MAGAZINEMTHE OFFICIAL PUBLICATIONA OF DRUMG WORKSHOP •A 6.0 Z I N E

LIVE!ND MOTLEY CRUE! CHECKCHECK OUTOUT THETHE EE A ONON TOUR TOU RWITH WI TTOMMYH TOM LEEM YAND L MOTLEY CRUE! TOMMYTOMMY POSTER POSTER NEWNEW GEARGEAR FORFOR ‘05‘05 + FREE! INSIDE IN THE TIME R&B SUPERSTAR MACHINE WITH USHER’S NIGEL OLSSON AARON SPEARS NASHVILLE A-LIST LOS ANGELES STUDIO DRUMMER SESSION MASTER CHAD CROMWELL CURT BISQUERA CUSTOM BUILD YOUR DREAM KIT ON AT WWW.DWDRUMS.COM ALL-NEW B.O.A. TECHNOLOGY GOESGOES HI-TECH!HI-TECH! Shown from top to bottom: Collector’s Series® Aluminum, Brass, Copper and Bronze www.dwdrums.com ©2005 Drum Workshop, Inc. DRUM NOTES DIVERSITY IN DRUMMING As I glance through this latest edition of Edge magazine and witness so many different, yet inspiring drummers within its MAGAZINE pages, I’m instantly reminded ARTIST PROFILE: of how diverse the drumming AARON SPEARS 4 world can be. Whether it’s jazz, R&B, pop, Usher’s Aaron Spears has all rhythm country, hard rock or alternative, one thing and no blues. remains constant—the drums are our voice. At DW, we never forget that diversity THE TIME MACHINE 9 means many drummers have specialized A career retrospective with drumming needs. By making pedals that are easily ad- legend Nigel Olsson. justable to every player’s taste, a full line of TECH TIPS 15 Page 4 Page 9 hardware in multiple weights and drums The second installment of our feature that not only sing, but are as versatile as the that gives you secrets and tips from multitude of music genres represented here, today’s working drum techs. our goal is to make tools for drummers to ex- press that voice. Q&A: JAZZ DRUMMERS 16 We’ve received a number of patents and ON THE RISE: NATHAN FOLLOWILL 21 have had many novel ideas over the years, The Kings of Leon’s drummer is an but the ones that really stick out in my mind up-and-coming artist to watch. are those that have made a change in the way drummers approach the instrument, no mat- ARTIST PROFILE: ter what style of music they play. These are CHAD CROMWELL 24 Page 21 Page 25 the ideas and the innovations that cross over Chad Cromwell has the know-how to musical boundaries: the free-fl oating 9000, survive in the Music City. the double pedal, the 9702 Multi Stand, Tim- bre Matching and even our new VLT technol- LIVE! WITH MÖTLEY CRÜE 28 ogy. They all make translating the language DW DRUM NEWS 30 of music just that much easier. Get the low-down on exciting new DW So, as we welcome new artists from all products and innovations. over the music world to the DW family, we can learn from each other and embrace our BACKSTAGE PASS: QOTSA 38 Get on the tour bus with Joey Castillo diversity. It’s part of what makes drumming Page 28 Page 31 a truly universal language. and Queens of the Stone Age. DRUM CLINIC 40 DW artist Rick Latham talks contem- porary drumset technique. Don Lombardi ARTIST PROFILE: President, Drum Workshop, Inc. CURT BISQUERA 44 Class is in session with DW artist and L.A. studio master Curt Bisquera. EDGE TOMMY LEE POSTER INSIDE! PACIFIC DRUM NEWS 48 Page 35 Page 39 Want to see what’s new in the Pacifi c world? Get the info you need here. SPOTLIGHT: OMAR PHILLIPS 52 R&B’s Omar Phillips delivers the Southern-style Hotlanta funk. NEW DW DRUMWEAR AND DVD 54 Check out all the new DW logo gear and DW’s exciting new generation of drumming DVDs. Page 44 Page 48 NEW ARTISTS 56

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2 5 AARON SPEARS ALL RHYTHM, NO BLUES IT’S BEEN ANOTHER CHART-TOPPING YEAR FOR R&B SUPERSTAR USHER, AND HIS STICK MAN IS MAKING A NAME FOR HIMSELF AS ONE OF DRUMMING’S NEWEST CHOP MASTERS. >>> EDGE: Talk about coming up in the gospel on Band. It was there my musicianship Jon Roberts, Calvin Rogers, Chester scene and how that shaped your playing. and concept of playing together with a Thompson, Chris Dave, Travis Barker, band began. Our music was compared a Brian Frasier-Moore, Ladell Abrams, Aaron Spears: I was born and raised in lot to Mint Condition and EWF because Milton Smith and Simon Phillips are a DC. I remember my fi rst taste of music of the instrumentation represented. few of my modern day heroes. There was in church. I came up as a Church We had three horns, two keyboards, a is a crop of drummers who I consider of God in Christ kid. As I look back B3 Hammond, percussion, bass, lead, to be, like, “new age” who also inspire there were so many different grooves three vocalists and drums. We also per- me with their innovation and new con- and feels represented. The choir would formed all our songs with a sequencer cepts. Because of newcomers like Eric sing so many different types of songs. (drum machine). This really helped me Green (Jill Scott), Dana Hawkins, Cora I would play everything from a blues because when it came to hitting on the Coleman, Tony Royster, Jr., Thomas shuffl e to a straight funk groove. It was big stage, the challenge of playing with Pridgen, George “Spanky” McCurdy never a dull moment. Back then I always tracks and loops was not diffi cult for (Tye Tribbett & GA), Jamal Moore and thought of it as fun and challenging but me. If it wasn’t for Gideon, I am sure Ronald Brunner, Jr., I believe the world now I see how even then it helped to that the transition wouldn’t have been of drumming will continue to evolve. shape my vocab and my love for mu- as smooth. However, going into the sic. It was defi nitely a great outlet for fi rst week of rehearsal smoothing out EDGE: Describe your live set-up with Ush- me. When I’m not on tour you can fi nd the rough spots, that’s a whole different er and why you’ve gone with a relatively me playing at my church. I’ll never get mountain to climb. If it wasn’t for God, modest kit. away from my roots. the support of the band and the insight of my MD, and the advice of a couple AS: On the tour I am playing a beautiful EDGE: How do you make the transition of my boys, I could have gone down in DW Black Spider Pine Maple kit with from playing in church to being a profes- fl ames. It’s good to be in close contact Satin Chrome hardware. I sound like a sional musician? with people who know fi rst hand and salesman [laughs]. I play an 8x10”, 9x12”, can identify with what you are going 14x16”, 14x18” (the 18” is to the left of AS: Making the transition from the kid through. my hi-hat), 18x24” kick and a 10x13” sitting in the fi rst row of the church, Edge snare—this monster sits on fl oor begging and waiting impatiently with EDGE: Who are some of your strongest mu- tom legs. I use the Pacifi c rack and the my one pair of sticks for my turn to sical infl uences? 9000 hi-hat and single pedal.These were play, to where I am now defi nitely was the tools used to make this tour feel like a process. As I got older, I began to lis- AS: Let’s see. I have so many. When I heaven to me. A lot of people ask why ten to any and everything I could get was younger, I would try to play like I only have a six-piece kit. That’s easy. my hands on. I would practice in my my favorite gospel drummers, like Joel After my tech Polo and I confi gured my basement with records I would hear on Smith (The Hawkins), Dana Davis (The cymbal setup there was no room for the radio or with cassette tapes. I loved Winans), Michael Williams (Commis- anything else. Just kidding! Coming up playing with tunes recorded by The sioned), Jeff Davis and Gerald Heyward. in church, a 12”, 13”, 16”, 22” kick and Winans, The Hawkins Singers, Com- I’m still trying to get some of Gerald’s 14” snare were the norm, so I honestly missioned, and John P. Kee. Those were chops to this day. I later began to get into just stayed close to what I’m used to. I some of my absolute favorites. I would other cats like Dennis Chambers, Vinnie have always been comfortable playing imagine that I was the drummer put- Colaiuta, Dave Weckl, and Steve Gadd. a fi ve-piece but I added the 18” on my ting it down on those different records. I have taken so much from all of them. left because some of the tunes called for As I got older, I started to get into more I remember sitting with my dad watch- really big, beefy fi lls. Those 16” and 18” diverse styles of music. I remember lis- ing Vinnie play at the Zildjian Day in VLT fl oor toms are just what the doctor tening to music from Phil Collins, EWF, New York, like, 15 years ago. He was ordered. The low tones are powerful! I Run DMC, Prince, Sting, Stevie Wonder defi nitely the fi rst of many drummers really did have a lot of cymbals set up and even a little Metallica, Van Halen who would change my life in regard to there on my kit though [laughs]! and AC/DC. Hearing what was hap- playing. I would try my best to do the pening on some of those records was things they were doing and make it my EDGE: Do you have a particular warm-up like an incredible new world! I did a own. I’m into so many different drum- routine? little playing in my high school march- mers now: Teddy Campbell, Nisan ing band and also with the jazz band Stewart, Chad Smith, Jojo Mayer, Paul AS: I can’t say that I do. Did I miss that in college, but I didn’t really feel like “Buggy” Edwards, Horacio Hernandez, section in my trusty drummer’s hand- I found my place until I began to play Marvin McQuitty, Gary Novak and Abe book [laughs]? As the tour went on with a gospel group in D.C. called Gide- Laboriel, Jr. I still dig Gerald, and Lil’ though, I did fi nd myself doing pretty [ E D G E 6 . 0 ] 5 I used to wonder what it would be like to be in any magazine or publication, to be affi liated with the best sponsors in the world and possibly appear on some of my favorite late night TV shows. Because of Usher and Valdez allowing me to be a part of their team, I don’t have to dream about it anymore.

much the exact same thing before every that God’s favor, coupled with Usher’s with. These guys have played with ev- show. I would get dressed for the show popularity and success this year, are eryone from Phil Collins to Maxwell. and listen to a couple songs from Jay- solely responsible for the light shining Did I mention this is one of the biggest Z’s The Black Album. I would give Polo on me right now. I am so thankful and stages in the world with two of the big- our secret handshake, and from the humbled. gest names in music? Oh, okay, cool. I time I’d sit down on my kit until my just wanted to make sure you knew MD, Valdez, would call for the intro to EDGE: What’s it like to play the Gram- [laughs]. Once the music started and the show, I would pray and ask God to mys with the “Godfather of Soul” James Mr. Brown looked at me with approval, take away any nervousness, help me Brown? I was cool. He later verbalized his con- make it through this show and play it sent in regard to how I was playing his the way he would have me to. That was AS: It was an absolute honor. I really song. I did a good job of trying to stay about it. felt like I was dreaming even in the re- chill, but, man, on the inside I was so hearsals. A couple of my closest friends hype. Wow! It was defi nitely an experi- EDGE: How has Usher’s immense popular- helped to put things in perspective and ence that I will never forget. ity and rise to the top of the charts directly it was such a huge honor to be there. affected your drumming career? They both are extremely successful. EDGE: You’ve been traveling the world They shared with me that it took one over the past year and a half. Any interest- AS: It’s absolutely incredible! I couldn’t of them ten years before he got to play ing or funny stories? have asked for a better situation. I know there, and the other is still waiting for this was nothing but God that worked the opportunity. So please try to under- AS: Wow-wee! There were so many this out for me. I have been dreaming stand my excitement. This is my fi rst memories, man. This was an incred- of playing at this level ever since I can professional gig and tour, and I get to ible experience for me personally off remember. I used to wonder what it play at the pinnacle of music recogni- stage, as well as professionally on stage. would be like to be in any magazine or tion with the number one artist in the I could tell you about the time I felt a publication, to be affi liated with the best world. And on top of that, the “Godfa- little sick just minutes before a live TV sponsors in the world and possibly ap- ther of Soul” is coming out to make a taping in N.Y. where I earned the nick pear on some of my favorite late night special appearance. Wow-wee! It took a name “Dynamite Bottom.” I could talk TV shows. Because of Usher and Valdez few days for the reality to set in. I re- about how the band—Natural, Buddy, allowing me to be a part of their team, I ally thought I was dreaming until James Valdez and I—would stay up for hours don’t have to dream about it anymore. Brown showed up for rehearsal—I was trying to determine who was the PS2 They helped to make it a reality. It’s still so swoll. Keep in mind, we are talking nighttime champion. It was always me, crazy to me sometimes when I look back about “Soul Brother #1,” “Mr. Papa Got but please don’t mention it to the oth- on the last couple years. I hear my name A Brand New Bag,” the original “Sex ers. Maybe I could share about the time in the same sentences as some of my he- Machine” himself. We also had Fred when Usher picked a girl out of the au- roes and the legends that I look up to. Wesley and the best horn players I have dience to sing to and she had the look I have no problem with acknowledging ever had the honor to share the stage on her face like he better have picked her because she belonged up there with EDGE: What’s in him. She was so stuck on herself. So he your iPod?  stopped the music, politely asked her to ON THE return to her seat and picked a young AS: I think this lady who was crying and singing with is the fi rst time I RECORD: disbelief as she danced with him while have been asked GERALD HEYWARD: he sang to her. I could even talk about all that. Hmmmmm. I met Aaron when I was on tour the celebs that I have had the privilege Let’s see—I have with Mary J. [Blige]. I was hang- to meet. Looking back, all these things all kinds of stuff in ing out with my homeboy Jay were really cool. There are, like, a thou- there. I have some Jay and he showed me this tape sand more memories in my head that I live concert per- of Aaron playing in his base- could mention but the one that totally formances from a ment. It was crazy. sticks out in my mind is when I got to couple different His playing is real crazy ‘cause go the house of one of my heroes, Boot- artists. I have some you can’t really fi gure out how sy Collins. He was soooooo cool. One of very recognizable he fi ts the licks that he does in any my friends has been doing some work names in music size space. And he can do licks with him and mentioned that we were like Stevie [Won- all day long. in town. Mr. Collins was like, “Bring der], James Brown, Aaron, don’t ever, ever, ever them over to the house.” It’s crazy! It’s Miles Davis, 50 change kid, stay true. like a museum. So many different pic- Cent, Marvin tures and memorabilia. So many differ- Gaye, Sting, Steely ent basses. I remember seeing a couple Dan, Jay-Z, Prince, TONY ROYSTER, JR.: I used to wonder what it would be like to be in any magazine or of them during his performances on Tye Tribbett & GA, The fi rst time I met Aaron was at TV or on video. I was so swoll! Here I Donny Hathaway, Gerald Heyward’s house, along am with the band, chillin’ at Bootzilla’s Run DMC, Yellow with Calvin Rodgers. We were publication, to be affi liated with the best sponsors in the world crib. Unbelievable! He has a studio in Jackets, Snoop on our way to the Zildjian facto- the basement. We all got on the instru- Dogg, Mary J. ry to pick out some cymbals. Ac- and possibly appear on some of my favorite late night TV shows. ments and brought in the funk for like Blige, Kanye West, tually, that’s the fi rst time I heard an hour. It was so much fun. He gave Herbie Hancock, him play. We were playing to- us our offi cial funk cards. Defi nitely an Weather Report gether on this practice kit, in this Because of Usher and Valdez allowing me to be a part of their experience I will never forget! and, of course, I soundproof room where you test have Usher in there as well. I have some out cymbals. It was great. team, I don’t have to dream about it anymore. EDGE: What advice would you have for Green Day, Linkin Park, Cyrus Chesnut, Aaron’s playing is incredible. young, aspiring R&B or Hip Hop players Richard Bona, Fred Hammond & RFC, He is clean, precise, and he plays that are looking for a career as a pro drum- John Legend, Toto, Dave Weckl, Noto- with a lot of power. If he commits to mer? rious B.I.G., Frank McComb, Beyonce, a fi ll on the drums, you are defi nite- Earth Wind & Fire, Maroon5, RHCP, ly going to hear, and know, that he AS: I would fi rst tell them to be pa- A Tribe Called Quest and D’Angelo. It meant to play it. Also he has great tient and wait for their opportunity to seems like a lot, time, which is a very important come, but make sure to be ready when but I really love aspect of becoming a great drum- it shows up. Chops and licks are really music—all dif- mer. cool when you are shedding, but on ferent styles and He should continue to develop the gig you have to be able to estab- genres. To me, his own style of playing so he can lish the groove and play the part above music is what have his own tone and be dis- anything else. Once the groove is laid makes the world tinguished from everyone else. down, it’s the placement of those chops go ‘round. In or- He is doing the right thing by that you have in your vocabulary that der to function in staying busy and having a pas- will set you apart from the players who this world, I feel sion for his craft. Aaron Spears, focus on wowing the crowd with the that I need to be an awesome drummer. ultimate super-fast double roll of death educated and up and mortifi cation. That’s whack! Stuff on what’s really NISAN STEWART: like that will get you an aisle or a win- going on. I met Aaron a couple of years dow seat on the way back to your house ago in Detroit. I was out there quick. Do not get caught up in the hype at Fred Hammond’s big gospel that these gigs can bring. It’s so easy to event performing with The Soul go down in fl ames because you aren’t Seekers, and he was playing with being true to yourself. My MD would The Gideon Band. I was amazed always tell me about how so many great from the gate. He was killing!!! musicians got fi red on their day off. I love his style. He’s very quick Stay humble and really appreciate what and creative. You never know it is that your gift has made room for what to expect from him as the you to do. I have met so many incred- show goes on. ible musicians who are dying to be able My advice to Aaron is to keep it to play at the professional level. If you chuuuch, as we say out in L.A. For get there, you can’t take it for granted. those that don’t know, it means It’s really a blessing. I think the most keep it church! He follows a great important thing that I can share with list of professional drummers that the future cats is how important it is to started out in churchurch.ch. Some say it’s keep God fi rst. Stay grounded in him. not wherwheree you come frfrom,om, but it’s He will direct your paths and put you wherewhere you’reyou’re at. ToTo me, it’s both! where you need to be. When you do get there, make sure you cherish and enjoy every second of it. USHER: CONFESSIONS (2004) [ E D G E 6 . 0 ] 7

