As I stated before, neither category of and constant pushing to make them better inspiration is better then the other. In fact, drummers and discover their talents. they both need to work together for us to This list can go on for a while, but you all reach our potential. The idea is for us to get the idea. Our direct inspiration has a understand what inspires us and to gravitate and aspire to this all of the time in 2010 and great effect on us, as it is in contact with c our emotions everyday. I know, for myself, beyond. that when I am away playing and I know that my kids are happy, I can play my very best.

Jayson Brinkworth is an accomplished drummer, percussionist, vocalist, educator and writer. Click on the link below to visit him online. www.jaysonbrinkworth.com Back To Basics: by Ryan Carver I decided to throw a curveball out here. You can easily say I can play these and ignore the lesson here, or you can take the challenge and see what you can do with them. Almost every drummer has a hard time laying back. First, you have to want to lay back. I play in alot of groups, and I wouldn’t be able to pay my bills if I did not enjoy playing these grooves and putting my all into making them feel good. Try to play each one for a couple minutes straight without budging. Try to swing each one. Then try to groove on each one and slowly start to embelish on it. Be true to the challenge because you will only be hurting yourself. I can name hundrds of songs that use these drumbeat and take almost any comples pattern and break it down to one of these. Think of this as your foundation in drumming. Enjoy this exercise. It is what you make of it. All of the true masters of the drumset have a mastery of the basics. Enjoy. Let me know how you do.

Ryan Carver is a world reknown educator with a private practice based out of Brick, New Jersey. Click on the link below to visit him on the web or to email Ryan your questions and groove re- quests. For videos of Ryan’s lessons click on his Youtube link. www.carverdrums.com GLOBAL EDUCATOR DATABASE

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Dan Slater Melbourne, Victoria Contact Info: [email protected] www.drumhappy.net

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Bruce Aitken Marion Bridge, Nova Scotia Contact Info: [email protected] www.bruceaitken.net

Jayson Brinkworth Regina, Saskatchewan Contact Info: THE BLACK PAGE [email protected] www.jaysonbrinkworth.com WANTS YOU www.musicinthehouse.ca The Black Page is looking for a few Adam Hay good educators. The Global Educa- Toronto, Ontario tors Database is published every Contact Info: month in The Black Page. To submit [email protected] your contact info to our database, www.adamhay.net email Sean at: [email protected] Sean Jesseau: Music Workshop Listing is free for all pro/semi-pro Thunder Bay, Ontario educators. Please provide reference Contact Info: material to be considered. [email protected] www.musicworkshopdirect.com Hand drumming/kit drumming Mike Michalkow Jake Burton Vancouver, BC Nashville, Tennessee Contact Info: Contact Info: [email protected] [email protected] www.mikemichalkow.com www.jakeburtonmusic.com

Randy Ross Ryan Carver Woodstock, New Brunswick Brick, New Jersey Contact Info: Contact Info: [email protected] [email protected] www.carverdrums.com

CHINA Chris DeRosa New York, New York Chris Brien Contact Info: Kowloon, Hong Kong [email protected] Contact Info: www.chrisderosa.com [email protected] www.chrisbrien.com Dom Famularo New York, New York Contact Info: USA www.domfamularo.com

Stefano Ashbridge Sean J. Kennedy Los Angeles, California Ambler, Pennsylvania Contact Info: Contact Info: [email protected] [email protected] www.drumlessonsinLA.com www.seanjkennedy.com

Saskatchewan’s hippest music school. Click below to visit www.musicinthehouse.ca George Lawrence Cleveland/Akron, Ohio Nashville, Tennessee The most complete Contact info: online drum community. [email protected]

Dave McAfee Mount Juliet, Tennessee Contact Info: [email protected] myspace.com/davemcafee

David Northrup Click below to visit Murfreesboro, Tennessee www.drummerconnection.com Contact Info: www.davidnorthrup.com Intermediate to Pro Level Mike Otto IF YOU HAVE EVER RENTED Baltimore/Westminster, Maryland Contact Info: THE MOVIE “BLACK BEAUTY” [email protected] mikeottodrums.com THINKING IT WAS A DOCUMEN-

Dyrol Randall TARY ON SNARE DRUMS, Dallas/Fort Worth,Texas Contact Info: [email protected] www.dyrolrandall.com

Rich Redmond Nashville, Tennesse New York, New York Las Vegas, Nevada Los Angeles, California Contact Info: www.richredmond.com

Billy Ward New York, New York YOu might be a Contact Info: [email protected] drumgeek www.billyward.com Congratulations to our friend Chris Sutherland and his wife Meladee on their wedding. Best wishes from everyone at THE BLACK PAGE.