DECEMBER 2008 THE BLACK PAGE Godfathers Of Drumming LEGENDS EDITION 3 Liberty DeVitto THE BLACK PAGE WORKING DRUMMER’S December 2008 BOOTCAMP

3 Feature Interview: Liberty DeVitto

9 Diversity is Longevity by Jayson Brinkworth

Profile: Ricardo Melendez 13 photo: www.myspace.com/meladeesheaphotography

15 Guerrilla Drum Making Featuring chris sutherland Holiday Grooves: 18 by Ryan Carver Kim Mitchell, Squeek, Deric Ruttan, Saga, Doc Walker, Amanda Falk 19 The Final Word Designed to get every drum- mer in shape to face any freelancing challenge, the THE BLACK PAGE is distributed via PDF to email inboxes worldwide. Bootcamp is a complete run To subscribe, visit: through of almost anything www.theblackpage.net Send us your feedback at: you might encounter in the [email protected] music business: live skills,

Sean Mitchell Publisher studio skills, networking Jill Schettler Editor in Chief skills and getting every pos- Jayson Brinkworth Writer Ryan Carver Writer sible aspect of your drum- Marlys Mitchell Contributing Editor ming ready for anything. It’s a tough business, learn how EARTH FRIENDLY a pro stays impossibly busy. Click on the image above No Paper,m No Ink, No Waste to visit chris on the web hen I think about my introduction to drum- man, but he exudes musicality. For Liberty, there ming, there are two very vivid memories. is no greater gift than the gift he gives to the song, W The Buddy Rich vs Animal drum battle and and that is so evident in his playing. Even if he has the Glass Houses album. If Buddy and Animal intro- to lay back and play the brushes, Liberty is in for the duced me to drums, Liberty DeVitto introduced me long haul. to music. As a drummer interviewing a legend, I wanted to When I was a kid, my dad used to crank up his blurt out, “Dude, I freaking play drums because of Hi-Fi and throw on the old Glass Houses album. you!” But instead of freaking the guy out, I main- (Yeah, this was the 80’s) Who didn’t love that al- tained my composure, did the interview, and had bum? Front to back a musical masterpiece. And be- the greatest 25 minutes of my life. As an added bo- hind it all, relentlessly pushing that groove as if to nus, Liberty was interviewed by a camera crew right drive the band forward, is Liberty. The man in the after our interview, and the host happened to ask driver’s seat. I would listen to that record for hours about the old Billy Joel albums. I sat and listened as and emulate Liberty’s playing, even though I didn’t Liberty described the songs and the soundtrack of have any lessons yet. But it didn’t matter; the music my life as an eight-year-old kid. felt so damn good. The best that my coordination In listening to that interview and the one he and could handle at the time was to nail the 2 and 4. I I shared, I realize that Liberty has taught me so would try and stay up at night when my folks threw much more than the huge 2 and 4. He has taught a party and hope to heck dad would throw on that me that it’s not the sticks you choose but what you record. I loved the pulse of “It’s Still Rock and Roll choose to do with them that makes you who you are to Me.” And the groove on “You May Be Right”? as a player. That it doesn’t matter what you bring to Fuggetaboutit! a tune as long as you remember that it is always When I was offered a chance to interview Liberty about the tune. It’s the song that is your mark on DeVitto I was extremely nervous. Here was the guy history, not how well you played a buzz roll. who made me want to play drums. Hands down the In his selfless career Liberty has and continues first drummer to influence me. And in meeting Lib- to give so much to the music industry, so much so erty I was not disappointed. That man can play, pe- that when my children are eight years old, I too can riod. What a musician, never mind drummer. Here play Glass Houses and create new memories of is a guy who can lay it down so hard that, as we our own. In doing something Liberty loved--playing watched him play, all three rows in the theatre were drums--and by giving to the music, he actually gave blinking on his 2 and 4. The power he has is inhu- so much more. Thanks, Liberty. Liberty DeVitto by Sean Mitchell

Photo: www.scottmoorephoto.com Liberty, you’re working on a really interesting man who sings on Saturday Night Live, so if we get book with Jules Follett about New York City a Saturday night gig, Christine can’t do it (laughing). drummers. Tell us about that. It’s that kind of band.