>TIME MACHINE NIGEL OLSSON: A CAREER RETROSPECTIVE

EDGE: What inspired you to start play- from hearing African music, which is sort workroom, showroom, whatever it is, ing? of like a language and religion there, to a and he said, “Hit that.” And I boinked it drumset? once, and I said, “Phew! That’s it. Let’s Nigel Olsson: I spent a lot of my early do it. Let’s get it ‘round Clive, though.” years in West Africa because my father NO: To me it’s all about the tone of the [laughs] So Clive basically didn’t know, was a pilot. He was the chief pilot for drums. You know, I don’t read or any- I don’t think, until John told him about the Ghana government. A pilot being thing, and I can’t do a roll—if they asked three or four weeks ago when we were the guy that brings big ships in and out me to play “God Save the Queen” it’s in Vegas. of the harbor so they don’t crash. And gonna be, “Off with his head!” ‘cause he never lost one, so I guess he was I can’t even do a roll. But it’s just that EDGE: I want to just get back briefl y to you good [laughs]. So, my older brother and tonal thing, and when I hear the music, transitioning from being inspired by Afri- I would spend our summers in Gha- especially Elton’s music, which is very can drums to actually your fi rst experiences na—it used to be the Gold Coast—for inspirational to me, you know, the big playing drumset. How you got started play- eight weeks at a time in the summer, ballads and stuff, I plan what I’m going ing, you know, in popular music, or…? and it was like, still is, a major, major to play, but I hear the low tonal qual- part of my life. I think about it often, ity. You know, my drum fi lls aren’t very NO: Well actually, I started out as a about going back. Now that it’s Ghana, technical, but they’re planned to be big guitar player. I was with this band— it’s changed a lot because it got po- and huge. God, I’ve forgotten what they’re even litical. There’s war on either side, you called—and I was a guitar player. know, there’s Nigeria and Gambia and EDGE: Tell us about your front-of-house ‘Cause in those days, this was like the all them places. But on the weekends, sound man, Clive. I understand he’s been nineteen—mid-’60s, I would think. In the local people would have, like, what with you since the beginning. those days you only needed to know we would call jam sessions now. And basically three chords, which I’ve now they’d beat on anything, you know? NO: He’s been there the whole time, forgotten [laughs]. And I was, like, the It was all about beating on stuff, hol- and you know, he’s been through many, lead singer and rhythm guitar player. lowed-out pieces of tree—you know, many drummers as well. He just loves And our drummer had left, or he didn’t basically what you guys do [laughs]. this new kit, and we got it past him with show for a gig one night, and you They’d chop a tree down and make a these kick drums because he loved the know, I could basically keep time, so I canoe out of it; and then they’d chop an- “Ghana” kit, but that’s our studio kit just went back and bashed away on the other tree down, and hollow it out, and now because as soon as it goes in the drums and loved it. And loved it even make a drum out of it. And, you know, studio you put a microphone on that more because some of the places where they’d have animal skin heads and kit. You don’t have to hardly use any EQ we used to play in those early ’60s, if stuff, and different tonal quality. But I or anything. Engineer’s dream, right? you didn’t play The Beatles or The Roll- always remembered that the low tones So we’re keeping that for studio work ing Stones they’d start hurling stuff at were the ones that stuck with me, and now. “The Pinky,” the pink and purple you, you know. ‘Cause mainly we were I think it stuck forever and ever. So my one, he loves that as a road kit. Loves playing in working men’s clubs or pubs, early mega-infl uence was these African it. And when we had discussed doing a you know, I mean rough stuff. So I fi g- people bashing away, basically. special kit for Las Vegas for The Red Pi- ured out, if I’m sitting behind the drums ano, John Good had said, “Listen to this and the cymbals I’ve kind of got shields, EDGE: How do you make the transition bass drum.” And we went into the little you know [laughs].

[ E D G E 6 . 0 ] 9 EDGE: So you never had lessons? the toms. And we found that wooden straight into the studio and cut it fi rst rims in the studio don’t rattle like metal take [snaps his fi ngers]—done! NO: No lessons, no. ones do because of me having to tune the drums so low. So, that worked. EDGE: So you were rehearsing in the stu- EDGE: So you developed dio, actually, when you were doing that sort your style of playing on EDGE: So did you of thing? your own? “We were all on the play with a click back then? NO: Not really. We knew we had the NO: I just used to put same wavelength sound together, and we just sat down the headphones on and so we knew exact- NO: Nope. No and played the song. Most of that stuff, play along to records. clicks. I hate, hate, the big, big records were cut within one Whether it was Cliff ly what we were loathe click tracks. I or two takes ‘cause if you go any more Richard records, or Lon- going to play, and even hate ProTools. than fi ve, you lose the freshness of it all, nie Donegan records, or we were excited to Because now that I think. Still to this day, I don’t like to go Beatles, whatever. And Elton has fi gured in and play until I’ve heard the song at I’d just play along with go and get behind out that you can fl y least a couple of times—if Elton plays them. And that’s basi- the gear and bash stuff in, you know, it down a couple of times. I won’t sit at cally how I started. And you only get, really, the drum kit until he’s ready to, like, then, there’s what I call away. Most of those to play half a song say, “Okay, let’s go and cut it.” my “descriptive drum- songs were written anymore. There was a song we did on the Cap- ming,” which would and recorded with- tain Fantastic album, I think it’s called be, you know, those big EDGE: Now you’re “We All Fall in Love Sometimes,” which fi lls that I put in the El- in about an hour looping things… goes—it’s kind of two songs in one—it ton songs. When I fi rst and a half.” goes into “Curtains,” and we didn’t heard, I think it was The NO: Yeah, and fl ying want to make an edit between the two Beatles’ White Album, ‘em in. songs because you would lose the at- when you heard Ringo’s mosphere. And I have this, what we call drums in stereo in the headphones, it EDGE: Everybody’s doing that. my trademark, I have the hi-hat going was amazing ‘cause he’s got that low at the same time as the sizzle cymbal, tonal quality. I think it was Geoff Emer- NO: And you get the same drum fi ll and that’s my trademark. But the sizzle ick who was the engineer on that partic- twice, exactly the same. And it’s okay to cymbal lasts for so long, we didn’t want ular record—and I think they used to put put the same fi ll in, but you can play it a to make an edit because you’d cut that sheets and carpets over it. Just to make little bit different. sizzle off. And there wasn’t enough it sound like “dju, dju, dju, dju, djum.” So, the days of making records like time for the sizzle to fade away before I wanted to take that a little bit further I know records are meant to be made the next song would come in, so we had and have that kind of sound—but with is totally, probably, over. It’ll never be to cut that whole thing in one take. the sheets off. That’s where I was look- like that ever again. And for the re- ing for that low “djuoooom”—that you cords that we did with Elton, the early EDGE: So you didn’t even cross-fade it? don’t stop the tone, you make it ring on, records—you know, like “Captain Fan- you know? And I was a nightmare ac- tastic,” “Good Bye Yellow Brick Road,” NO: As you hear it on the record, that’s tually when we fi rst started recording “Candle in the Wind,” “High Flying the way we cut it. So, you know, you get with Elton because I didn’t want to tape Bird”—those records were cut in min- halfway through the fi rst song, “We All up the drums. I wanted that “djum,” but utes, basically. We’d be there when they Fall in Love Sometimes,” and you say, in those days, you know, they’d always were written, we were all on the same “I hope that I remember how to get it to say, “Oh, it’s rattling. You’ve got a rattle wavelength so we knew exactly what the next!” [laughs] And it was fantastic. here,” and you’d spend, like, hours try- we were going to play, and we were Still one of my favorite songs that we’ve ing to fi nd where the rattle was coming excited to go and get behind the gear ever, ever recorded because it was just from. Then, actually, Slingerland built and bash away. They were just so inspi- fresh. We were, again, all on the same me a kit with wooden rims. It was in the rational, and most of those songs were wavelength, and I remember we had ‘70s, like ’73 or ‘72. And I had wooden recorded, written and recorded, within our eyes closed and we knew exactly rims on them. Oversize toms, oversize about an hour and a half. “Daniel” was what we were going to do. And we kick drums, and these wooden rims on written in fi fteen minutes and we went didn’t have to cross-fade or edit or any- >TIME MACHINE: NIGEL OLSSON thing. No razor blades on that record. dinated in a racing car. Because when you’re behind the wheel, SELECTED DISCOGRAPHY: EDGE: Talk a little bit about your solo ca- and you’re doing, like, 200 miles Solo Albums: reer. an hour, and there’s a wall com- 1971 Nigel Olsson’s Drum Orchestra and Chorus 1975 Nigel Olsson ing up, your reactions have to be 1975 Drummers Can Sing Too! NO: I was happy with most of the stuff very, very, very quick. And, you 1978 Nigel Olsson I put out. “Put on Your Dancin’ Shoes” have to use both sides of your 1979 Nigel was a big record for me. It was, like, top brain. Your hands, arms, legs and 1980 Changing Tides four in America. It never did a thing feet are doing totally different 2001 Nigel Olsson’s Drum Orchestra and Chorus, overseas. But it was a good experience things all the time, so you have to Vol. 2: Move the Universe for me to make records because I love be really coordinated to do this. With Elton John: being in the studio, that’s my thing. And that’s part of my passion. I 1969 Empty Sky And when I moved to Atlanta, the lady was so passionate about motor 1970 11-17-70 that I was seeing—I mean, we were to- racing, and when I got to go into 1971 Tumbleweed Connection gether for like nine years—she ran, well, the Ferrari Challenge and drive 1971 Madman Across the Water owned Bang Records out of Atlanta. So these super-cars the way they’re 1972 Honky Chateau 1972 Don’t Shoot Me...I’m Only The Piano Player we’d be in the studio all the time, basi- meant to be driven you know, 1973 Goodbye Yellow Brick Road cally, cutting with Paul Davis and some at breakneck speeds, and know- 1974 Caribou of the Atlanta people and bringing ing that there was nobody com- 1975 Captain Fantastic and the Brown Dirt Cowboy people in from Memphis and Muscle ing around the other way, well 1976 Here & There Shoals. That was a great experience to hopefully not, it was amazing. 1980 21 at 33 work with those kind of musicians. You And I did very, very well, I think, 1981 The Fox know, the Blues guys, and the people because of my coordination. You 1983 Too Low For Zero from Staxx and everything, you know? know, your legs have to do dif- 1984 Breaking Hearts But, I never toured. ferent things from your arms and 1988 Reg Strikes Back 1991 The One I was going to go on a tour, and then hands. People fi nd it very, very 2000 Elton John’s The Road to El Dorado I had a really bad car crash and never tough. It’s like that thing where 2000 One Night Only: The Greatest Hits made it out onto the road on my own. you rub your stomach and pat 2001 Songs From The West Coast But I was kind of freaked out anyhow your head, you know, you’ve 2002 Greatest Hits 1970-2002 because I didn’t really want to come gotta be coordinated and concen- 2004 Peachtree Road out and sing, even though I had James trate. Other appearances: Stroud, who was going to play drums. 1968 Plastic Penny: Two Sides of a Penny We were going to have, like, two drum- EDGE: So, it sounds like you’re pur- 1969 Plastic Penny: Currency mers, and I would come out and sing posefully playing fi lls in a certain 1969 Spencer Davis Group: Funky part of the time and then go back and way. You’re holding back and play- 1970 Uriah Heep: Very ‘Eavy, Very ‘Umble James and I would play together. But ing in a simpler way than you maybe 1971 Cochise: Swallow Tales I was just freaked out about being the would. 1971 Mike Hurst: In My Time 1972 Mick Grabham: Mick The Lad frontman. And it’s not a case of them 1972 Long John Baldry: Everything Stops For Tea throwing bottles anymore, I just don’t NO: And it’s basically to the lyr- 1973 Kiki Dee: Loving And Free want to be the frontman, you know? ics, as well. Because all the big, 1973 Davey Johnstone: Smiling Face But I’d like to do a record, which I did, big ballads that we’ve done with 1974 Jimmy Webb: Land’s End and it was only really released in Japan, Elton, you know, they’re Bernie’s 1975 Barbie Benton: Something New the most recent one, called Move the Uni- lyrics. The lyrics have so much 1975 Neil Sedaka: The Hungry Years verse. I cut that record, but had different meaning and you don’t wanna 1975 The Who: Tommy (Original Soundtrack singers. I had, like, girl singers, a couple cover them up with something Recording, ”Pinball Wizard”) of guy singers, and just did songs that that’s not really needed. You 1975 Linda Ronstadt: Prisoner in Disguise 1975 Rod Stewart: Atlantic Crossing I always wanted to do, like old cover know, just don’t do a drum fi ll 1976 Leo Sayer: Endless Flight records or whatever. And we tried to for the sake of doing it. When we 1976 Rick Springfi eld: Wait For Night get a record deal over here for that, but fi rst started recording with El- 1976 Brian and Brenda Russell: Word Called Love they said, “Well, we don’t know where ton, I discovered that if I do a fi ll 1976 Neil Sedaka: Steppin’ Out to put it.” So... but I just love to be in the across the toms in stereo it travels 1976 Peter Lemongello: Do I Love You studio. across the speakers. 1977 Eric Carmen: Boats Against The Current 1977 Paul Davis: Singer of Songs, Teller of Tales EDGE: Has your auto racing career played EDGE: Those were the “Don’t Let 1977 Helen Reddy: Ear Candy a role in your drumming? the Sun Go Down on Me” fi lls… 1978 Eric Carmen: Change of Heart 1978 Bonnie Pointer: Heaven Must Have Sent You 1978 Bob Weir: Heaven Help The Fool NO: It’s actually backwards. Being a NO: True. So you know that 1980 Neil Sedaka: In The Pocket drummer, you are so much more coor- when you got back in the control 1981 Chris Christian 1983 Barry Manilow: Greatest Hits Volume II 1987 Spencer Davis Group: Golden Archive Series 1990 David Foster: River of Love 1993 Kenny Rogers: If Only My Heart Had a Voice 1994 Uriah Heep: Lansdowne Tapes 1996 Leo Sayer: Show Must Go On: Anthology Trutunes 1997 Eric Carmen: Defi nitive Collection 1999 Random Hearts (Original Soundtrack Recording) 2002 Toto: Through the Looking Glass

[ E D G E 6 . 0 ] 1 1 >TIME MACHINE: NIGEL OLSSON

JOHN GOOD TALKS ELTON JOHN WITH NIGEL: JG: Those were some really big records with big hits. And when we saw you, Elton and the band playing the other You know, just don’t do a drum night, it felt just like it did the fi rst time I saw the band, in ’71. Back then, it just fi ll for the sake of doing it. blew me away. And it wasn’t a big ven- ue, but the people were electrifi ed with it. And I’m still seeing the same feeling room, your toms will travel. And Gus and I need to go start getting ready for coming from that stage. [Dudgeon, producer] was actually the a 7:30 show. And then Chris, my tech, one that said, “Nige, you know, you will come in with a Pepsi—has to be NO: His songs, there is a special can leave a few of them out. You’re not Pepsi. He will hand me the Pepsi fi f- way of playing his songs, and I Keith Moon. Let Moony do all that stuff. teen minutes before I go on stage. Every think we still pull it off. I play, actu- Hold back a little bit.” And that was it. single night. He’ll give half the can to ally, a little bit behind. I tend to hold That clicked. It’s what you leave out me and half the can to Davy. Before I things way, way back. I was actually and that’s been imprinted into my brain go on stage, I have to have Dennis, our once offered a gig with The Beach since the early, early studio days. stage manager, standing on the left of Boys, and Carl—God rest his soul— me [laughs]. Keith [Bradley, our man- said, “No.” ‘Cause Carl and I were EDGE: So, does Elton ever have anything ager] will be over by the curtains . Bob good friends, and he says, “No, to say about drum parts? Haley, Elton’s assistant, his right-hand Nigel wouldn’t work out because guy, is just behind me, and Bob Birch, he plays too behind the beat. Beach NO: No. He actually doesn’t say any- the bass player, is right behind me to go Boys songs are right there, or are thing to anyone about what they should on the stage behind me. And as soon as a little bit rushed. And Nigel is to- play because he has so much trust in the our intro begins, I say a little prayer to tally the wrong style.” And I would way we know his music. So he won’t make this a really good gig, and as the tend to hold it back, and I leave out say anything about, “Well, you play like downbeat for the intro music goes, Den- a lot of stuff where people think, this, and you play like that.” nis will always shake my hand and say, “Oh, here comes a fi ll, here comes “Have a good show, Nige.” And I’ll put a fi ll.” Oh, well, not with “Nige.” I EDGE: Tell us about when you and Curt my drumstick out here like that, and leave a lot out. It’s that space that Bisquera were playing together. touch Keith, every single day. And Bob makes our records so different, and Haley, Elton’s guy, always messes with the way that they’re held back. And, NO: He brought me along to you guys. me because he’s kind of movin’ around, you know, Dee obviously died ten Curt was playing DW at that time be- and I know that he’s in the wrong place. years ago now, and we miss him cause he was part of the band at that And I’ll look back to see that Bob Birch dreadfully within the band—Davy stage. DW was basically the sound, the is following me because I’m not going and I, and Clive. But Bob Birch has way they were built, it was what I was to do it on my own. And Bob will al- that Dee Murray thing going on as looking for. And Curt says, “You know, ways say, “...and a one...” So, we have well. He studied the way that Dee I know these guys really well.“ And our own little ritual. And I’ll always played on the records. And it’s pret- then Curt made the call right there. sign all the drumheads before I do the ty frightening because sometimes, gig, and that makes it all go smooth. It’s especially when we’ve been in the EDGE: So you’ve mentioned that you get like motor racing. You know, if your tire studio recently, when Bob plays, it’s pretty anxious before a show. man isn’t there when you come into the very Dee-esque—if that’s a word pits, you’re in big trouble. You know, we can use—Davy and I look at NO: No, I freak out until I get on that it’s all split-second stuff here. each other and say, “That was stage. And I don’t know what it is. a Dee, wasn’t it?” It’s not that I’m worried if I’ll break a drumstick or make a mistake in a song. JG: It just seems to be such a chem- I don’t know what it is, I’m just abso- istry with him and you guys. I lutely frightened to death. And with mean, Bob’s one of my favorites... the Vegas shows, it’s so weird, ‘cause I don’t look at a clock, but I have this NO: He’s got it down... adrenaline rush. I mean it’s like having heart palpitations, my whole body goes JG: ...and he nails that gig just “vrooouh,” and I know that it’s 7:05 perfectly. 5000 SERIESPEDALS ® www.dwdrums.com ©2005 Drum Workshop, Inc. ���������������������������������������������������� ���������������������������� ���������������������

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BUILDING THE PERFECT TOUR BY STEVE RINKOVKIT

IS NEVER EASY. SO WHO GETS THE CALL? IT’S THEGETTING PROFESSIONALS A BEHINDKIT THEREADY PRO DRUMMERS, FOR THE THE DRUM ROAD TECHS. THESE GUYS ARE SEASONED EXPERTS AND HAVE SEEN AND DONE IT ALL IN THE DRUM BIZ. IN EACH ISSUE, TECH TIPS DELIVERS INSIDE SECRETS AND SUGGESTIONS FROM SOME OF THE WORLD’S TOP TECHS. major drumhead companies offer such use what they have for years, like Mick a broad selection of high quality heads Fleetwood. Or with Jimmy Paxson, who with extremely diverse sounds that I happen to be working with now on the fi nding some that are durable, in ad- upcoming Stevie Nicks tour, he chose dition to offering just the right sound, drum sizes that best suit the music. isn’t a problem. EDGE: Should drummers and techs be con- EDGE: What should be in every touring cerned with monitor mixes, or is that strict- tech’s toolbox? ly left to the audio guys?

SR: Great question. I tour with a fairly SR: I can only say that being well large road case fi lled with a multitude rounded is the key. The more you know of things ranging from cleaning prod- about everything happening relative ucts, tools, such as a cordless drill and to the gig, the better. When it comes to soldering iron, spare drum and hard- monitor mixes, I’ve found it best to act ware parts, cables and whatever will as a communication conduit between Steve Rinkov with rock and roll icon get the job done. However, oftentimes drummers and monitor engineers. Of- Mick Fleetwood I’ll get to work at a television show, and tentimes, however, it can be best to just for one reason or another, my case won’t stay out of the way. EDGE: Is there a preferable fi nish? Is lacquer be with me, so I’ll have to grab just the a better bet than a wrap, or vise versa? things that are most crucial. Usually EDGE: What are some tricks to ensure the that’s a drum key, gaff tape, a small se- identical set-up night after night? Steve Rinkov: From my perspective, I lection of tools and my fl ashlight be- prefer a wrap to a lacquer for durability. cause I’m often working in the dark. SR: This is a tricky one because there are When taking drums in and out of road some secrets I can’t give away. I will say cases each night, drums are likely to EDGE: Is heavy-duty hardware overkill or that, for me, it’s important to sit behind incur the odd nick or bump. Wrapped a must? the drums and get a sense of the spatial drums tend to hold up better than the relationship between all the drums and lacquer. SR: It’s certainly not overkill. Everyone cymbals. Also, it’s important to take I’ve worked for plays just a little harder note of any strange angles. The slight- EDGE: How many snares is too many on live than they do in rehearsals. Seeing est rotation of a snare drum stand can the road? double-braced, heavy-duty hardware really throw players off. In some situa- hold its ground is a comforting thing. tions, detailed measurements are neces- SR: I don’t know if there’s a rule about For me, it takes less effort to secure sary but most of the time, marking on how many snare drums one needs. I heavy hardware to the drum riser and the drum riser (a.k.a. spike marks) will haven’t worked for anyone who uses leaves me with less to worry about. generally ensure consistent placement more than two on a kit, and I’ve found each night. that one spare for each snare on the kit is EDGE: Which parts should always have enough to get out of any dicey situation spares? Steve Rinkov began his music career as a quickly. Also, I’ve been lucky in that for drummer in Southern California. From the tours on which I have worked, the SR: In my workbox, I always have a there, he moved to Seattle, where he opened drummers haven’t made changes to selection of snare wires, tension rods, a small, but well-known drum shop in the their sound once we left rehearsals, so drum keys, cymbal stand wing screws, area called The Drum Garage. His fi rst ex- I didn’t need to carry extra drums for snare string and tape. I also keep a cou- perience with teching began in 2000 when he optional sounds. ple of different manufacturers’ hi-hat joined the Lenny Kravitz camp and worked clutches, snare strainers and bass pedal for Lenny on the “Lenny” record. Soon fol- EDGE: Is sound or durability the primary parts. It’s a good idea to have a little of lowing, Steve toured with Fleetwood Mac concern when choosing head combinations? everything handy if at all possible. on their very successful “Say You Will” tour, not only working with Mick Fleet- SR: My main objective is to help the EDGE: Are sizes relative to each drummer, wood’s elaborate set-up, but also joining drummer achieve his or her sound. or are they dictated by sound and venue Mick on drums for several songs each night. After that, it’s about fi nding a balance. size? In 2004, Steve teched for both Taku Hirano I’ve worked with people who like the and Teddy Campbell on the road with Bette calf head sound in the studio, but that’s SR: I have never been in a situation Midler, and this year he’s been in the studio just too hard to control on the road, and where drum size was determined by with Matt Cameron and the boys from Pearl they’re just not dependable. All of the venue size. In some cases, drummers Jam on their upcoming CD release. [ E D G E 6 . 0 ] 1 5 >Q & A: JAZZ DRUMMERS CARL ALLEN • MIKE CLARK • BILLY KILSON • GARY NOVAK • BILLY WARD Q&A

JAZZ MUSICIANS MAKE THEIR LIVING WEAVING WITH THAT IN MIND, WE DECIDEDINTRICATE TO ASK CARL MUSICAL ALLEN, MIKE CLARK, CONVERSATIONS. BILLY KILSON, GARY NOVAK AND BILLY WARD TO DO WHAT THEY DO BEST. OUR NEWEST EDITION OF Q&A HAS THESE FIVE ACCOMPLISHED CONVERSATIONALISTS SPEAKING ON THEIR JAZZ ROOTS, THE ART OF IMPROVISATION AND WHAT IT MEANS TO SWING. >>> EDGE: Who inspired you to get started and And when I met Herbie, he just sort of When you listen to people like Keith, it who keeps you going? said, “I don’t want to hear that. I know can almost make you feel like quitting all those guys real well: Tony’s my best because he’s so unbelievably great that Carl Allen: Oh boy, well, there’s so friend. If I wanted them, I’d call ‘em. I it’s hard to even relate. I also listen to many. With respect to drummers, I tend want you to do something different.” a lot of Bill Stewart. A lot of the music to believe that we all have what I would he gets involved in, aside from his great call our “Fab Five.” These are fi ve peo- Billy Kilson: I would say in the order of playing, is the stuff I’m really into. It’s ple that as a drummer, you really iden- Lenny White, Tony, and Philly Joe. Those pretty conceptually cool, and they’re tify with, and for me, that would be are the guys that brought me to Boston. taking chances in an environment mu- Art Blakey, Elvin Jones, Tony Williams, I started playing when I was sixteen, so sically where taking chances are really Roy Haynes and Billy Higgins. Spend- when I heard Lenny White, I said, “Oh frowned upon. So, what’s been keeping ing countless hours around all of these my God. I defi nitely want to play drums me going lately is just listening to some gentlemen, every time they would play, for sure.” So I quit playing football of the more revolutionary music of the it was about just being in the moment, when I heard Lenny White. And then early ‘70s and some of the younger guys and it’s about the way that they were when I heard Tony, I thought, “What the now that are at least trying to do the able to live their life experience through hell is this?” Then, I get to Boston, and same thing. their instrument. That being said, there I heard Philly Joe. And those three guys are others who also inspired me in terms would probably represent jazz playing. Billy Ward: Louie Bellson was the fi rst of the way that they would play. You They’re like the corners of the triangle. clinic I ever saw. I was nine years old. know, people like Bobby Hutchinson, Lenny represents the fusion funk side, My drumming hero list then expanded McCoy Tyner, Joe Henderson and Fred- Tony represents the jazz fused with the to include Buddy Rich, Ringo...really die Hubbard. Every time they played fusion stuff, and Philly Joe represents everybody. Nowadays, it’s not so much their instrument, it was the most impor- my traditional side. But what gets me “who” as “what” inspires me, and that tant time of their life. up to play drums everyday, what gets is a great song or piece of music. Some- me up night after night, day after day, times, if I haven’t played for a couple of Mike Clark: Well,QA my father was a studio &session after studio session—bar days, I forget how much fun drumming drummer, and he had a hell of a jazz none—is my teacher, Alan Dawson. is! record collection. So, even before age This is going to really sound strange, three and four, they would put me in but I listen to Rachmaninoff’s “Pre- EDGE: Well, as is the case with so many the front room in a bassinet down by ludes” a lot. I also listen to some of the genres of music, jazz is divided up into these the record player, so my brain had ab- new metal stuff, like Crisis and the Me- sub-categories. There’s straight-ahead be- sorbed all this Count Basie, Duke El- tallica stuff. I’ve just been re-introduced bop, and there’s swing, and cool jazz, and lington and Miles Davis. I started play- to Joni Mitchell and Donald Fagan stuff, the stuff that Miles initiated. If you had to ing when I was four. My father brought and defi nitely a lot of hip-hop stuff, like encapsulate jazz into one specifi c category his drumset down from the attic, and I Jill Scott. or give someone just one jazz record to ex- was a natural; I started playing and it emplify the genre, what would that be? made sense, and it swung right off the Gary Novak: Being involved in a lot bat. I remember doing it; it was kind of of different types of music, I have a lot CA: One of the things that jazz is, and a tom-tom type of solo, and it wasn’t of different inspirations. I would say I say this very tenderly, is the freedom like a little kid just banging things—and lately, what’s really getting me back of expression. But when we talk about I’ve been playing ever since then. And I into playing would be listening to older that, there are still certain boundaries. I could name off all of my heroes, which Keith Jarrett records. I like a lot of piano think that the foundation of this music is almost everybody who has played trio music, ‘cause it’s an open format is a feeling, and that feeling is swing, jazz, rhythm and blues, soul, and blues. for jazz musicians. When you get three that defi nes or separates what jazz is or There are very few people that I don’t guys, the freedom is the most wide what it isn’t. But it’s also about impro- like and that haven’t inspired me in open. You can go in many different di- visation. I would easily say Kind of Blue. some way. Personally, Herbie Hancock rections; you’re not dealing with more With Coltrane I would easily say A Love has inspired me tremendously—to minds that have to be in the same place. Supreme...and there’s the other stuff. be different and to not play what ev- Also a bunch of these early ECM re- There’s the big band stuff. One of my erybody else is playing. I was playing cords, with Keith, Jack DeJohnette and favorite records would be Thad Jones/ along the lines of Elvin and Tony and Gary Peacock. That’s some of the great- Mel Lewis Orchestra Presenting Joe Wil- Philly Joe [Jones]—not that I could play est music that’s ever been recorded. liams. And that’s something completely like those guys, but along those lines. Keith Jarrett is a modern day Mozart. different. What Joe brings to the table is >Q & A: JAZZ DRUMMERS just the element of the blues because he 1972. That’s when they, really, in my when you listened to it; it gave you the was originally a blues vocalist, or blues very humble opinion, took all the basics ability to take you somewhere else. You singer, but how that plays into the jazz of be-bop, and they took that repertoire can listen to this music and it can take thing is just the way he was able to com- and started to loosen it up a little bit and you somewhere else. municate with people. not be so regimented about structured bar lines or form. Music at that point re- MC: “Soul music” in the ‘60s hit me MC: I think I’d give them Milestones ally started to take its foundation and right smack between the eyes—and with Philly Joe Jones. And God, that’s a then knock walls down. So they had every offshoot of that, pre- and post- hard question because there’s so many. the ability to improvise over form, but Motown, all of the Staxx stuff…Also, I I think that one captures most of it, most at that era, form started to become less lived in Texas and I had a hell of a blues of the jazz feeling and the jazz language. important. So it was really, truly impro- background as a child. I played with It’s what swinging is all about. I’m not vised music. many, many, many famous blues cats saying that it’s full of inventions like before I was even eighteen because I some records are, but it encapsulates BW: I would say swing is my pick for worked in this club where they all used jazz history. I see a lot jazz “DNA,” but I’d to come through. It wasn’t like I was in of people playing jazz rather not break it their band, but I’d back them up for a now, and the swing “I like what John down like that. For week at a time, and so I really learned quotient is not happen- example, which rock how to play the shuffl e. ing, but they have tons Cage once said, ‘If style is the most re- of technique. Most of you want to hear vealing—hard to tell. BK: When I was working with Dave us have the instincts to Louis Armstrong is a Holland, my wife introduced me to be able to swing or we music, go to your great start for listen- Rachmaninoff. One of the very fi rst pre- wouldn’t be playing window and open ing to jazz, but my ludes that I like—it’s sort of like a fi ve drums, so I don’t really it.’ Sometimes, the very fi rst jazz record over four kind of fi gure—but it sounds buy into, “This guy can was [Dave] Brubeck. like triplets, and it feels so even. And swing,” or, “this guy horns honking in Most folks get into a if anyone knows anything about Dave can’t swing.” If some- Manhattan at rush new music form by Holland’s music, we’re playing a lot of one practices a bunch listening to something odd-meter stuff. Elvin would say that of technique, then they hour sound like an “in the middle” like he wouldn’t hear time as like this up- should really practice Ornette Coleman Brubeck, and then we and-down, left-or-right kind of thing. swinging and really record.” become explorers and If you look at the clock, the time would knowing how to lay seek out what hap- start at the twelve and then slowly move that quarter note, and —Billy Ward pened before and after around, and then the twelve would how to get nasty with our fi rst experience. be one, and there’s no one, two, three, it. And I can think of four in between that. There’s just one, some drummers that EDGE: Which other go around the clock, and there’s one come to mind right now that can really genres of music have affected your playing again. That’s what kind of turned me lay a nasty pocket up in there, and stack or your style? on. You can hear those infl uences defi - all kinds of stuff up against it. To me, nitely when I played with Dave Hol- the primary thing is the quarter-note. CA: Oh man, fi rst and foremost, gospel land, and you can hear a lot of hip-hop Being able to swing and really lay it in music. I grew up listening to gospel mu- infl uences, too. And more recently, I’ve there. And in that way, there is no such sic and& my mother was a gospel sing- been playing with Chris Botti. You’ll nonsense, like, QA on top of the beat, be- er for as long as I can remember. And probably hear more of the metal or the hind the beat, in the middle of the beat, I grew up playing in church, and that Joni Mitchell infl uences now. you just swing or you don’t. music was everywhere around us. But also, the thing that infl uenced me was GN: Playing jazz is defi nitely more BK: This is true to form for a jazz musi- just early R&B stuff. Well, maybe not so about perpetual motion; you need to cian; we hate categorizing the music. If I early, but ‘70s R&B and soul music from keep thinking forward. And sometimes, was to give something to my mother-in- the ‘60s. All of that being said, I grew when you’re playing eighth note music, law, who probably never listens to jazz, up in an era where musicians could ac- it’s kind of in the middle of the beat. the fi rst thing I would lay on her would tually play and sing, and being able to You’re not thinking rushing, you’re probably be Kind of Blue. I see it as a true program something didn’t constitute not thinking really laid back, it’s in the representation of the old be-bop, the you being a musician. Not to say that middle. And sometimes that concept new sounds—there were new harmo- there’s something wrong with that, but doesn’t necessarily work for playing nies that were introduced in that music I was just from an era in which, if you jazz; it sounds like you’re holding the that we take for granted today when were a singer, you really had to be able band back. I think I get a little heavy- we hear all music post-Fifties. And for to sing. And you weren’t really consid- handed, and a little bit too in the middle the listener, it’s easier on the ear. It’s the ered a singer unless you could bring of the beat, instead of on the top end of biggest selling jazz record today, so it’s tears to someone’s eyes. But, those the beat sometimes. But that’s just from easy to pick Kind of Blue. And for the jazz styles of music were very infl uential for being infi ltrated by one style of music musician that is serious about playing, I me. And I think the backbone behind all more than another. You know, your would pick that too, and then I would of these different genres is the feeling of roles are very different in those two dif- pick A Love Supreme with [John] Col- the music. Because whether it’s gospel, ferent elements. When you’re playing trane. The performance on there, that’s or whether it’s some old Sam Cook, or vocal music, you’re supporting a lyric the quintessence. It’s unbelievable. It’s whether it’s Parliament and Funkadel- and a poem and a story, but in jazz, the hard to pick any other albums. ic, or whether it’s Miles and Tony Wil- music is the story and the journey is the liams, the thing that is the common link story. In rock, it’s almost like classical; GN: To me, it’s an era more than a re- between all of these styles of music is you play the music as written. You’re cord. It’s that whole era of 1963 through the feeling. The feeling that it gave you playing a song, you’re playing a part, [ E D G E 6 . 0 ] 1 7 BILLY KILSON CARL ALLEN MIKE CLARK