Jules loves drummers, first of all. She’s been pho- Where did you learn to play? tographing groups and stuff like that for years, and she says that it’s the hardest to take a picture of the I’m self taught. I tried to take lessons, but I wanted drummer. The drummer is always up on a riser, so to learn how to play like Ringo and it was 1964. The when you’re standing in front of the stage, he’s high jazz guys were the ones that were teaching then up. There’s so much stuff in front of the drummer and they hated the way Ringo played. When I was like cymbals and drums, you can’t see his whole a kid, I wanted to play drums when I saw Ringo on body… you barely see his face, you know. So she TV. Actually, I tried to play drums when I was in decided to do a coffee table book on drummers be- the sixth grade, which would have been… I was 12 cause a band is only as good as the drummer. The years old… it was ’62, but I couldn’t do the buzz drummer drives the whole thing, and he doesn’t get roll for the “Star Spangled Banner,” and the music the recognition that he should. I mean, I feel we’re teacher said, “Put down the sticks, you’ll never do kind of like the bottom feeders of the music world anything with the drums.” So it was like, how was (laughing) because we don’t have any melody and he to know that I was going to be a bad drummer we can’t copyright anything. So she’s giving us all if I just couldn`t do that buzz roll? He was actually this recognition of being the middle of the band, the a bad teacher for saying that to me. So when the whole centre of the band. She’s actually gone around Beatles came out, it was then I said, “I want to do getting guys in a studio or in casual situations, just that,” and it wasn`t to play the buzz roll, it was to be sitting in chairs. She went to Shawn Pelton’s apart- in a band if it made girls fall over. So that`s how I ment where he practices and took pictures of him started, playing 2 and 4. Everybody loved it. I don`t there. She went to a Letterman rehearsal and took really care if other drummers like me – the way I pictures of Anton Fig there. Stuff like that. play. I want guitar players and bass players and keyboard players and singers to like the way I play Tell me about your NY project The NYC Hit because I found out a long time ago the odds of me Squad. going into a recording studio with another drummer are really small. We play once a month or something like that be- cause the guys in the band are all from other bands. Give me your take on the “schooled versus non- There’s me and Ricky Bird (Ricky Bird played with schooled” topic? Joan Jett and The Black Hearts). We started this [project]. We were playing somewhere once and Let me start by saying this, I don’t think a drummer he started to play this little funky R&B song and I should take lessons at least for the first 5 years be- said,” You know, why don’t we start a band in New cause you have to learn groove and feel; you have York?” So we put this thing together and we’ve had to listen more than read. When you buy a book and Will Lee come through and play bass. We’ve had you learn notes off a book, it’s stiff; it’s just whatev- Hugh McDonald from Bon Jovi’s band play bass, er’s written down there. You’re just playing it with no but then he went out with Bon Jovi. Now we’ve got feel, no nothing. I do a thing in the clinic where I’ll Muddy Shews who plays with Southside Johnny show them how I learned to play and I’ll show them and a bunch of guys like that. And Christine Ohl- what I used to do when I was home and I was a kid and I would take “Hide Your Love Away” by the Beatles, and I’d play to that. Because I’m playing to the timing of John’s voice, the way he sang ‘cause “Two and four, man. that’s where that emotion is—in his voice rather than just notes on a page. Then later, learn paradiddles and stuff like that because nobody really uses those That’s where it’s at.” things except in drum festivals. You were with Billy Joel for over 30 years. How have you branched off and redefined Liberty DeVitto?

I’ve been doing a lot of clinics. The thing is when I was a kid and I saw Buddy Rich, I felt very inse- cure in my playing. The first clinic I ever saw—and I saw Dom Famularo play—I was very insecure in my playing even though I had gold albums on the wall and everything because I don’t play like that. So my clinic is to tell kids, “Look, you don’t have to play like that. If you can’t play like that, that’s fine. Two and four, two and four, man. That’s where it’s at.”

Any plans for a new book?

I am writing a book. It’s a basic book because I’ve noticed that a lot of drummers today are listening to Dave Weckl and stuff like that, and they’re go- ing into stores and they’re buying their videos, and there’s nothing wrong with that. But, I think in rock ‘n roll, the basic beats that you play you take with you for the rest of your life. Those are the beats that you play. The difference between a young kid learn- ing just a basic 2 and 4—and hearing that same 2 and 4 on an AC/DC record—is just the way the guy’s playing it. I mean, he’s playing the same thing that the kid first learned. It’s time for them to get back to basics again; it’s time for kids to learn from the beginning again. I feel fortunate that I grew up when the Beatles were out. Ringo played a song. He was a song writer’s drummer; he played songs. I like music better than I like drums. I love the drums but I like music better.