©BILLY AARON CUSHING WARD

GARY NOVAK

and you have to play it with conviction. that they can do or understand imme- students, I just ask them, “So, now In jazz, if you played it that way every diately without any effort. I just think what was the last book you read?” And night, you’re not playing jazz. that the younger generations have such they’re like, “You mean for class?” And an instant-gratifi cation mentality these I’m like, “No, just ‘cause you want to BW: Everything. I like what John Cage days. If they can’t imagine themselves learn about something or check some- once said, “If you want to hear music, being able to do that, they don’t want to thing out.” People just don’t read any- go to your window and open it.” Some- be involved in it, because it’s something more. Even here in New York, the scene times, the horns honking in Manhat- that might be beyond their reach. has been affected. People don’t go out tan at rush hour sound like an Ornette as much, people go out earlier. I would Coleman record. BK: In Europe, I feel like they kind of do a gig, and the earliest I would get embrace jazz as the classical artform in home was 3:30 in the morning. Now, EDGE: Jazz is said to be one of the “true a weird sense. Like say, in Japan for ex- sometimes 12:30, 1:00, I’m at home. American” art forms, but it’s also been lov- ample, or even in Russia, the response People don’t want to just sit and listen ingly accepted overseas. What’s been your might be a little bit more conservative, to music. experience from audiences overseas? but they’re still mad into it. They’re not going to be as physically responsive as MC: Well, I think African-American CA: Well, it’s always been a great expe- they would be in the western part of Eu- music, along with the African-American rience, particularly in Asia, more specif- rope. Like when I’m working over there experience, speaks from an observer’s ically in Japan. You know, that’s one of with any band, in any unknown club, point of view, and all of the cause and my favorite places. When you go there, or some festival, and playing this out- effect related to that situation rippled they’re knowledgeable about the music, landish jazz, and I’m thinkin’, “I can’t right through the artform like a rock in they respect the music, they respect the tap my foot to this.” And people in the a pond. You throw a rock in a pond, and people who play it; and from a business audience are standing in the aisles or you create a wake. So, that same effect perspective, they treat the musicians standing on their chairs dancing as if probably kept it, and is still keeping it, with a great deal of respect. we’re Jay-Z& or something. There’s noth- under the radar. I also think the music is QAing more gratifying than that. emotionally rich and really deep, so you MC: First of all, it’s great that they know have to dig down. who we are (The Headhunters) and BW: They are thirsty for great music—a know our history. Let’s put it this way— live musical experience is special in BK: I’ve heard for the last twenty years, no matter how high you are on the food most of Europe, and I really enjoy play- you know, “It’s on it’s way back, it’s on chain, they know who you’ve played ing there. There is less of a “cultural big it’s way back,” but I don’t know about with and they know what you’ve done. brother” infl uence over there, for some that. But, I do see that there is a serious I think maybe because of the classical reason. Here in the States, we have hu- fuse going on between jazz and hip-hop. background, they’ve learned to listen mongous radio stations like Clear Chan- Like, if you listen to some of the Jill Scott deeply. They can hear the conversations nel playing the same pop song sung by stuff, you can hear her infl uences, like between the musicians inside the music. slender young so-called ”stars.” In Eu- Joni Mitchell. But then some of the har- Not that the American audiences can’t, rope, that whole thing seems to be less mony that’s going on with some of this but it’s kind of hard when you’re play- of an infl uence. hip-hop stuff, even Dr. Dre’s, you hear ing jazz to people who have the mental- a lot of the jazz infl uences and they’re ity of the Spice Girls or something. EDGE: Why do you feel jazz has gone “un- using more and more of the jazz musi- der the radar” in this era of hip-hop? cians these days. And maybe there’s a GN: Well, there’s absolute truth in ev- new sound comin’. Who knows? Every- erything you just said, in the sense CA: Well, I think the recording industry thing has its cycle. Duke Ellington and that it is one of the true American art has something to do with that, which is Count Basie, they were the Jill Scotts, or forms. And it defi nitely has died off in not necessarily a bad thing. I think it’s whatever, of the ‘30s and ‘40s. In every popularity in the United States over the gone “under the radar,” as you put it, club, people were dancing to that mu- years. I also think that has to do with for other reasons, too. Take for example, sic. A year or so ago, I remember seeing a generational gap and people that are reading a book. And I make this analo- this MTV Unplugged thing and it was interested in seeing music that they’re gy because I think one of the things that LL Cool J, and he had live musicians... in awe of. I also believe that when kids has happened in this age of technology it was hot. And I think with drummers, today go to see music, they actually is that younger people now have short- it’s kind of fusing the two. Maybe jazz want to see something that they believe er attention spans. With some young itself will go away in that sense, or it >Q & A: JAZZ DRUMMERS will never be at the level of ‘Trane and mean smart people dig jazz? [laughs] erything. The pulse, the sound. But it’s Miles, but this style of music, between more of a half note. In hip-hop it could jazz and hip-hop, who knows what’s EDGE: Rock and pop music are so heavily be a whole note that could hold over a going to come of this? I think most of it rooted in two and four and kick and snare, bar and a half. So it’s coming from the died off because the legends themselves yet jazz is obviously more centered on the bottom. All that sound and all the pulse died. You can’t mimic what they did, quarter note and the ride cymbal. Please talk in funk, rock and pop music is all com- man, they were the masters. a little bit more about that relationship. ing from the bottom. Hence, the pulse is coming from the bass drum. The GN: Listening to jazz is too challeng- CA: More so than being between the backbeat, if you will, is coming off the ing. At this state, music is to not think ride cymbal and the hi-hat, I would re- snare. When you’re playing jazz, we anymore. People want to turn on music ally focus in on the ride cymbal. The New Yorkers say, “tipping.” And when when they’re at work...when we were thing that I’ve discovered is that every you’re tipping, the bass player is going kids, we used to listen to music all the drummer’s ride cymbal pattern has a to start walking quarter notes, some- way through and not do anything else. shape to it. And when you listen to Billy times it might feel like eighth notes, Put the headphones on, and stare at the Higgins, or Art Taylor, or Elvin Jones, depends on the tempo. And so, the corner and listen—it was an auditory whomever, Mel Lewis, you will hear ride cymbal is where the pulse is com- experience. It wasn’t something that that their ride cymbal has a different ing from. Now the snare, that backbeat, had multi-media attached to it. shape to it. But what you will also hear has moved to your left, to the hat, now. is the other limbs helping to support And the bass drum is more of a fi ller to BW: Well, maybe it hasn’t. Maybe hip- that cymbal. So, in other words, you enhance the time, not where the time is hop hasn’t fi nished growing. I guess can’t just play ride pattern A and think stemming from. So my pulse is coming we’ll see. I’d like to add that a pursuit of that pattern B, and C and D are going to from my ride, and my snare is ghosting, jazz is incomplete without a total love work necessarily, because pattern A has and my backbeat is my hat. That tells and embrace of the great blues musi- a certain thing to it that has to be sup- the band exactly where you are. Now, cians and rhythm and blues music that ported by the other limbs. So, it’s really when I’m doing the pop stuff, I’m gon- beautifully exploded out of the U.S. this about understanding na smack the hell out of last century. the shape of the ride that snare. And that’s cymbal, and then “I think all music where you’re going to EDGE: Why do you feel jazz is so closely from there, seeing owes a huge debt hear the beats. tied to education in this country? how to make every- thing else fi t within of gratitude to the BW: Yeah, the ride and CA: Well, I think that’s happening for a that. It’s a concep- blues and the peo- the hat are, in jazz, what number of different reasons now. I think tual thing. the kick and snare are a big part of it is that the jazz scene has ple who invented in rock. It’s generally a changed quite a bit. There are fewer op- MC: I think all music it. That’s where it more fl uid feeling in the portunities to play. There aren’t as many owes a huge debt of came from. To me, time, with a different people leading bands as there were, say, gratitude to the blues emphasis. In jazz, you twenty years ago. When I fi rst came and the people who that’s the bottom can kind of mess with on the scene, I would get calls to join a invented it. That’s line.” the time, but usually the band, you know, whether it was Dexter where it came from. feel remains constant Gordon’s band or Monty Alexander’s To me, that’s the bot- —Mike Clark throughout a piece or band...people who were touring, who tom line.& But yeah, I solo. In rock, you freely were recording,QA who had an existing think pop music def- mess with the feel, but identity, as opposed to just someone initely revolves around a backbeat, the the time has to be cement, fi xed and un- who had a gig this weekend. I think the kick and the snare, both which are easy moving. Of course, this is a generality; other thing is that, because the whole to feel right away. It’s instant gratifi ca- there are exceptions. concept of improvisational music is re- tion, instant contact. As soon as you hit ally starting to reach people at a young- the bass drum and follow it with a back- EDGE: How can drummers better under- er age, a lot of the universities are forced beat, you’ve pretty much said it all right stand that concept of improvisation? to create programs. When I fi rst started there. Whereas in jazz music, it’s really college, I started as a classical percus- the ride beat. A lot of people think it’s CA: I think the key is through study. sion major because there was no jazz kind of a mental thing about where to You have to listen. Part of my whole program there. And then I transferred place it, but it’s really a defi nite blues- mantra about what I’m all about was re- to a school where I could study jazz. But like feeling—the difference is the bass ally based out of a conversation that I now you have other programs around and the drums. The time is based on had with Dizzy Gillespie. It’s to move the country, like at Berklee in Boston. the bass player and the ride cymbal. forward with a sense of tradition. And This is what schools are starting to do to It creates a different, lighter feel. And Dizzy taught me that all great art was try to keep their enrollment up. also there’s room with the cymbal. The created with a sense of moving forward, cymbal is the kind of instrument that but with a sense of understanding what GN: A lot of jazz music is harmonically spreads. There’s room to draw one has already taken place, ‘cause you have in depth. Each measure of music has inside of the music as a listener, and to understand the legacy that you’re different harmony structure, and for the there’s room inside that cymbal beat for building upon before you can even be- people that have had very little musical the musicians to have a conversation gin to contribute. education, that can sound cacophonous, with each other. you know, arrhythmic or inharmonic. MC: I’d say just start trying to play stan- BK: I’ve boiled it down to a couple of dard tunes with your friends, and just BW: Why not? It’s a beautiful, complex simple things. If you listen to funk, if start trying to listen to the jazz drum- artform. I’m assuming you mean it’s you listen to rock, and even with jazz, mers and somehow copy or mimic what being taught in universities...or do you everything is coming from the bass. Ev- you think they’re doing. And once you [ E D G E 6 . 0 ] 1 9 >Q & A: JAZZ DRUMMERS put a little dent into that, maybe apply for it, playing what your ears are ask- comfortable playing. And when you that type of understanding to all of the ing for, then you will inevitably make say tuning, man, this takes me to DW. music you play. That’s what I did with a mistake. At this point, you can stop There’s no other drumset on the plan- Herbie Hancock. I just applied my jazz and practice the varying stick options et that is so easy to tune. That’s what understanding and language right in- for that pattern that threw you off. And brought me to you guys. And they will side of the funk. I played from the in- now you’ve just added a personal lick stay in tune, and the resonance, how side out. I listened carefully to what or pattern that your ears asked for! they react. I don’t change the tuning be- everybody was doing, like you would tween genres now at all, and that’s so a jazz player taking the solo, and even EDGE: How do you generally tune your important to me. if I was just playing time, even now, I’m kit? Is it the traditional way where it’s a still coming from that place. I’m a con- little tighter? Talk about that a little bit. GN: Tuning for a lot of my favorite jazz versational drummer. drummers, like Roy Haynes, or even CA: One of the things that I learned the new guys like Bill Stewart and Brian GN: Improvisation is different as it ap- early on through just talking to differ- Blade—everything’s tuned up. It’s kind plies to different instruments. A drum- ent drummers is that each drum has its of bouncy and boingy and overtone-y. mer, in a jazz setting, is an accompa- own character. So you have to intimate- Maybe it comes from Philly Joe, one nist—until he gets the solo thrown at ly get to know the instrument itself, of the greatest drummers ever to have him. You’re not dealing with harmony, but it also depends lived. But I think a lot of you’re dealing with rhythm. And as a on the acoustics of it may have come from drummer, you need to really pay atten- the room and the “A drummer, in a calfskin heads. Back tion to the other instruments in jazz and style of music. My jazz setting, is an in the day, everything see what it’s about. It’s a whole lineage basic concept is, if would tighten up when thing when you get into improvising on I’m playing straight- accompanist—un- it got cold out and that the drums, because every twenty years, ahead, acoustic jazz, til he gets the solo would become the it completely revolutionized itself. The I tune the bottom t h r ow n a t h i m . sound, you know? one guy that I think would be the leader head tighter than the in the pack would be Roy Haynes. He top head. The reason You’re not deal- BW: There are no rules, was the fi rst guy in the late ‘40s and for that is just basic ing with harmony, other than hopefully ‘50s to stop using the hi-hat on two and physics. The sound using your ears. Some four all the time. And he started loos- is going to come you’re dealing with might like the toms to be ening patterns up and not playing one back to you quicker rhythm. You need extremely high or low. all the time, playing groupings of fi ves when you’re tuning to really pay atten- Many jazz drummers and sevens and nines, and all that weird the drums at a high- like to have the toms stuff that Vinnie [Colaiuta] and [Steve] er pitch. There’s also tion to the other and bass drum sound Gadd picked up on. And Elvin and Roy less miking when instruments in similar, so the bass started all that stuff with Tony Williams. you’re playing that drum might get tuned But they went back from a lineage of kind of music, as op- jazz and see what higher to be played as understanding. The ‘50s be-bop style posed to something it’s about.” another punctuation jazz, and in the ‘60s, started getting a a little heavier. —Gary Novak point within the fl ow of little looser, but when you have all that the cymbals. knowledge and history behind you, it MC: I tune my bass all kinda comes into play. So being an drum to& a G. I use EDGE: I’m guessing the improviser takesQA a lot of homework. two heads on every- bass drum sound you go You have to check out a lot of different thing, and I have an 18” bass drum, and for with jazz, with traditional jazz, is more styles to make your own voice. It’s one I tune it right around there somewhere. open? thing to just be into that whole ‘60s-era I tune the rest of the tom-toms sort of sound, but not everybody’s into that high, like a jazz sound. I always enjoyed CA: I use a 14x18”, or sometimes a format. If somebody calls you for an- the sound of Billy Higgin’s tom-toms, or 16x18”. What I have found with the other kind of style of jazz, you need to Elvin and Tony. I don’t pick exact notes DW bass drums is that their sound is so be relatively acquainted with that, too. on the tom-toms, but I kind of do with much deeper and so much more versa- the bass drum—and yes, sort of a tight, tile, that with an 18” I can tune it up or BW: Improvisation is much like a word high sound. I have a funk set, and I use tune it down and use it for everything. game that we all might have played the same tom-toms. I just bring them you know, I’ve used some 18” bass when we were fi ve years old. Play one down a little bit, and I use a 22” bass drums on big band gigs and recordings, of your favorite grooves or beats and drum that I tune really low. and you know, and the engineer’s like, then go away from that groove and do “Man, I’ve never seen anything like this something with your toms or cymbals. BK: I tune lower than most jazz drum- before.” Remember in your ears what you just mers. And some jazz musicians, you did as you go back to the groove for know, at the beginning it drove them MC: I use the traditional jazz sound another couple of bars. Then go away crazy, but I got a big compliment from when I’m playing jazz with an open again and add a little something to it. James Moody. I did a gig with him a bass drum. Every once in a while, I Try to have each new thing refl ect what few weeks back, and the way I tune the make a record in the studio and there’ll happened before. Now you are impro- drums, he said, “Man, I love the way be a drumset there and the front head is vising. I personally enjoy it and feel these drums sound. They sing, and they off or something and you sort of have more creative when I limit things—like have a lot of body.” And this is no slight to play it. So, not all of my records ac- no double strokes allowed. Or, I’ll limit against jazz drummers. They tune re- curately represent my sound, but when the number of drums so that when I ally high, and I probably tune it closer I play live, that’s what I do. leave the groove, I have to play either the to a funk, hip-hop tuning because those snare or one tom. If you are truly going are my roots, and that’s what I feel more >ON THE RISE  NATHAN FOLLOWILL: KINGS OF LEON