How did the Billy Joel band line-up come to be?

I was in a band called Topper at the time. There was me, Russell Javors, Doug Stegmeyer and Howie Emerson. That was Topper, and Doug got called to play bass on the Streetlife Serenader Tour. Billy al- ready had out Piano Man and Streetlife Serenader. [Billy] was living in LA. Doug gets called to do that tour. On the tour, Billy tells Doug, “I’m thinking about getting rid of the band that we tour with now and moving back to New York because I want the same musicians that play in the studio to play with me on the road.” (At the time, Billy was using studio musi- cians and then taking different guys on the road). So Doug said, “Well, I know a drummer.” And I had very well. I have three daughters. One is 27. She known Billy since I was 16 years old. We played mixes sound on Long Island, in clubs on Long Is- in the same club but in different bands. [Billy] said, land, and she was a tour manager for a group call “I remember Liberty.“ So I went out and auditioned Antigone Rising—they were an all female group out for him. It was great and everything like that, so we of New York. The middle one is the actress. She went in to record Turnstiles, which is Billy’s fourth just finished season five on One Tree Hill, and I just album—just me, Doug and Billy. Then when Billy went to see a movie that she made in the Tribeca said, “Well, we need guitar on this,” me and Doug Film Festival in New York. It made it to the festival, said, “Well, we know guitar players.” We brought so she’s doing good. She lives out in LA. The little in Howie and Russell. We added Richie Cannata one, she’s 19. She is licensed to cut hair in Michi- on saxophone, so Topper became Billy’s band with gan, and she just graduated from theatrical make- Richie Cannata. up school in Orlando.

Click here to visit Liberty online

Click here to visit Little Kids Rock

Click here to visit Topper online

Photo: www.scottmoorephoto.com Click here to visit Camp Jam

If you could put together the Liberty DeVitto How did you balance being a dad and a high All-Star Band, who would be in the line-up? profile rock drummer?

On bass would probably be my friend David Santos. It’s hard to do that you know because it’s almost a He plays with John Fogerty and people like that. I selfish thing to be walking out your front door and did an all-star band with him a while ago. We were have these little girls grabbing your legs and say- the Northwest Airlines All-Star Band. It was me, ing, “Daddy, don’t go!” And you look down and say, Billy Preston, Mark Farner, Steve Cropper, and Fe- “Don’t worry. Dad will be back in eighteen months,” lix Cavaliere. David Santos is probably my favorite and expect them to go, “Oh, okay,” and just go play bass player. Then on keys and vocals I would want with their coloring books and stuff like that. But that’s Steve Winwood because I’ve always admired his why, when I talk to kids in clinics, I say you have to voice. I think he’s fantastic. Who would I want to play be dedicated to what you’re doing because there’s guitar? Let’s see, I have a friend George Marinelli going to be times that even your wife will not real- who lives in Nashville—played with Bonnie Raitt for ize and not understand that she will never be first. a long time. He’s fantastic. Guys like that. She’ll be second, a close second, but never first. I mean, my drums have been there for everything. What has parenthood taught you? You think about me and my drums as a great thing, like it was fantastic—play Madison Square Garden, I’ve got three daughters, so parenthood has taught play everything around the world and stuff like that. me that when you’ve got a son you worry about one I also know them as I got divorced. But when I sit penis; when you have a daughter, you worry about behind the drums and play with the band I feel bet- all penises. (laughing) My daughter is actually doing ter; it’s ok. They’re always there. What is it about Little Kids Rock that makes you You also support Camp Jam, what is that? want to be part of the program? It’s a camp in the United States, started in Atlanta The fact that they give free lessons to inner city kids. by a friend of mine Dan Lipson and another friend It’s a great thing because these kids have nothing of mine Jeff Carlisi, who is a founding member of 38 to do today. They took all the music programs out of Special. It started in Atlanta 5 years ago and now the schools. What are the kids going to do? What if it’s in 14 cities. It’s for kids from 11 to 17 (actually, you’re not into sports? What if you don’t like them? there’s one for the little kids too). We call them the What if you can’t play them? What’s your option? Bedroom Players; they practice in their bedroom. Go hang out in the mall? Go hang out on a street But like I said before, the reason why my friends corner? So, this guy Dave Wish, who started Lit- and I took up instruments, and the reason why most tle Kids Rock, he was a teacher and he saw these kids take up an instrument, is because they saw kids hanging out and said, “Look, I’ll give you guitar something on MTV or they heard something on the lessons for free.” When he got the manufacturers radio and said, “I wanna do that.” And it wasn’t a involved, he got the guitars donated to Little Kids paradiddle that they saw, it was a band. They want Rock. The kid takes the guitar, and if he keeps tak- to be in a band. So Camp Jam puts them in a band ing the lessons for a year he keeps the guitar. So with players that are equal to their ability and for a it’s a great thing for these kids. Pro Mark is a part week they rehearse 2 or 3 songs. They play AC/DC, of it. They give me drumsticks to bring into the kids. Led Zeppelin, Beatles… whatever they wanna play. You hand them out; these kids freak out. They think It’s funny, young kids playing that classic rock. And you’re Santa Claus. Then they see you play, and it’s then by the end of the week, they do a full on con- like, “I wanna do that.” cert, on a big stage with the PA and the monitors and everything, in front of their parents and all the they grew, they progressed. A lot of bands from the other students and their friends. And they feel like 60’s that came out with them, didn’t progress—the rock stars. It’s actually a team-building thing. They way the Beatles wore those suits and they had the say sports is a team-building effort, but in baseball floppy hair—[these bands] stayed there. The Bea- the ball is hit, it gets hit to the outfielder, he catches tles all of a sudden decided, “We don’t want to be it on one bounce, he throws it to the second base- that anymore. Let’s move on. It’s time to move on.” man, they tag the guy out. Two guys on the team are And when they did Sergeant Pepper, or even Re- playing in that play. In music, the drummer counts to volver and Rubber Soul; it was different. So all their four, and everybody’s in the game. stuff, they just kept evolving.