CURRENTLY EMBARKING on a high-pro- the fact that there really was no inspi- giving and Christmas, so nothing can fi le arena tour, sharing the stage with none ration in the beginning, you know? We be too big to make us pissed off enough other than the legendary U2, Kings of Leon grew up sheltered, in a sheltered house- where we won’t talk to each other for are more mainstream than they had ever hold, our dad being a preacher and all. fi ve years, or break up the band or any- dreamed. From VW ad campaigns to the We couldn’t listen to rock and roll or thing like that. Billboard charts, the band’s new release Aha anything like that. So, I think the thing Shake Heartbreak is striking a chord with that helped us out the most was that it EDGE: So, after picking up the drums in music fans everywhere. Drummer Nathan comes from a pure place. It comes from church, how did you develop the skill of Followill talks about the band’s inherent something natural. We didn’t hear a playing drums and singing at the same classic rock sound, their ability to transcend band and say, “Wow, we’re going to re- time? That’s also not easy to do. being labeled and what it takes to rock a set create that and be our generation’s ver- of pink drums. sion of that.” So I think it helped us out, NF: Church, too. Yeah, when I was the fact that we just did it the way we about nine, I’d say, there was this kid EDGE: What’s it like having this record felt it. And luckily for us, people think that went to church school with me, blow up on you guys? On the last one, you it’s classic and pure, and that’s wonder- and he could tear up a piano. And he did a fair amount of touring and you got a ful. We’ll take that any day of the week. was, like, eleven, but we were kind of good fan base going, but this one seems to both in the same boat in that we picked be taking you to the next level. How does EDGE: You’ve played small places like the up an instrument at a young age and that feel? famous Roxy Theatre here in Los Angeles, were able to play it a lot better than we and now you’re playing probably should have been able to. But Nathan Followill: We massive venues with that’s really where it started. He would really don’t pay that “It’s better to fail do- this U2 tour. Do you play the piano and sing, and I would much attention to it ing what you think have a preference—large play the drums and sing, and we would because we’re so busy, versus small? just sit there and write horrible, horrible but it’s always better you should be do- songs and sing ‘em. But, looking back to be surprised than to ing than to succeed NF: Well, I don’t on it now, it’s kind of cool. It defi nitely be disappointed. But and be miserable... know. We’re pretty helped me out with my profession. we’re defi nitely really easy to please. The surprised about this because you think fi rst couple of shows EDGE: So, what made you decide to go with record. you sold out.” in the arenas were a pink drum kit? pretty tough because EDGE: How’s life been of the sound, you NF: To be honest with you, I don’t think on the road with U2? know? We’re not used I’ve ever seen a pink drum kit before. to that. Especially going from a club full NF: They’ve been nothing but profes- of 500 sweaty kids to a place that seats EDGE: So you’re just going for something sional. Everyone from the guys that load 20,000. So, it kind of threw us for a loop a little different. us in, all the way up to their manager, at fi rst, but now, you know... we’ve been all the way to Bono and the rest of the doing our own one-offs in between the NF: Yeah. I mean, I look like Grizzly Ad- band—they’re all amazing! They could shows with U2—which is another thing ams here. I don’t think anyone’s going easily just give us a tiny little corner of that’s unheard of—the fact that they’re to question my motives for me playing the stage and stick us up there just to letting us do our own shows. Stick us a set of pink drums if I look like I just bit kill time while their fans fi le in, but in the 20,000 seat arena, or in the base- the head off of a squirrel, you know? they’re really cool, really pro. We’re up ment, we’re just going to plug in. in Seattle right now, and two nights ago, EDGE: What advice do you have for any Eddie Vedder got up there and sang a EDGE: You’re in a band situation in a young drummers that are trying to get song with us in his hometown, and the unique way with your family—getting into started in a rock band and make it big in the crowd went insane. So, that right there creative arguments and dealing with the music business? just lets you know the kind of band that politics of being in a band. How does that these guys are—that they let the open- play out when you’re dealing with your NF: Do what you feel. Don’t try to play ing band have a special guest on that’s brothers and family members in that way? the drums like this person or that per- gonna get the place going crazy. So What’s that dynamic like? son. Don’t try to model your career yeah, they’ve been great. after this person or that person. At the NF: Most bands that have had their sib- end of the day, you’ve got to live with EDGE: What were some of your earliest lings are known for their arguments and yourself and your band, and you get musical infl uences? Kings of Leon have a their blowouts, but I don’t know. When tired of a CD eventually if you listen to timeless, classic sound, even though you you look at it, we’re really the only it to much, so just be original. Don’t be have that modern edge. I’m sure you guys things that each of us have on a con- scared to be original. It’s better to fail hear the term “classic rock” often. What in- sistent basis. And you know, we have doing what you think you should be spired you? our little fall-outs, we have arguments, doing than to succeed and be miserable but at the end of the day we’re looking and not sleep at night because you think NF: Man, I think we were inspired by forward to seeing each other at Thanks- you sold out. [ E D G E 6 . 0 ] 2 1 TechLock®

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������������������������������������������������������������������� ��������������������������������������������������������������������� Available �������������������������������������������������������������������������� Accessories: ������������������������������������������������������������������������ ����������������������������������������������������������������������� 9702 ������������������������������������������������������������������������ SM2034 Multi Cymbal Tilter Stand ������������������������������������������������������������������������ ��������������������������������� �������������������������������������������������������������������������� SM2035 �������������������������������� Percussion Arm �������������������������� Mega ���������������������������������� Tripod � ���������������� � SM2030 Base ����������������� Counterweight

EFFECTS PERCUSSION/ DUAL PERCUSSION/ DUAL CYMBAL CYMBAL CYMBAL CYMBAL/BELL EFFECTS DUAL CYMBAL SET-UP OPTIONS SET-UP SET-UP SET-UP SET-UP SET-UP SET-UP ���������������������������������������������� NASHVILLE CHAD CROMWELL KNOW-HOW IT’S NO EASY TASK, FORGING A LONG-LASTING CAREER IN MUSIC CITY, USA. THIS SONG-SAVVY TENNESSEE NATIVE WENT FROM LEARNING THE ROPES TO WORKING WITH THE WHO’S WHO OF COUNTRY, BLUES AND ROCK. >>> EDGE: How long have you had your roots buy Miranda’s record and get exposed about songwriting and songs, and in- planted in Nashville? to a whole different bag altogether. And terpreting songs with a kind of feeling you’re talking about polar opposites in about them. Chad Cromwell: I came here in the fall terms of production style and songwrit- of ’90, ‘cause I’d actually just finished a ing and that whole thing. Just the whole EDGE: So, how do you get gigs? Is it word Jackson Browne tour, and I came here method is completely different. of mouth, or do you actively contact artists to live. you’d like to work with? EDGE: Have you consciously positioned EDGE: Where were you before? yourself as a country-tinged rock or blues CC: Mainly word of mouth. All the type of player, or is that where you have just resumes in the world will maybe get CC: Memphis. I was in Memphis, but I naturally gravitated? you in a door to meet somebody, but was commuting basically between L.A. the way it really happens is if you do and San Francisco all the time, workin’ CC: Well, my recurring theme seems to a great job for somebody who then out west. Because at that time, in the be that I find myself working with singer- says, “Man, you oughtta check this cat late ‘80s, mid-to-late ‘80s, I was really songwriter guitar players. There’s a lot out. He’s happening,” or, “He might be involved with Joe Walsh, and Jackson, of that in my life. I’ve got Neil Young— right for your thing.” And then after a and Neil Young. Primarily, it would’ve that’s a prominent role in my life. Mark few years of that, you finally build up been Neil and Joe Walsh. So I was, like, Knopfler—prominent role in my life. enough of a reputation to where people ping-ponging between record projects Joe Walsh—prominent role in my life. begin to get an idea of what you can and tours with Joe and Neil. Jackson Browne and Bonnie Raitt, let’s do. And maybe it can be applied to sev- see—who else? There’s also Vince Gill. eral different genres, and not just one, EDGE: How has the scene changed in Nash- These are all singer-songwriter guitar you know. And that’s what I have been ville over the years since you’ve been there? players. And either I have a language blessed with. One day I’ll go and play on that they understand, or vice-versa. I’m a soundtrack to a film, and the next day CC: Well, it’s undergoing a really whole- not quite sure how that works but it’s I’ll be doing some hard-core blues date sale change right now. And what I’m no- not so much about the drumming thing, with somebody, and then the next day ticing is that the boundaries, musically, it’s more about the song thing. It’s more it’ll be Vince Gill, or Leanne Womack, seem to be shifting back toward artist about interpreting songs. or you know...I guess I never know singer-songwriters. Not necessarily to from day to day what I’m gonna walk just be traditional country, but there’s EDGE: So you attribute that to chemistry? into. I’ve seen it all. I mean, from a pop- evidence of even traditional country drumming standpoint, I should say, sort of making a comeback, as well as CC: Yeah. It’s definitely a chemistry and I’ve seen it all. I just did this instrumen- the sort of edgier singer-songwriter art- a conversation, a musical conversation, tal record with Chuck Lavelle. Chuck ists. For example, Miranda [Lambert]’s that has to happen, and is deeply root- is one of the original keyboard players record, if you listen to that, you’re go- ed in rhythm and blues. Being raised in in The Allman Brothers Band. He also ing to hear elements of Texas, like Texas Memphis throughout the ‘60s and ‘70s, had a band called Sea Level back in the Blues Shuffle stuff, you’re going to hear my school, in fact my teacher, was Jim ‘70s. He’s been with The Rolling Stones kind of a pop vibe and you’re going to Stewart, the guy who started Staxx Re- now for, like, twenty-five years I think. hear traditional country. It’s a really in- cords. Hammond, Wurlitzer and piano, that’s teresting mixed bag, and my take on that his thing. He’s a brilliant musician. And is that the young artists are just bringing EDGE: But Staxx is more an R&B thing? so I just did this jazz record with him. their influences to the table. And their I’m not a jazz player! But what I can influences can mean anything. And I’ve CC: Absolutely. Full-on R&B, yeah. do is I can interpret songs. I can bring always thought of country music as like something that I don’t even know how the white man’s blues, you know? And EDGE: So where you come from is defi- to technically explain to you, but it’s it seems like right now, that sense of nitely a different flavor from where you’ve just this organic, cellular feel. And I can country is beginning to kind of make its ended up. morph that into many different things. comeback. And then there’s the genera- tion that are just as likely to buy Ash- CC: Absolutely, absolutely. But the EDGE: Would you say that you played lee Simpson records, they might go and thread that goes through it all is still “jazz”, or that you did your interpretation of what you think jazz should be?

CC: I did my interpretation. I CHAD CROMWELL would never in a million years profess that I can play be-bop. As much as I’d love to, man, you know, that’s not me. I mean, I’m a fan of it, but only from a safe distance. That’s not my genre as a player. EDGE: Are you into jazz?

CC: As a fan, yeah, I love it. But that’s such a completely different discipline and technique. My thing is that all my patterns are built from the bass drum up, okay? And, like, in a be-bop kind of approach, as you well know, the bass drum is actually more of an accent than the actual fundamental groove. EDGE: Well yeah, in jazz, the groove comes from the ride cymbal.

CC: Absolutely. It’s all ride cymbal with accents. And that’s just not at all what my forté is. But, man, do I love listenin’ to it. I just love listenin’ to all those guys, like, [Ed] Thigpen, Elvin [Jones], and all those guys back in the day. Buddy Rich—all those guys. You know, there’s just too many to count. Absolutely astounding musi- cians. EDGE: Well, you’re taking a break, but you’re currently on the road with Mark Knopfl er. Getting back to songs, how much emphasis do you place on replicat- ing drum parts? I’m imagining you have to cop a ton of Dire Straits classics.

CC: I try to honor the parts that those guys wrote for those records, because there’s a feeling at the time those songs were recorded. And so, for example, when I play “Sultans of Swing” with Mark, that’s a very kind of jazzy-feeling track from the drum- kit. And it’s very on top of the beat, and very sort of light in style, lots of fi lls and a lot of movement in the kit. And that’s not my thing, really, but I took it upon myself to try to honor Collector’sSET-UP Series® SPECS: Maple Drums with that feel because it plays a large role Natural Lacquer over Mapa Burl Exotic in the way the song sounds. And if I and Chrome Hardware were to change the tack of the groove 14x22” Bass Drum on that song, it would change the 5x14” Aluminum Snare Drum way Mark is able to sing it. 8x10”, 9x12”, 14x14”, 16x16” Tom-Toms EDGE: Talk a little about playing with 9000 Single Pedal Neil Young. 9500 Hi-Hat Stand 9934 Double Tom/ CC: Well, playing with Neil to me Cymbal Stand (x2) is the ultimate soul music for white 9700 Straight/Boom men. And the reason I say that is I 7 Cymbal Stand (x3) 1 did two records with him. I did the 4

9300 Standard Snare 6 Freedom album, with a song called

Stand 5 “Rockin’ In The Free World” on it, 3

9100M Standard 2 and then I did this record called Neil Drum Throne 8

[ E D G E 6 . 0 ] 2 5 It’s not so much about the drumming thing, it’s more about the song thing. It’s more about interpreting songs. ...It’s like, “Alright, this is not about crafting a record here, man. This is about taking a picture of a song being born.” Young and The Bluenotes prior to that re- And so, on a broader scale, every time Shangri La record. Or if I needed it, I cord. I start a project with somebody, I try had the time confi gurations and cymbal to get as much insight into what we’re confi gurations that would allow me to EDGE: That was his blues record, right? gonna go for as I possibly can, ‘cause I’ll be playin’ “Money for Nothin’” on one cast a drumset specifi cally for that art- song, full-on blasting rock’n’roll on an- CC: Yeah, kind of a blues, big-band kind ist. And I do that all the time. I mean, I other song, and even jazz. of a thing, with his obvious signature on do that on country records; I’ll even cast it all. But yeah, just a blues record es- different drumsets for different country EDGE: So from jazz to heavier stuff, what sentially. But, the thing is with him, he artists based on their vibe. One artist do you look for in a snare drum? is the most “in-the-moment” cat I have may be a really, really hard rockin’ vibe, ever worked with in my life. And we’re where another artist may be incredibly CC: The snare drum. That’s the drum just in the middle of a project right now inside and wanting something that has with the most personality, so that gets a together—and I had forgotten, because almost more to do with sound effects little tricky for me [laughs] because this it’s been almost fi fteen years since we’ve than with just a backbeat drumset. So, goes back to early ‘20s Ludwig Stan- been in the studio together—but it sud- you know, everybody’s got their special dards or Black Beauties. And they sort denly came rushing back to me and it’s needs. And Mark’s thing, for example, of became my language on snare drum. like, “Alright, this is not about crafting we built a kit with an older, tradition- And then I got involved with DW, well a record here, man. This is about taking al kick drum vibe. I went to a 14x22” it’s ten years ago now, and all of a sud- a picture of a song being born.” I mean, kick drum for the backline set because den all these new opportunities for me right out of the gate, you know? And to the last record that we did, really sort sort of came along. And so, I’ve fallen just get as much of the gold dust as it’s of was recorded in the tradition of ‘70s into a thing where one day it’ll be an coming out as possible, and being hap- style recording, you know? Like The Edge snare drum, the next day it’ll be a py and willing to live with the mistakes Band, and from that era, and we even solid shell 7x13”, you know? Just differ- that come along with it. That is deep cut the record at the Shangri La studio ent kinds of approaches to snare drum soul shoutin’ for a musician, man. You right there on Pacifi c Coast Highway at than traditional, old-world methods. know, just hangin’ it out there. Zuma Beach. But what I’m leading up to is the VLT kit…. EDGE: When you’re being a chameleon and EDGE: So it’s a lot of mic bleeding and lot you’re changing the style of play, how does of live recording? EDGE: [laughs] You’re answering my ques- your gear and your set-up transition? For tions before I get to ‘em, but keep goin’… example, how do you change your set-up CC: A lot of bleed over, a lot open, a lot live versus studio? And how do you do it of natural compression… CC: Well, I’m gettin’ ready to. I’m gon- according to each artist’s needs and what na go with ya because, I’m tellin’ ya, you need for that particular gig? EDGE: So you’re not tracking, really, you’re I’m your poster child for VLT drums. just playing? They’re my sound. And that’s been a CC: Well, to give you an analogy, if I quest for me. You know, I’ve had some were going to go and do a be-bop ses- CC: We’re playing for performances. So great kits from DW, and I mean you sion, assuming that I could do that, then with that in mind, if I send out an 18x22” guys have been great with sortin’ me I probably wouldn’t send a 22” kick rock’n’roll kit, there’s no way sonically out. But man, when I got a hold of the drum and a 10”, and a 12”, and a 14” you’re going to be able to reproduce VLTs it was just like, “This is me. I want and 16” fl oor tom. I’d be more likely to what I did on the Shangri La record. So, to make noise about VLT.” And the send a 14x20”, 8x12” and 14x14”. You I built the kit up so that I could cover snare drums, I don’t know what’s up know, a little trap set that speaks to that everything from ‘70s style recording, in- with that, but they’re unbelievable. And style of playing and that type of music. cluding “Sultans of Swing,” or the new I’ve been using two kits on Mark’s tour, one of which is the big backline set, and I’m kinda waiting on my rock’n’roll then I use a smaller, jazzy kind of set for buzz. There’s just not really much going  a whole different part of the show. And on right now that’s killin’ me. ON THE the VLT is on that small kit for the whole set. And then recording, I’m using VLTs EDGE: What do you see yourself doing RECORD: all the time. It’s the fi rst time I played a next? Do you look beyond the projects that HARRY MCCARTHY: snare drum that gave me back what my you’re working on at the moment? Life on the road is tougher than ever old ‘20s Ludwigs do. these days. I recently told Chad that CC: You know what, this has been a some days I feel like an old athlete EDGE: Interesting, because the Ludwig very, very interesting time for me in how that doesn’t know when to hang it snares, the Black Beauties, obviously were a all this is coming together. I’ve gone up. I am very brass shell. through a real spiritual awaken- fortunate as I ing right now as a musician, as can pick and CC: That’s right. well as a human being. And that choose the would probably end up being a gigs I do. And EDGE: And VLT is a ... whole ‘nother topic to discuss an- with owning other time, but musically-speak- DrumDrum Para- CC: ...maple shell. But there’s something ing, man, I don’t know where I’m dise in Nash- in the feel of it. It’s the way when the headed. And that’s kind of been ville, I don’t It’s not so much about the drumming thing, it’s more about stick lands on it, and the grace notes, and the constant theme throughout need the road all the stuff that I do with a snare drum, my whole career. It’s like, if you but it’s in my you know? Because I’m a backbeat style would’ve told me in 1985 that I blood and I the song thing. It’s more about interpreting songs. ...It’s like, player, sound is everything. I need op- was going to live fi ve years later do it for the tions, you know? And it inspires me to in Nashville, Tennessee, and start fi nancial re- “Alright, this is not about crafting a record here, man. This is play in different ways. And when I got a playing country music, I’d’ve told wards. hold of the VLT drums, it got me into a you you were out of your mind. Chad and place that made me want to go down a And I totally dig livin’ here now. I will usually about taking a picture of a song being born.” different path. It wasn’t like, “Oh that’s There’s some really cool stuff discuss what different. Well, that’s kind of interesting. happenin’ in this town. I never he’s going Well, I don’t know if I can use that very expected to be back in the studio after before often, but, you know, I’ll reach for it oc- with Neil again, and here I am. I send his casionally.” And consequently, I’ve got Right in the middle of a project in equipment to like 40 snare drums. my home town. the studio, so his set up will depend on the proj- EDGE: We talked about some of the Staxx EDGE: Is this a whole new record you guys ect. He likes to play a 5-piece DW stuff early on that infl uenced you, but the are working on? kit in the studio: 22”, 10”, 12” and backside of that question is, what infl uences 16” with a 5x14” snare. you today? Do you listen to a lot of music? CC: It’s a whole brand new thing. He As far as his road set-up, he will just came [and] it was a very heavy ex- add a 14” fl oor tom and maybe a CC: I do. Not quite as much right now as perience over this past week. We got few extra crash cymbals. I’d like to, mainly because I’m a father, into these sessions and I’m really kinda Chad has always been open you know? And if I’m not workin’, then on the edge right now of really needing minded about trying different drum I’m bein’ a dad. So, listening to music ba- to chill for a while. I’ve been pushin’ too head combinations. I will suggest sically centers around what they’re into hard. I get off of this tour that I’m fried sending certain drums to a session listening to now, you know? So, when from, and I’ve got Neil waiting on me to but Chad knows what he wants to I’ve got the radio on, I’m hearing a lot of start recording. Well, I jump in the stu- use when he’s recording. On some hip hop, and I’m hearing a lot of Ashlee dio with Neil, and we’re recording these record dates he may be there for a Simpson. I’ve got young ones, nine and songs like mad, you know? Let me tell few days or longer so I may send twelve years old, and so they’re into stuff you— we cut the track, thirty minutes more than one DW kit with some that I might not necessarily reach for. later EmmyLou Harris is comin’ through additional snare drums and cym- But if I’m listening for my own pleasure, the door to sing background vocals and bals. I seem to be listening to a lot of Miles an hour after that, string players are ar- Chad is a very spiritual and Davis and Oscar Peterson right now… riving to do the strings. It’s, like, insane. soulful player with no ego. His which is not And so, you know, groove is serious and his approach my genre, where do I see myself to drumming is all about the song. but it’s like, in the future? I have He can play it all on the drums but “Man, this absolutely no idea. I you will never hear him over play- feels good just know I’m gonna ing in the studio or live. He contin- to listen to to go into it with both ues to have an amazing run here in this.” It gets eyes wide open and Nashville and outside of Nashville me in a good I’m gonna play my and that is quite impressive these place. And heart out. And if I can’t days. play my heart out—forget Harry McCarthy, drum tech and owner it! of Drum Paradise Nashville, Inc., has been working with many of the world’s leading drummers in the studio and on the road for over 20 years. His most recent tours include Bruce Springsteen and the E Street Band’s last two world tours.