Let’s turn to your influences for a bit. Why has Have you had a chance to work with any of The the music of The Beatles transcended multi- Beatles? generations? I’ve actually worked with Paul. There’s a CD out in All of them were great songwriters. Even “Octopus’s England called Beautiful Night and actually Ringo Garden.” You gotta say, Ringo wrote a great song plays on the album, but he had done demos of it there. It’s good. But their melodies are wonderful over the years. I was in the studio with him and did and they played as a band like a little orchestra. An it once. So on this thing, Paul’s explaining this song orchestra has its parts: the strings don’t play over “Beautiful Night,” and how he started to play it on when the oboes are playing, they don’t walk over the piano, wrote it on the piano, and it eventually them. Like Ringo. That’s why he was such a great goes into me playing with him, and then, it goes into drummer—because he made up parts. If you have Ringo playing with him—the one that went on the a great song, like the Beatles do, or like I had with album. And the great part about it is that you read “Just the Way You Are” with Billy Joel... Billy could the credits and it says: bass and vocal, Paul Mc- come in, play it on the piano, and you could hear Cartney; drums, Ringo Starr. And then you read un- it, just him and the piano, and go, “That’s a great derneath: bass and vocal, Paul McCartney; drums, song.” Now I’m gonna put drums on it. My job is to Liberty DeVitto. (laughing) It was really cool! I met make it better, not to walk all over it. And anything Ringo twice. I actually got to play with him. I played Ringo played on a Beatles’ song he made better. “A Little Help From My Friends” with him while he He created sounds in the studio that were never sang it. That was cool. But the first time that I met created before, that were never done before. His him, I said, “Ringo, if it wasn’t for you, I wouldn’t be licks like in “A Little Help From My Friends,” try put- doing what I am doing now.” And he said, “Well, at ting a different fill there. Doesn’t work. So it’s like least you’re not blaming me for it.” (laughing) he played the perfect fills. I mean, his stuff was well thought out. Billy Preston told me when he was in Who is your favorite Beatle? the studio with them, he said it was cool when one or two of them were in there, but when all four of Ringo’s my favorite Beatle. I loved the way Paul sang, them were in there, it was actually scary. It was so and I really in later years have learned to appreciate much creativity in that room that it was magical. I John and George as songwriters. But Ringo is the mean, they were great. They were really good. And reason why I’m doing what I’m doing now. ere I am writing my 20th article for The Black but now I find it kind of amusing and am very se- Page. It seems like only yesterday when Sean cure—and proud—to tell them that I do in fact make H Mitchell asked if I might be interested. As I a living playing, teaching, recording and writing mu- thought about this month’s article, it seemed fitting sic. to write about diversity and how it can help us have I feel the reason I have been able to do this—and a long and rewarding career in the music business. I am definitely not the only one on the prairies who Where I live (on the Canadian prairies) isn’t the has—is because of my open-minded approach and most logical place to be to make a living playing diversity. This industry is full of ups and downs, music. I always get people asking what my “day promises and lies, hopes and dreams and on and job” is, as it is hard to imagine someone making on, so if we have any aspirations of having a career a living playing drums here in agriculture country. in the music business, we need to have an open Well, I don’t have a “day job” other than music, even mind. One other important element of this is to be though I do have an education in electronics. Years open to the different opportunities that come our ago I would get quite defensive about this question, way involving music. Diversity Is Longevity by Jayson Brinkworth WHERE TO START? if you spend more time Let me begin by saying that, first and foremost, in my career I am a player and an educator. I also want online looking up drumming to state that I have realized the more information I know, the more valuable I can become to a situa- information than you tion. Case in point: I was only 14 years old when I got do at your job, a chance to work with a band at the place I took lessons. The instructor running the band, Ray Bell (who ironically is my partner in our music school now) had all of the pieces he needed for this band. He had two guitar players, a bass player and a key- board player, but no singer. Well this wasn’t working as we were doing a lot of songs that required lead vocals. For some strange reason, one that will prob- ably go unanswered forever, I volunteered to be the lead singer in the band! I have never sang in public let alone while