[ E D G E 6 . 0 ] 2 7 LIVE! MÖTLEY CRÜE

WHEN THE BOYS IN MÖTLEY CRÜE DECIDED TO HIT THE ROAD ONCE AGAIN AFTER YEARS OF SIDE PROJECTS AND SOLO RECORDS, WE COULDN’T RESIST THE OPPORTUNITY TO CAP- TURE TOMMY AND HIS NEW CARNIVAL OF SINS TOUR KIT IN ALL OF ITS GLORY. DW PHOTOGRAPHER ROB SHANAHAN MET UP WITH SIR THOMAS AND HIS COHORTS IN AMERICA’S HEARTLAND TO BRAVE THE PYRO AND MAYHEM AND CAPTURE THE WILD SIDE OF ONE OF ROCK’S MOST INFAMOUS HOUSE- HOLD NAMES. [TO SEE MORE EXCLUSIVE PHOTOS OF TOMMY AND THE ORIGINAL LINE-UP IN ACTION, CHECK OUT THE “BACKSTAGE PASS” LINK @ WWW.DWDRUMS.COM.]

[ E D G E 6 . 0 ] 2 9 >DW DRUM NEWS NEW PRODUCTS AND INNOVATIONS

sories, such as an additional 912 Cym- BUILT-IN bal Arm, 2034 Cymbal Tilter Clamp or 2035 Percussion Mounting Arm (9.5 BOTTOM mm). The new 2030 Counterweight can also be added for balance and to extend DELIVERS cymbal arm reach. DW Founder and President Don ENHANCED Lombardi says, “Bottom line, we’re always trying to fi nd ways to make a LOW-END drummer’s life easier. With this stand, TONE several cymbals and percussion acces- VLT™ TECHNOLOGY NOW sories can be mounted in almost limit- COMES STANDARD IN ALL less ways with minimal hardware...it’s COLLECTOR’S SERIES ® all about options.” BASS DRUMS AND FLOOR TOMS Since its inception, Verti- cal Low Timbre (VLT™) has offered drummers in- creased low-end exactly Drum shell made with Built-In Bottom— verti- where they need it. Put cal VLT-style inner ply with standard outer and simply, larger drums core plies. sound even bigger without unwanted overtones, but with all the drums way, way down like I high-end attack and clarity Collector’s used to in the beginning because Series drums have always been known now the technology’s in there,” to provide. VLT is a concept that was comments Olsson. born out of experimentation with alter- Hear Built-In Bottom at your nate drum making woods that had in- authorized DW Drums dealer herently vertical grain patterns. All DW today, or to get the low-down on shells are cross-laminated for strength, this exciting new advancement in but by fl ipping the inner and outer drum technology, visit plies, there was less tension put on the www.dwdrums.com. shell, thus a lower fundamental. VLT is an option on Collector’s Series drums and can be ordered on fl oor toms 14” and larger and on bass drums up to 24”. 9702 MULTI “Some of our biggest artists are on tour STAND IS JUST with VLT kits this summer,” says Exec- utive Vice President and drum designer THAT John Good. He explains further, “Built- IT’S A HEAVY-DUTY CYMBAL In Bottom is another way for us to uti- STAND AND SO MUCH MORE lize VLT technology in every drum we Based on many of the design in- make.” Big-name players such as Neil novations that have made the Peart (Rush) and Nigel Olsson (Elton heavy-duty 9700 cymbal stand John) are already big proponents of the a touring requirement for the new drum-making concept. world’s top pros, DW recently So, what’s the difference between unveiled its versatile 9702 Twin VLT and Built-In Bottom? In a nutshell, Cymbal Multi Stand. Similar to the optional VLT feature utilizes verti- the 9700, the stand features over- cal plies on the inside and outside of the sized 1.25” tubing, dual-vise, in- shell, while Built-In Bottom only has tegrated memory locks, oversized vertical plies inside the shell. Now the tube joints and an even hardier sound the pros are calling a revolution- “Mega-Base” tripod for increased ary way to achieve even more low-end stability needed for multiple cym- response on stage and in the studio is bal set-ups. available to all drummers on every cus- The 9702 not only holds two tom Collector’s kit. “DW has put that cymbals, but can be confi gured tonal quality in there that I was always in almost limitless ways when paired with DW Factory Acces- looking for. Now I don’t have to tune the 9702 Multi Stand >DRUM>DRUM NEWSNEWS

Collector’s Series® Maple Drums with Rich Red Fade Hard Satin fi nish over Olive Ash Burl Exotic

Good is now pre-selecting all wood that for what we do here at DW.” New Se- SELECTSELECT TIMBERTIMBER will eventually fi nd its way to the DW lect Timber that’s Timbre Matched® is DW HIGH-GRADE NORTH custom shell shop. “It’s really the only available now on all Collector’s Series AMERICAN MAPLE AND BIRCH ARE way we can assure that all face material drums. METICULOUSLY HAND SELECTED is as beautiful as it can be. The beauty DW’s commitment to fi nding superior is that now we can really be certain that wood has reached new heights. Execu- a kit will have matching grain patterns HARD SATIN tive VP and resident woodologist John throughout,” explains Good. He con- tinues, “Our mills have always worked CONTINUES DW’S closely with us to get us the very best LEGACY OF HIGH- maple and birch, but now we’ve re- QUALITY FINISHES ally stepped it up a IN BETWEEN LACQUER AND SATIN notch. I personally OIL, THIS NEW PROPIETARY FINISH travel to the mill to IS PURE DW select logs and ve- Hard Satin is a completely new Collec- neer that are perfect tor’s Series fi nish type that can simply be described as a matte lacquer fi nish. It provides the durability of Lacquer and the understated elegance of Satin Oil. The proprietary lacquer process can be ordered in combination with any Collector’s Series shell confi guration, standard or custom color choices, or DW drum designer and Executive Vice President even with Graphics and Exotic fi nishes. John Good Timbre Matches Select Timber drum The possibilities are truly limitless and the look is pure DW. shells at the DW factory. (Continued on page 33) [ E D G E 6 . 0 ] 3 1 ������������������������������������������������������������������������������������� ����������������������������������������������������������������������������� ������������������������������������������������������������������������������ ������������������������������������������������������������������������ ������������������������

����������������������������������������������������� ������������������������������������������������������� ����������������������������������������

��������������� ������������������������� >DRUM NEWS ������ �������� ����������� AIR LIFT THRONES: ����������� THE BEST SEATS IN �����������

DWTHE has HOUSE added two pneumatically ad- justable models to its 9000 Series line of thrones, aptly titled “Air Lift.” The 9120AL Air Lift Tractor Seat and 9100AL with 14” traditional round throne top can be combined with an adjustable backrest (sold separately) for those players that de- sire back support. Air Lift thrones are con- structed using heavy-gauge tubing, solid ear castings, oversized rubber feet and a new, dual-foam construction, effortless pneumatic height adjustment system and upward folding base with sturdy four-leg design. NEW CYMBAL STAND above left: 9120AL Air Lift TTractorractor Seat ACCESSORIES ThroneThrone shown with optional backrestbackrest (sold separately) 10, 12, 13 and 14” LIGHTEN THE LOAD ® PERFECT FOR EXPANDING YOUR NEW above right: 9100AL Air Lift Throne True-Tone wires 9702 OR ANY DW CYMBAL STAND Originally designed to maximize the fl ex- ������������������������������������ ibility of the 9702 Multi Stand, DW’s new ��������������������������������������� selection of Factory Accessories also offers ����������������������������������������� drummers a low-cost way to accessorize ������������������������������������������� their existing DW cymbal stands. For ex- ��������������������������������������� ample, the SM2030 Counterweight can be �������������������������������������� added to the back of any DW cymbal stand ���������������������������������������� to extend boom length, while creating the �������������������������������������������� perfect balance for far-reaching cymbal ���������������������������������������� set-ups. The SM2031 “Puppy Bone” has a ����������������������������������������� pivoting stacker that mounts to any 1/2” ������������������������������������������ rod, and the SM2034 Cymbal Tilter are ��������������������������������������� both excellent for mounting small splashes ����������������������������������������� and effects cymbals. The SM2035 Percus- ���������������� sion Arm (9.5 mm) can be used in a multi- tude of ways to mount tambourines, cow Solid Brass clip accepts bells, tempo blocks and other percussion cable ties or mylar strap items. All are available wherever DW Fac- tory Accessories are sold.

SM2031 “Puppy Bone” Cymbal SM2030 Counterweight Stainless Arm, SM2034 Cymbal Tilter and shown on 9700 Cymbal Stand steel SM2035 Percussion Arm strands

��������������� ������������������������� >DRUM NEWS MAY’S NEW IN/EX BLEND MODULE HELPS DRUMMERS GET CONTROL OF INTERNALTHEIR MIKING SOUND MEETS EXTERNAL MIKING LIKE NEVER BEFORE The all-new MAY IN/EX blend module is a two input, one output, high head- room, Class A microphone preamplifi er designed by award-winning manufac- turer PreSonus Audio. The module is designed to mix two snare microphones (one MAY internal and any external) to- gether into one channel to achieve the ultimate snare tone for live performance and recording applications. The high- quality Class A preamps are designed to handle high SPLs delivering an open and tonally rich snare sound. Other features include microphone input gain on each channel, 48V phantom power THE SECRET TO TRUER SOUND, on one input, mix control (blend), phase INSIDE AND OUT. inversion, main output, headphone out- Above: Snare drum cross section showing put and fast-acting analog VU meter. It’s internal MAY XL57SD with external Shure an exciting new tool to help drummers SM57. Left top: IN/EX module front panel combine the best tonal characteristics of featuring analog VU meter and headphone both internal and external miking. jack with built-in preamp. Left bottom: Back ToTo see the full line of MAYMAY inter-inter- panel showing phantom power to accommo- nal shock-mounted microphones,microphones, visit date condenser microphones. Below: IN/EX www.dwdrums.com.www.dwdrums.com. module attached to tom stand via convenient mounting bracket (sold separately). >DRUM>DRUM NEWSNEWS NEW LINE OF PRACTICE PRODUCTS MAKES PRACTICING ANY PLACE, ANY TIME THAT MUCH DEADHEADEASIER™ PRACTICE PADS ALLOW FOR QUIET, YET REALISTIC, PLAY DeadHead™ pads are part of a com- plete line of drum practice products available from DW Smart Practice™. These extremely versatile pads can be placed directly on top of any drumset, providing realistic rebound with a low- volume, yet audible pitch. “Seldom do pads mimic the high-to-low pitch tonal- ity of a drumset. It’s a valuable tool for effective practice,” states DW President Don Lombardi. Outfi t an entire drum kit for practice DeadHead pads are versatile be- with the DeadHead™ Complete Package. cause they can be placed on the kit, in a snare basket, on a table top, or just about anywhere, while the Bass Drum ™ Practice Pad mounts easily to any 20- SMART PRACTICE 24” counterhoop via rubber-coated PACKPACK ISIS A STUDENT’SSTUDENT’S clamps. The bass pad provides excep- DREAM tional feel and the ability to use a pedal The Smart Practice™ one is used to playing. DeadHead pads Pack is a convenient are available in a 4-piece set complete practice solution that with 10”, 12”, 13” and 14” pads (the 14” comes with a 12” Dead- pad is also sold separately). Head™ Practice Pad, Also new from Smart Practice are snaresnare stand, drum-drum- DeadHead cymbal pads. The 5-piece sticks and a carrying set includes two crash cymbal pads, one bag. It’s everything a ride cymbal pad and top and bottom beginner or working hi-hat pads, and the 2-piece set comes player needs to warm with one crash and one ride cymbal up or just polish up pad. Both feature a foam rubber surface on the fundamentals. to completely muffl e the cymbal, while “We“We confi guredgured this still allowing maximum rebound. The pack with both drumdrum 4-piece DeadHead pad set, 5-piece cym- instructors and stu- bal pad set and Bass Drum Practice Pad dents in mind, explains are also available together as the Dead- Lombardi.Lombardi. “We“We reallyreally Head Complete Package, designed to wanted to have an all- outfi t an entire set (shown above). in-one practice kit at an affordable price.” GO ANYWHERE ™ PRACTICE KIT IS A NEW TAKE ON A FAMILIAR IDEA The newly-developed Smart Practice Go Anywhere™ Kit (shown at far right) is designed to easily set up for on-the- go or small-space practice applications. Great for beginners and perfect for warm-up, the fi ve pads have a durable rubber surface designed for realistic feel and natural rebound. Any existing bass drum pedal can be mounted directly to the stand to avoid creep on non-carpet- ed fl oors. A durable nylon-carrying bag for the Go Anywhere set is sold sepa- Marco Minnemann perfecting his mon- rately. ster chops on the portable Go Anywhere™ Practice Kit. Smart Practice™ Pack [ E D G E 6 . 0 ] 3 5 ������������ ���������������� ��������� ��������������

�������������������������� Few bands in recent memory have made their mark on the scene like Queens of the Stone Age. With their latest effort, entitled Lullabies to Paralyze, debuting at number five on the Bill- board charts, the roller coaster ride is just beginning for heavy hitter Joey Castillo. Here’s your ticket to ride along with Joey as he shoots QOTSA’s latest video and plays a sold-out show in his hometown of L.A. Join the tour bus for more Backstage Pass at www.dwdrums.com

[ E D G E 6 . 0 ] 3 9 >DW DRUM CLINIC CONTEMPORARY DRUMSET BYTECHNIQUES RICK LATHAM

THAT CONTEMPORARY MUSIC IS PLACINGWE CAN GREATER ALL DEMANDS AGREE ON DRUMMERS OF ALL MUSICAL STYLES. WHETHER IT’S HIP-HOP, POP, FUNK, ROCK, FUSION, BLUES, LATIN OR JAZZ, Get Rich STUDYING FUNDAMENTAL TECHNIQUES, SUCH AS DOUBLE STROKES AND GHOST STROKES, WILL BE HELPFUL IN REACHING YOUR GOALS. BELOW ARE Quick SOME USEFUL CONCEPTS TO GET YOU STARTED. Check out the groove Ex. 11 and 12. After you have a chance to play through these brief exercises, I’m sure you’ll see how these techniques can be incorporated to bring about some great new and innovative grooves, patterns and fi lls of your own. Have fun and re- member to always practice slowly and consistently at fi rst, gradually bringing things up to the desired tempo. Groove on! First, let’s discuss the left hand. It’s al- These concepts and exercises are taken ways a good idea to build strength in from Rick’s books “Advanced Funk Studies” both hands. Try playing hi-hat patterns and “Contemporary Drumset Techniques.” with Buddy’s 2-sided Pad that you now play with the right hand, More intensive study of these concepts can with the left hand instead. (Ex. 1) be found in these books as well as the accom- Now every aspiring drummer can practice Notice how playing the hi-hat with panying 25th Anniversary DVD. on a pad that features Buddy’s vintage White the left hand frees the right to move Marine look and signature “BR” badge. around the kit, as illustrated in Ex. 2 ABOUT THE AUTHOR and 3. Rick Latham is a drumset artist perform- Two distinct playing Also, practice hi-hat opening exer- ing, recording, producing and teaching surfaces are cises with the left hand (Ex. 4 and 5). in the Los Angeles area since 1984. Once incorporated to Now, let’s look at a technique bor- a featured member of The Edgar Winter develop both rowed from our rudimental tradition. Band, Rick is currently the founder and speed and This technique utilizes basic double driving force of his own contemporary jazz endurance. strokes. Notice in Ex. 6 and 7 how com- “supergroup”, Rick Latham and the Groove Start with a mon rhythmic fi gures take on a new Doctors. Throughout his career Rick has warm-up on sound and feel through the use of dou- performed with B.B. King, Quincy Jones, the black foam bles. Neal Schon and Pat Travers, among many You can see and hear how these others. rubber side. Then, doubles are used in the groove patterns fl ip it over to build in Ex. 8, 9 and 10. speed, sensitivity and Now, let’s look at “Ghost Strokes” control on the realistic-feeling, quiet or “Ghosting” a stroke, as it is some- rubber side. times called. A “Ghost Stroke” is more implied, rather than an accented or un- Play the Buddy Rich pad on any fl at surface, accented note. Played very softly, it is place it on top of any drum or mount in any almost inaudible compared to the other standard snare stand to practice backstage, strokes in a pattern. A good example of at a lesson or on the go. It’s the perfect this concept is shown in the fi gure be- practice solution for all ages and skill low. levels! Free DVD included! The hi-hat on the “and” of the beat should be barely audible, so that it sounds like the fi gure below. >DW DRUM CLINIC EXERCISES

EX. 1 EX. 2

EX. 3 (SAMBA)

EX. 4 EX. 5

EX. 6 EX. 7

EX. 8

EX. 9

EX. 10 To hear Rick play these exer- cises and to download a larger print version, go to: www.dwdrums.com/eddept/

EX. 11 EX. 12

[ E D G E 6 . 0 ] 4 1 TOM MY PLAYS DW 9000 PED 9000 SERIES ® PEDALS www.dwdrums.com ©2005 Drum Workshop, Inc. ALS CLASS IN

SET-UP SPECS: 6 Pacifi c LX Series Maple drums in Regal-Royal Fade 9

1

3 18x22” Bass Drum

7 5x14” Snare Drum 8

4 8x10”, 12x14”, 14x16” Tom-Toms

2

1 0 5 SP900 Single Pedal HH920 Hi-Hat Stand CB900 Straight/Boom Cymbal Stand (x3) DT900S Standard Drum Throne SESSIONCURT BISQUERA WORKING WITH A-LIST MUSIC SUPERSTARS IS NOTHING FOREIGN TO CALIFORNIA STUDIO CAT CURT BISQUERA. FROM SESSIONS TO ARENA TOURS TO FEATURE-FILM SOUNDTRACKS, HE’S DONE IT ALL. >>> EDGE: First question, describe what you’re have to be able to read to some degree. started to produce with Boz Scaggs right wearing. before his untimely death, unfortunate- EDGE: You’re known as a live player, and ly. But he brought me in on that, and he Curt Bisquera: I’m wearing a Dogtown you’re also known as a studio and session was recommending me prior to that to a Skateboards long-sleeve hooded sweat, guy, and maybe even a “cat.” How does that lot of other producers, songwriters and my grey Dickies 874s, and low-top Con- happen? How did you get your foot in the arrangers, and getting me on some re- verse, black and white. door? ally cool, high-profi le session gigs. EDGE: Talk a little bit about the early stag- CB: I graduated two months early from EDGE: Whether it’s an artist, producer es of playing drums, your history, and about PIT when I auditioned for Morris Day or tech, what are some of the tips that you your music education. & The Time. And I got that gig when I can give people about being personable and was nineteen. And I did the R&B/Funk adapting to different personalities and situa- CB: I started playing drums when I was touring circuit for fi ve years, and then tions? Because you’ve played with a variety three years old. I started pounding on my fi rst session was with Bonnie Raitt of artists, both live and in the studio, and pillows and pots and pans, and I got on the “Luck of the Draw” record with you’re dealing with engineers and produc- my fi rst drumkit when I was fi ve. And I Don Was producing. And it was from ers who have strong opinions about things, was playing in nightclubs at the age of that session on where I started doing how do you relate? eleven with my mom who is a B3 and more sessions, and it became word of piano player. And I was playing in the mouth real quick. And just hanging out CB: Well, you just try to give them what Central Coast area, Santa Maria and San at the studios, going to Ocean Way and they’re looking for and try to make Luis Obispo, playing in nightclubs at Capitol, and seeing who’s there and suggestions and be as musical as pos- the age of eleven on the weekends. getting to know the guys who were in sible. No matter which type of artist the game at the time. I’m working with, I always try to un- EDGE: You’ve had formal drum training, derstand what they’re listening to these so how did you get from point A being the EDGE: So, when you were hanging out at days, what their infl uences are, where family drummer to something you were the studios, did you go in there with friends they’re coming from artistically and try more serious about? who were engineers, or friends who had ses- to follow within that vein of drumming, sions, or were you just kind of trying to be yet stay out of the way of their creative CB: I graduated high school, and I was in the scene? idea ‘cause in the end it’s their record. working at a grocery store and had Even though you’re drumming on it, saved up some money because I saw an CB: I was just going by myself and it’s their vision and you have to help ad in “Modern Drummer” magazine for hanging out. Mostly to kind of just ab- them see their vision to the end. Percussion Institute of Technology in sorb the vibe of what was happening in Hollywood. So I worked for two years the studio. ‘Cause it was one thing play- EDGE: So, sounds like you do a fair amount and then had enough for my tuition to ing live, and I know how to do that, but of research. Do you put in some time listen- go to PIT in ’84. to play the studio scene is a different ing to that style of music and mastering type of energy. It’s as intense as play- that style? EDGE: How comprehensive was that pro- ing in front of thousands of people, but gram? it’s controlled to the point where there’s CB: Absolutely, ‘cause I think in music microphones all over you and they can we’re always infl uenced by other styles CB: It was a year-long intense, intense, hear your breathing. That’s how intense of music, whether it’s brand new or re- intense, intense program that, for me, the studio thing is, so I wanted to know ally old, and it just gets re-hashed into was just about reading, ‘cause I was al- what it took to become a studio player. this new form. So you always have to ready kind of a street player who knew Not just in the reading and the technical keep abreast of what’s happening, you different styles, but I wanted to be able aspect of it, but what you had to be, in know, in this moment. In the skate- to read and write what I was playing. terms of the person, to be in an enclosed board community, which I’m a big part So for me, it was very intense because I room all day long. of, there’s lots of music going on that’s had to learn drumming all over again. new for me, that’s really happening. So, EDGE: Did you have somebody who was a you have to just keep up on it and listen EDGE: So obviously, for what you do now, mentor, someone teaching you the ropes? and look and be willing to learn. And that was really important. not stay stuck. CB: Defi nitely. Jeff Poccaro played a CB: Absolutely. To be a studio player huge role in bringing me in on sessions. EDGE: What about engineering? Do you and play different kinds of music you He brought me in on a record that he do that as well? [ E D G E 6 . 0 ] 4 5 People paid a lot of money to come see the artist you’re play- ing behind, and they want it to sound like the record. And when you’re making a record in the studio, you want it to be the end- all signature drum sound.

CB: Yes, I operate ProTools and Logic the end-all signature drum sound—sig- Abe, creatively and otherwise, and why you and have recorded and produced a few nature licks, signature sound—so they guys vibe together so well. records of my own, as well as some oth- kind of come hand in hand. er artists’. CB: Abe is defi nitely my drum brother EDGE: How often have you done a record as well as a personal brother. We just EDGE: Does that affect your drumming in in a studio for an artist and then toured for share so many things. We love all the any way? In other words, does that change that same record? It seems like oftentimes same things, the same things make us the way you play your instrument? you’re on the live gig and somebody else has laugh and the same things make us cry. done the record, or you do the record and But drumming-wise, I think we’re en- CB: Yes. By understanding the program somebody else does the live thing. How of- tirely different in terms of where he’s or platform that the engineers are us- ten does that cross over? come from and where I’ve come from, ing, I can gauge how fast or how slow our backgrounds, you know. His father I need to go. Because I know ProTools CB: There’ve been a few records with is a very, very well-known bass player, and Logic, I know what they’re going Elton and with Tom Petty and Mick Abe Laboriel, Sr. So, I came up listen- for. I know what to play and for how Jagger. Those three records were both ing to his dad playing with Steve Gadd. long, so they can get their end result recorded then toured. But mostly, I ei- So I came up listening to those guys, as and chop up, edit and do what they ther come in before or after the fact, you well as Abe did, but Abe was also infl u- need to do. Or if they’re going for takes, know, when the record is done. Or they enced by the stuff that he was groovin’ then I know that I have to nail it on the had another drummer record and I’ll to—a lot of the metal stuff and punk. fi rst take so the project can go by faster come in and do the tour. So, it’s usually And so we have that affi nity for one and the artist can be more creative and 50-50 where I’m spend more time on the songs. the touring and recording guy, or EDGE: You’ve toured with Elton, you’ve the recording guy toured with Tom Petty, Mick Jagger and or the touring guy. a long list of names, but, as we’ve talked It depends. about, you’re also a “go-to” studio player. Do you have a preference, or do you like EDGE: Many things for different reasons? people outside the drumming commu- CB: I love playing in front of 90,000 nity may not know people in the stadium, and I love the that you and Abe scrutiny of being in a studio and being Laboriel, Jr., are like asked to perform and execute precisely. brothers. You guys By the same token, they’re one and the have very similar same because people paid a lot of mon- personalities and ey to come see the artist you’re playing relate in a very close behind, and they want it to sound like way. Give us some the record. And when you’re making a insight into your record in the studio, you want it to be relationship with another, respecting each other’s taste in CB: Things usually just come to me and music and food, so it just all goes hand I prefer it that way. I’m not one to dig SELECTED DISCOGRAPHY: in hand. And the thing about Abe and and search, and seek and destroy for 1991 Bonnie Raitt: Luck of the Draw 1991 Seal me is if I can’t do a gig, he’ll cover for gigs. I tend to just allow them to come to 1991 Paula Abdul: Spellbound me. Or vice-versa, if he can’t do one I’ll me and that seems to work best ‘cause 1992 Original Soundtrack: Toys cover for him because we can play each I’m not that good of a self-promoter. 1993 Elton John: Duets other’s style but add our own fl avor to But whatever comes my way seems to 1993 Dave Koz: Lucky Man it, as well as take it in an entirely dif- always be the right gig. So, you know, 1993 Aaron Hall: Truth ferent direction because we make mu- I see myself in the next couple of years 1993 Mick Jagger: Wandering Spirit sic together. We played in Chocolate playing some huge arena gig again in 1993 Tina Turner: What’s Love Got to Do Genius together, switching off on bass the States, and maybe a record follow- With It and drums, so I think that really helped ing behind that. I don’t know who yet, 1994 Original Soundtrack: Reality Bites 1996 Celine Dion: Falling into You solidify our relationship both musically but I’m sure that’ll be coming up soon. 1996 Tom Petty & the Heartbreakers: and as friends. Songs and Music From “She’s the EDGE: Do you have advice for guys coming One” EDGE: Let’s move into gear for a little bit up—you know, guys that want to follow in 1996 Johnny Cash: Unchained and talk more specifi cally about how much your footsteps and start stealing your gigs? 1998 Chris Isaak: Speak of the Devil gear you keep in your studio and live ar- [laughs] 1998 Ricky Martin: Vuelve senal. Also, what are your favorites—the 1999 Boz Scaggs: Fade into Light items you use on a regular basis? CB: Absolutely. Listen to as much music 1999 Shawn Mullins: First Ten Years as you can. Don’t be prejudiced about 2000 Celine Dion: Collector’s Series, Vol. 1 CB: Right now, my go-to kit is a Pa- any music because you could pull from 2000 Original Soundtrack: Coyote Ugly People paid a lot of money to come see the artist you’re play- cifi c kit. And this kit smokes so many all of it. Right now, I’m listening to a lot 2000 Elton John: One Night Only drum kits out there it’s not even funny. of speed metal. I fi nd that these guys 2000 Original Soundtrack: Road to El ing behind, and they want it to sound like the record. And when I’ll show up at the studio and the engi- have seriously thick, funky grooves go- Dorado neer is like, “What kit is that?” And I’m ing on. With all of that madness going 2000 Ricky Martin: Sound Loaded like, “Man, this is my Pacifi c LX Series, on with the kick drums, behind that is 2000 Nelly Furtado: Whoa, Nelly! you’re making a record in the studio, you want it to be the end- baby!” And they’re like, “You’re kid- a serious funky backbeat. A lot of my 2001 Various Artists: 2001 Latin Grammy ding me!” And they just fl ip about that. friends disagree, but that’s what I’m Nominees And they come out and look at it and hearing in it. 2001 Josh Groban all signature drum sound. 2001 Original Soundtrack: Legally Blonde hear it, and they’re just so blown away. 2001 Krystal: Me and My Piano So that’s my go-to kit right now. I have EDGE: And a lot of chops. 2002 Christopher Cross: Very Best of my arsenal of snares, and, of course, Christopher Cross the Edge is always the one that goes up CB: A lot of chops. And I have much 2002 Jeff Lorber: Very Best of Jeff Lorber fi rst. And there’s this new hi-hat com- respect for that. I mean, I can’t play a 2002 Nelly Furtado: Whoa, Nelly! [Bonus ing out, the remote hi-hat that you will drum solo to save my life. But these Tracks] be unleashing soon... guys, I have such respect for them be- 2003 Bonnie Raitt: Best of Bonnie Raitt on cause they’re technically happening Capitol 1989-2003 EDGE: The Universal Hi-Hat... and their sounds are happening, and 2003 Heather Sullivan: Bound 2003 Shawn Mullins: Essential Shawn I’m pulling from that and learning that Mullins CB: The Universal Hi-Hat that both Abe I could apply that to my pop recordings 2003 Johnny Hallyday: Parc des Princes and I helped R&D. I think this is gonna or my pop gigs, and I try to pull that in. 2003 Melanie C.: Reason change the way drummers play drums So, my suggestion is to listen to as much 2004 Original Score: Bourne Supremacy ‘cause it’s a remote hi-hat, but it’ll add music as you can and not be prejudiced 2004 Elton John: Dream Ticket another musical realm to your drum- to any sort of music. And have as big 2004 Lionel Richie: Just for You ming. ears as you can and try to play different 2004 Original Soundtrack: Reality Bites: types of music ‘cause that’ll help you 10th Anniversary Edition EDGE: Do you have a typical studio set- appreciate the music that you really do 2005 Original Score: Robots 2005 Various Artists: Smooth Jazz Plays up? love. Your Favorite Hits CB: Yeah, my studio set-up usually consists of the “two-up, one-down.” So again, with the Pacifi c kit it’ll be a 10”, 12”, 14”. >FOR MORE ON CURT EDGE: What bass drum pedal are you us- AND YOUR FAVORITE DW ing these days? ARTISTS, INCLUDING SET- CB: 9000. Loving it. 9000 and loving it. UPS, TOUR DATES, MUSIC, PICTURES, DESKTOP EDGE: Have you messed with it WALLPAPER, BACKSTAGE quite a bit or is it factory settings? PASS AND MORE, CHECK OUT CB: Out of the box, factory settings, rul- WWW.DWDRUMS.COM. ing! That’s the bottom line. But it’s al- ways been that way, ever since the 5000 pedal, you know. Before I was even an endorser for DW, I was always a big fan of the 5000 pedal. And out of the box it was always right. USHER:USHER: CONFESSIONSCONFESSIONS (2004)(2004) EDGE: What’s your next dream gig? Where do you see yourself in a couple of years? [ E D G E 6 . 0 ] 4 7 >PACIFIC DRUM NEWS NEWNEW PRODUCTSPRODUCTS ANDAND INNOVATIONSINNOVATIONS

the retainingretaining plate, replacingreplacing the tradi- B.O.A.: NOT YOUR tional hinge. The resultresult is a pedal with fewer moving parts, mor moree dir directect r re-e- ORDINARY PEDAL sponse and completely silent action. NO SPRING. NO HINGE. YET FULLY YouYou might say the B.O.A. is fl exible ADJUSTABLE. HOW DOES IT WORK? in mormoree ways than one. Using a combi- Only the patented technology of Flex- nation of settings at the cam and Bow Tech™ makes such an idea possible. Action retainingretaining plate, the B.O.A. can The result of years of intense research be tweaked in almost limitless ways. and development, the B.O.A. pedal sys- Whether you desir desiree longer thr throw,ow, ad- tem is a new concept that embraces feel, ditional torquetorque or varied rebound,rebound, all quickness and power and defi es tradi- can be easily accomplished using the tional pedal theory. providedprovided standardstandard drumdrum key and hex So, what is B.O.A. tech- wrench.wrench. Even B.O.A.’s toe nology? B.O.A. means Bow clamp mechanism can be Oriented Action and there slid back and forth to com- are no springs or hinges, pensate for varying bass because they’re simply not drumdrum hoop depths. needed. The footboard is The B.O.A. pedal sys- made from a unique com- tem isn’t just about fl exibil- posite material called Flex- ity.ity. The absence of a spring and hinge, Tech™ and acts as the spring and hinge and the use of a frictionless ball-bear-ball-bear- all in one. Flex-Tech™ material is made ing axle make this pedal completely to fl ex many, many times without wear, silent. The adjustable dirdirect-driveect-drive cam all while enduring incredible amounts (A) rreduceseduces play in the throwthrow of the of stress. It’s the same material the au- beater,beater, allowing for mormoree prprecisionecision tomotive industry has used for years to and contrcontrolol while eliminating the make leaf spring suspension systems noise of a conventional chain for cars and trucks. drive pedal. So, how does it work? Tension is The pedal comes adjusted where the footboard meets the standardstandard with the Bow Action retaining plate. Sliding the dynamic range B.O.A. footboard forward creates less tension; HardCore™HardCore™ beater Single Pedal with sliding it back into the retaining plate (B). Played softly,softly, HardCore™ beater creates more tension. The footboard is the beater’sbeater’s r rub-ub- designed to fl ex at the point just above ber outer layer hits the drumheaddrumhead similar to a felt beater beater.. Played harder, the hard plastic core hits the drumhead and sounds like a hard beater. The B.O.A. 900 Series Hi-Hat incorporates the same technology as the bass drum pedal, as far as the fl exing footboard and tension adjustment. The hi-hat’s chainless A linkage makes for a more silent, precise action. Up top, the hi-hat features B the same cymbal seat ad- justment as the DW 5000 Series hi-hats. Both are now available at authorized Pacifi c dealers, or visit www.pacifi cdrums.com B.O.A. 900 Series Hi-Hat to learn more. Pacific Drums and Percussion www.pacificdrums.com >PDP>PDP DRUMDRUM NEWSNEWS