playing drums. What was I thinking? Was I thinking? Like I always say, there is a fine line between bravery and stupidity, and I teeter back and forth all of the time. Well, low and behold, I was able to do it. It didn’t happen without some practice, but perseverance pays off, right? By no means do I put myself in a class with “real” singers, but my pitch isn’t bad, I can hear melody and harmony and I am willing to accept and work on my short comings. I will never be Phil Collins, but I do get a lot of work because I am able to provide vocals where needed. Example 2: In the 80’s, technology was becoming a huge part of music, so I had to embrace the drum machine era. I had read that this “machine” was tak- ing work away from drummers, and a lot of them you might be a drumgeek. had turned their back on learning about the tech- nology. I remember going out and buying an Alesis HR-16 drum machine and sitting for hours program- ed, a little crazy, and also expanding my knowledge, ming patterns and sounds. I had also purchased an but they all involve performing. There are so many Alesis D4, Drumkat, and pedals, so I had a whole opportunities in this industry that can allow us to rig to work with. Having this knowledge led to some work within our passion. Before I go into a list of sessions and a great gig with a fantastic band in these, I just want to state (and not sound too much town in the early 90’s. We had no acoustic instru- like a parent), that having an education is so im- ments so volume wasn’t an issue. We also spent portant. The music industry needs business people, a lot of time programming sounds to fit the cover marketing people, accountants, lawyers and many tunes we were playing. We worked every weekend other job-related tasks. Many of the people working of the year, never traveled more than 30 minutes in artist relations at big drum companies have de- away, and could setup in 20 minutes and be torn grees in business and marketing, as well as being down in 10. players themselves. Again, the more information we These are just two examples of being open mind- know, the more valuable we are. playing, I am always very curious as to how the dif- WHAT OPPORTUNITIES ferent soundmen perceive the mix of the band. I am not afraid to ask why they do something a certain ARE OUT THERE? way, or about micing technique, monitoring or any- thing else that I might be able to use at some point. I have found it has really helped my live sound in The first logical spot to start is in retail. I have a few getting the most out of my instrument. students who work at music stores and they love it. Lighting is also a great artistic outlet and can be a Retail is not for everyone, but if you have the right lot of fun. Understanding placement, color schemes, personality and knowledge of equipment and indus- fading and the fog machine are key. You will soon try trends, this can be a rewarding experience. You realize how well a great lighting technician knows always know about the newest products, you are the band and songs he is working with. The cues, around music all day at work, and the networking shots and imaging can really set the tone for the in a position like this can be huge—just ask Nickle- performance. back’s Daniel Adair. You could also explore the possibilities of getting The second spot is teaching. Now I am the first into production and engineering. A friend of mine to defend the art of teaching, and to point out that Kevin Churko is a great example of this. He is a fan- there is a difference between being a player and tastic drummer and singer (well he is actually quite being a teacher. When I am teaching, it is a whole a multi-instrumentalist). Kevin had played for years different mind set and my focus is the student more around Canada, but really got into the program Pro- than anything. Again, if you have the right attitude tools in its early stages. Kevin still plays, but most and personality, this can be very rewarding and of his time is consumed with producing, mixing and beneficial for your own playing. Teaching requires engineering world class projects. His work includes us to examine the basics of technique, sound, body Ozzy’s latest “Black Rain,” Shania Twains last three movement and breathing all of the time. It is also albums, Britney Spears and is currently working so rewarding when a student reaches their goals with Black Sabbath. Not bad for a guy from Moose and feels a sense of accomplishment. I do keep my Jaw, Saskatchewan. By the way, his brother Cory eyes open for students who would be good teach- played with Shania Twain and is currently in Reba ers and definitely mentor them in that direction. McIntire’s and Kelly Clarkson’s bands. Another option might be to do live sound or light- The production side can be very involved, and ing. I am by no means a sound or lighting tech, but your knowledge needs to go way beyond just the I have filled in for friends and can get by. In my own drums. Drummers do make great producers; check

The most complete online drum community.

Click here to visit www.drummerconnection.com out Steve Jordan, Harry Stinson or James Stroud What if you are reading this and are thinking, “I to find out. Our knowledge of music software, hard- don’t want to do anything but drum“? Most drum- ware, song structure, frequencies, compression mers would love to attain this goal as we have spent and songwriting are absolutely necessary. We also countless hours working on our craft. Sean Mitch- will need special people skills to get the best perfor- ell is a great player, and has diversified his career mance from an artist or musician every time. by starting up this magazine, as well as other op- The engineering side can be quite an experience portunities he continues to make for himself. Billy as well. We need to know about different types of Ward does clinics, writes articles and does produc- microphones and how they function, where instru- tion and engineering work. Dave Weckl loves the ment might sound best in a certain room, and music aspect of recording and engineering his records. Gil software and hardware to keep a session flowing Moore of Triumph owns Metal Works studio, which smoothly. Great engineers are responsible for great has been successful for years. These are just a few sounding records. All of the best players love work- examples, but the more we expand our knowledge, ing with the best engineers. the more opportunities we can create for ourselves. The last option on my list is probably the least ex- Don’t be afraid to expand. plored, but most important (I believe) for drummers: It is one thing to be a great player, but that has to songwriting. It is pretty hard to write songs on an be backed up with desire, passion, hard work and instrument with very limited melodic and harmonic fearlessness at times. We also have to recognize nature. The first thing we will need to do is to learn when opportunity knocks and be willing to follow a bit about piano or guitar, as well as some music through. You never know where it might lead you in theory. The next thing to do is to listen to all kinds of your music career. music and get inside the lyrics, melody, and struc- ture of a song. You can start with one that I talked about in a past article, “Fire and Rain” by James Taylor. This is as good as it gets. Try writing lyr- JAYSON BRINKWORTH IS AN ics. We all have life experiences that we can draw ACCOMPLISHED DRUMMER, from for this. Songwriting is definitely a craft and the PERCUSSIONIST, VOCALIST, great writers work at it daily, but that doesn’t mean EDUCATOR & WRITER. that we shouldn’t give it a shot. CLICK ON HIS IMAGE TO BUT WHAT IF I ONLY LINK TO HIS WEBSITE. WANT TO DRUM?

Check out the newest drum community on the net. Click here to visit www.thedrumfill.com RicardoBy Sean Mitchell Melendez

Ricardo, tell me about Dearestazazel. How did you end up with the throne?

D.A. is progressive pop band. We are the bastard child of The Cure, Queen, Judas Priest, and 80’s Nintendo music. It all started three years ago in Atlanta, Georgia. Peter (vocalist/keyboard) knew Jesse, and I was drummer #50. The combination was perfect, I got the spot right at my audition.

Talk to me about your latest CD Be Mine. Have you guys evolved since your first effort Come Closer?