LXE in Charcoal Fade lacquer

with a heavy-duty 900 Series hardwarehardware Remo heads, non-drilled 10-lug bass LXE:LXE: PACIFICPACIFIC pack and available 8” and 16” add-ons. drumdrum and PDP’s signaturesignature oval lug. Packing all the featur featureses of PDP’s The 4-piece kits come complete with TAKENTAKEN TTOO THETHE top-of-the-line LX Series with an excep- a 9x12” FF.A.S.T.-sized.A.S.T.-sized rack tom, 14x16” tional fi nish, LXE has a serious sound fl oor tom on legs, 18x22” bass drum,drum, NEXTNEXT LEVELLEVEL that rivals much moremore expensive offer-offer- matching 6x14” snaresnare drumdrum and 8.155 EXOTICEXOTIC FINISHESFINISHES NOWNOW AVAILABLEAVAILABLE ings. hardwarehardware pack. The lacqueredlacquered kits areare The all-new LX Exotic Series is an 8-ply FromFrom the moment you sit behind offeredoffered in either Cherry Red or TobaccoTobacco all-maple shell fi nished in stunning Ku- an all-new LX Exotic, you’ll realize that Fade. 8x10”and 12x14” (suspended or rillian Birch with a fl awless Charcoal to this is no ordinary drumkit. It’s Pacifi c’s with legs) add-on toms are also avail- Natural Lacquer Fade. The drums come all-maple series taken to the next level. able. in a standard 5-piece kit confi guration Serious hardware, all-birch shell, lacquer fi nishes. Make no mistake— FXR SERIES FXR is built to rock. BUILT TO MX SERIES ADDS 4-PIECEROCK ALL-BIRCH, LACQUER FINISH ROCK EMERALDCUSTOM AND TOBACCO LOOKS FADES JOIN SET-UPS THE LINE-UP OF MATTE FINISHES The new FXR Series fea- In addition to Deep Red, Sea Blue, Baja tures bigger sizes and an Gold and Deep Purple, the line of MX all-birch shell, providing Series drums are now available in two plenty of high-end artic- striking new fades: Emerald to Black ulation to cut through at and Natural to Tobacco. Based on DW’s loud volumes. In addi- Collector’s Series® Satin Oil, the fi n- tion to being perfect for ishes are applied during a two-part pro- rock performance, FXR cess that includes hand applying a base drums pack a host of coat, then spraying an additional color professional features, in- to create the fade effect. cluding S.T.M. (Suspen- “Fades have traditionally been as- sion Tom Mounts), True- sociated with more expensive drum kits FXR in Tobacco Fade lacquer Pitch™ tension rods, in the past. We oftentimes highlight an >PDP DRUM NEWS FS SERIES STMS,UPGRADED HEAVY-DUTY BASS DRUM MOUNT AND REMO HEADS ARE NOW STANDARD ON FS SERIES The popular FS Series is packed with new pro features. The entry-priced sets, which already feature an all-birch shell in Drum Workshop’s trademark F.A.S.T. sizes, now come standard with STM (sus- pension tom mounts), newly designed heavy-duty ball-and-socket BDM (bass MX in Natural to Tobacco Fade drum mount) and Remo heads. In addi- tion, the set comes complete with an all- new 8.155 hardware pack that includes Exotic using a fade,” comments John a CB800 straight/boom cymbal stand, Good, DW Executive VP and drum de- CS800 straight cymbal stand, HH800 Ebony FS with upgraded STM mounts signer. He adds, “We’re so incredibly 3-leg hi-hat, SS800 snare stand, AC991 excited to bring these custom-looking accessory clamp and SP450 pedal. The fi nishes to our factory in Baja...There’s upgraded hardware now boasts heavi- like sportier badges. Now we’re includ- no end to what we can do down there, er-gauge tubing and integrated memo- ing a much more substantial hardware and we’re really just getting started.” ry locks. pack and pro STM tom mounts. It’s a All MX Series drums come in Good explains, “We started with really great bang for the buck.” F.A.S.T.-sized 5-piece kit confi gurations the best price for an all-birch shell, and (8x10”, 9x12”, 11x14” with 18x22” kick each year we’ve continued to upgrade and 5x14” matching wood snare). 7x8” our value-priced kits. First, it was PDM and 14x16” add-ons are also offered. (Pacifi c Drum Mounts) and small details

����������������������������������� ����������������������������������������������������������������������������������������� >PDP SPOTLIGHT OMAR PHILLIPS

OVER THE YEARS, ATLANTA HAS BECOME SYNONYMOUS IN THIS INSTALLMENT OF PDPWITH SPOTLIGHT, WORLD RESIDENT HOTLANTACLASS DRUMMER HIP-HOP AND PERCUSSIONIST AND R&B.OMAR PHILLIPS SPEAKS ABOUT HIS GEAR, GIGS AND HOW TO GROOVE WITH A LITTLE “COUNTRY FUNK.” >>>

EDGE: You are a busy man these days. few more European OP: It’s a country What’s been your focus over the past few shows scheduled. We “It’s a country feel. feel. It’s almost like months? pretty much stayed It’s almost like a a hillbilly groove but in Europe for the bot- it’s funk at the same Omar Phillips: The past few months tom half of last year. hillbilly g roove time. There’s a dif- have been spent fi nalizing a drum loop So, overall, I’ve been but it’s funk at the ference in how the 2 project co-produced with my partner, involved in a number lays into the 2 and the Juan “Tall Boy” Adams. It’s the fi rst re- of different things. same time. There’s 4 lays on the 4, if that lease under our new production com- a difference in how makes any sense. It’s pany entitled Funk Junkyz Productions. EDGE: Has Atlanta’s the 2 lays into the something about the Also, we wrapped up co-producing exploding music scene side stick—primar- Donnie’s follow-up project to his fi rst seen an infl ux of new 2 and the 4 lays on ily, the syncopation of release, The Colored Section, for Giant drummers? the 4, if that makes the side stick. A prime Step Records. It’s pushing the gate even example would be the harder than his fi rst CD. OP: I honestly don’t a ny s e n s e . I t ’ s music of Outkast. My When I’m home, I also spend a sig- get to stay up on a lot something about brother and fellow Pa- nifi cant amount of time working with of what’s going on the side stick—pri- cifi c Drums artist, Vic the Red Zone Production Company. with the local scene Alexander, and I have I do a lot of pop records, mostly in a since I’m on the road marily, the synco- recorded for a few of ghost drumming format, for the likes of so much and am a stu- pation of the side their albums what we Britney Spears, Suga Babes, P Magnet, dio hermit when I’m call “country funk” or Mya...all sorts of artists. Also, I’ve been home. The only time stick. A prime ex- “ATL funk.” It’s some- blessed to stay busy with Arrested De- I’m really out there ample would be the thing I’m very proud velopment. We released an album this is when I’m gigging. music of Outkast.” to be a part of. Over- past September in Germany entitled However, there are a all, you’ll fi nd that Among the Trees, and it actually picked couple of cats. In par- each region has their up very nicely, spreading through Aus- ticular, there is a broth- individual fl avor of tralia and Japan. We’ve also been spend- er of mine by the name of Che Marshall. hip-hop and other music. As long as it’s ing a lot of time on the road. We did two He’s killing these days, and he’s a real good music, it’s all cool with me. weeks in Australia and we just fi nished cool cat. Jorell Flynn is another brother two weeks in Ja- who I’ve truly enjoyed playing percus- EDGE: You’ve been recording and tour- pan, and we sion with on the Funk Jazz Café series. ing with your Pacifi c LX Series drums for actually Tricky Stewart is also knocking hard years. What’s been the response from sound have pockets in the studios these days. engineers? a EDGE: What’s the difference between south- OP: Everybody loves them because of ern R&B and hip-hop vs. what we’re fa- how full they sound. It’s the warmth

6 9 miliar with from either coast? of the maple shells. Some drums, even

1 3 with thick, clear

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8 heads, can sound a

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1 0 5 PDPSET-UP LX Series Maple SPECS: Drums in Natural Lacquer cifi c drums haven’t 18x22” Bass Drum done that. I’ve lit- 5x14” Bronze Snare Drum with Maple counterhoops erally had these 8x10”, 12x14”, 14x16” Tom-Toms drums in every con- SP900 Single Pedal text you can think HH920 Hi-Hat Stand of—outdoor are- TS990 Double Tom Stand (x2) nas, studios, smoky CB900 Straight/Boom Cymbal Stand (x2) jazz clubs—and the DT900 Standard Drum Throne sound is sustainable in every scenario. 5 2 [ E D G E 6 . 0 ] Blackout��������� �Series����� Snare������ �Drums����

I’ve been touring with the same kit for the last two years, with both Donnie CREDITS: and Arrested Development, and they ARRESTED DEVELOPMENT look and sound just as good as the day I took them out of the box. DONNELL JONES DONNIE EDGE: Do other drummers comment on GOODIE MOB your sound? INDIA.ARIE JAGGED EDGE OP: Always, and I owe a big part of that to the Pacifi c and DW accessories. I use JERMAINE DUPRI your wooden rim on a bronze snare KEITH SWEAT drum, and it’s given me a unique iden- MICA TWINS tity that I never would have dreamed OUTKAST of. So yes, I receive a lot of positive P MAGNET feedback in reference to the gear and the sound that I’ve been able to develop RED ZONE PRODUCTIONS and own because of it. USHER EDGE: What’s your “go-to” snare?

OP: Right now I’m digging two: the 5x14” bronze with the wooden hoops and the 4x14” maple with diecast hoops. It’s tight and it’s right in your face. However, with the diecast hoops it’s not too overbearing. EDGE: Do you have any tuning secrets?

OP: Not really. In terms of getting feel in the tone, there’s something about the Pacifi c maples that say, “Yes! That’s the tone right there!” Depending on the art- ist, I’ll use all kinds of kits and all kinds of sizes. For example, with Donnie, I’ve used the basic kit for the entire two years. With the SOS Band, it’s two kick drums, three racks and two fl oors...the whole nine. The Pacifi c maples are very OMAR PHILLIPS was born on Oc- versatile and guarantee the right tones tober 28, 1969, in Atlanta, GA. His that I’m looking for every time. interest in playing the drums began as a teenager and, like many R&B EDGE: If you were not a drummer, what artists, his fi rst real gig was ac- would you be doing? companying his church choir. The local club scene in Atlanta soon fol- ������������������������������������ OP: That’s a hard question to answer lowed. Omar’s fi rst major tour was because I can’t imagine my life any oth- ������������������������������� with the R&B group Atlantic Starr, ������������������������������ er way. However, if I had to consider an and since then, he has become one alternative, it would be managing other of Atlanta’s hottest R&B and hip- ������������������������������������ drummers. It’s really hard to say. Lately hop studio drummer/percussion- I’ve been producing, as well, so my ho- ists, performing with Arrested De- ���������������������������������� rizons are broadening. Regardless, if I velopment, Erykah Badu, Jill Scott, weren’t drumming, music would still be India.Arie, Keith Sweat, Goodie my focus. Most importantly, I’m blessed Mob, Outkast, Donnell Jones, Ush- to be doing what I love to do, and that’s er, Jagged Edge and Jermaine Du- the key to success. pri, as well as neo-soul sensation Donnie. DW LADIES’ RETRO TEE DW METAL TEE PDP “LOUD AND PROUD” TEE (PR20RETRO) (PR20METAL) (PR20PDLOUD)

DW HOODIE DW COLLECTOR’S SERIES® BADGE TEE DW DRUMMER’S CHOICE TEE DW CLASSIC LOGO TEE (PR20BKHOOD) (PR20BADGE) (PR20SSDC) (PR20SSBL)

DW GRAPHICS FLAME SHIRT PDP HOODIE DW RINGER TEE (PR20FLAME) (PR20PACHOOD) (PR20RINGER)

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DW LICENSE PLATE FRAME DW GOLF TOWEL (PR60TOWEL) (PR60PLATE) DW WOVEN LANYARD (PR60LANYARD2)

ORDERING INFORMATION DW BARSTOOL (PR60STOOL) ALL DW DRUMWEAR AND DW DVD ITEMS CAN BE ORDERED AT WWW.DWDRUMS.COM OR BY CALLING 1-866-4-DW-SWAG. SELECTED ITEMS ARE AVAILABLE THROUGH AUTHORIZED DW DEALERS. PLEASE ALLOW 10-14 DAYS FOR DELIVERY ON ALL ORDERS. WE CANNOT OFFER DIRECT SALES TO COUNTRIES OTHER THAN THE U.S.A. OR CANADA. PLEASE CONTACT YOUR LOCAL DISTRIBUTOR TO ORDER OUTSIDE THE U.S.A. OR CANADA. ABOVE: DW TRUCKER HAT WITH PATCH (PR10HAT05), PDP TRUCKER HAT (PR10PDPHAT), PDP KNIT HAT (PR10PDPKNIT), DW CORPORATE LOGO HAT (PR10HAT01), DW FLEX-FIT HAT (PR10HAT04)

PURE ENERGY TONY ROYSTER, JR. TONY ROYSTER, JR.’S FOLLOW UP TO HIS HIT VIDEO "COMMON GROUND" IS NOTHING BUT PURE ENERGY! OVERHEAD CAMERA ANGLES CAPTURE EVERY FILL AS TONY AND BAND WEAVE THEIR WAY THROUGH SEVERAL MUSICAL STYLES FROM R&B TO FUSION, JAZZ AND ROCK. IT’S ALL HERE! HIP-HOP DRUMMING SUPERSTAR NISAN STEWART JOINS IN AS THE TWO SOLO SIDE BY SIDE THEN RAP ABOUT THEIR INFLUENCES AND DISCUSS THE FINER POINTS OF LAYING IT DOWN. NEXT, TONY BREAKS DOWN HIS HAND AND FOOT TECHNIQUE, DEMONSTRATES HIS FLUID SOLOING STYLE AND TALKS GEAR, ALL IN HIGH DEFINITION AND 5.1 SURROUND. GET PURE ENERGY AND GET READY TO TAKE YOUR DRUMMING TO THE NEXT LEVEL!

D2: DUETS VOLUME TWO SOLOS & DUETS TERRY BOZZIO AND CHAD WACKERMAN TERRY BOZZIO AND CHAD WACKERMAN LIVE IN L.A. RECORDED FOLLOWING THEIR SOLD OUT MULTI-CITY TOUR, BONUS 2-DISC SET! “BOZZIO: LIVE IN CONCERT” INCLUDED! RECORDED LIVE AT MARCO MINNEMANN THE TWO DRUMMING LEGENDS ARE CAPTURED VIA DRAMATIC MUSICIAN’S INSTITUTE IN HOLLYWOOD, CA, “SOLOS & DUETS” FEATURES THE ONE OF TODAY’S MOST EXCITING AND TALENTED YOUNG MULTI-ANGLE CAMERA VIEWS. COMPLETE WITH INSIGHTFUL INCREDIBLE DRUMMING OF TERRY BOZZIO (FRANK ZAPPA, MISSING PERSONS, DRUM ARTISTS, MARCO DESCRIBES HIS APPROACH TO THE INTERVIEWS AND ACTIVE GRAPHICS EXPLAINING THEIR STEVE VAI) AND CHAD WACKERMAN (MEN AT WORK, FRANK ZAPPA, ALLAN DRUMSET AND GIVES A PERFORMANCE DISPLAYING THE UNIQUE MELODIC APPROACH TO DRUMSET, THIS DVD IS A HOLDSWORTH). INCLUDED ALONG WITH THE SPECTACULAR INDIVIDUAL AND DUO FOUR-LIMB INDEPENDENCE AND INCREDIBLE DRUMMING MUST FOR EVERY DRUMMING ENTHUSIAST’S VIDEO LIBRARY. PERFORMANCES ARE INTERVIEWS, AS WELL AS THE DRUMMERS’ NOTE-PERFECT TECHNIQUE THAT HAVE MADE HIM A SENSATION (PR04DUETS2DVD) DUET OF ZAPPA’S INFAMOUS “BLACK PAGE #1.” (PR04DUETSDVD) THROUGHOUT EUROPE AND THE U.S. (PR04MMLADVD) [ E D G E 6 . 0 ] 5 5 >NEW ARTISTS

Adolfo Lancha • Sabado Gigante [14] Aixa Vilar • Go Betty Go [1] Andrew Williams • Casting Crowns Andy James • Independent [2] Angelo Collura • LeAnn Rimes [3] Blake Plonsky • New Dead Radio [4] Buddy Miles • independent [11] Dan Trapp • Senses Fail [1] Dave Schroyen • Millionaire Emilio Garcia • Marco Solis [7] Garrett Whitlock • Submersed [5] Jimmy Cobb • jazz legend Jordan Mancino • As I Lay Dying [6] Jorge Ortiz Aguilar • independent Joshua Wills • Story of The Year [7] Lez Warner • The Erocktica Show [8] Mark O’Connell • Taking Back Sunday [9] Mike Johnston • Headrush/educator [10] Riley Breckenridge • Thrice [13] Ringo Garza • Los Lonely Boys [11] [10] Scott Phillips • Alter Bridge [12] Tobias Ralph • Defunkt/24•7 Spyz [13] Todd Hennig • Death By Stereo Tom Gryskiewicz • The Starting Line Tony Palermo • Unwritten Law/Pulley/Hot Potty [14] Ulf Stricker • independent Will Denton • Steven Curtis Chapman [15] [5]

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[2] [3] [6] [9]

[8] [4]

DW Drums, Pedals & Hardware DW Pedals & Hardware [15] PDP Drums, Pedals & Hardware

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