Yes, I would say we have evolved. Be Mine is like our ultimate idea as to how we wanted to sound. Ricardo Melendez is the in- Our first CD Come Closer was a cluster fwwk. We had so much going on at once that you really tense passion behind the couldn’t tell what we were about. There was no di- rection. Our second effort, our EP Touch Me, was groove of Dearestazazel. a lot cleaner and you could hear what we were try- ing to do, what we were about. We had direction. Currently in the midst of an Be Mine is the epitome of all we are.

American tour, Ricardo took What was it like as a young drummer grow- ing up in Puerto Rico? Is there a music scene time to talk with us about there? How did you get started? his journey from Puerto Rico Growing up being—and wanting to be—a drum- mer in Puerto Rico was hard. Religion command- many years ago, to the reali- ed my surroundings and tried to manipulate my ties of life on the road with an fate. I started playing drums thanks to my incor- rigible bad behavior. My father (RIP) got me my independent rock act. first drum kit when I was 8. I played every single day. I overcame the challenges and 20 years later I salsa artists like Hector Lavoe, Ruben Blades, La am still playing my drums. There is a music scene Lupe, Tito Puente, Willie Colon, Ruben Blades, El in Puerto Rico, geat bands like Sol d’ Menta, La Gran Combo, etc. There is also great Latin pop art- Mosca, La Secta Allstar and Puya among others. ists like Robi Draco Rosa, old school Ricky Martin, The long lasting scene is the Latin Jazz scene. I old school Shakira, Mana, Molotov, Ricardo Arjona, was part of both. Caribbean music is amazing and Glenn Monroig, etc. All of their drummers are amaz- the majority of the artists that make the Caribbean’s ing Latin drummers! music scene are of the most talented and humble artists known. Reflecting on leaving Puerto Rico, it must have been very hard to come to the USA and start You credit your father as a very important influ- getting gigs. What were your challenges? ence in your life. How did he impact your music career? Everything was a challenge! I cheated though…my best friend’s parents lived in Georgia and they were I have many heroes and idols, but all them make up cool on lodging us for free for a couple of months. a third of what my father was in my eyes. He is my We made a band called Fallein Wisdom (Century ultimate hero and idol. He bought me my first drum Media). One day we were hanging out at a local kit, got me my first gig, went to every show and then comic book shop when I saw a book called Musi- got me my first professional drum kit. This drum kit cian’s Atlas, I bought it immediately. I contacted all is the one I have used on all of DA’s CD recordings the local bars/pubs/clubs, started playing and have and tours. My father taught me many things. The not stopped since. That was back in 2002. one I live off is “chasing my dreams until I can dream no longer.” The sky’s the limit. He always wanted to What would you say have been your biggest be remembered young, so I tattooed a portrait of lessons in music since becoming a working him when he was 28, my same age. drummer?

You guys are out there touring and making it Being on the road changes you. This is where you happen. What is life like for an aspiring band separate the amateurs from the professionals, as these days? How’s road life treating you? well as your enemies and allies. The music busi- ness is all about money, so there are tons of politics It’s really hard for any aspiring band. It takes a lot involved. That’s when it becomes a job for me. out of you. You sacrifice all; you lose all for the one dream. Whether you make it or not shouldn’t matter. What do you guys have coming up in 2009, and The fact that you gave it all and then some should where can readers buy a copy of Be Mine? be enough for you to feel like you actually made it. Life on the road is great. The driving is horrendous. We just finished a one-month tour supporting Mind- I mean the first 100 miles is great because of the less Self Indulgence (MSI). We also toured with In- scenery around you, but then you feel trapped in a ner Party System and UK’s Die So Fluid. It was a van. I hate the driving, I’d rather fly. Playing a show full U.S. Tour. We will be out again in January 2009, and meeting and greeting the fans is the best part of covering the same states, plus some extra ones. touring. The stories, the gifts, they make me forget We keep our Myspace page up to date, so please of how overrated it is to be in a van. make sure you visit.

If you could, pass on your words of wisdom and share with our readers some of the Latin influ- ences they may not have heard of. Who are the Click here to visit Ricardo drummers that best define the music of Puerto Rico? and Dearestazazel on the web www.myspace.com/dearestazazel There are so many of them. Listen to any old school Perhaps you, like many other drum- mers, have found that the pinch of custom drum prices can be down- right painful at times. While we re- ally can’t fault our brothers and sis- ters who toil over maple shells and lacquer all day (often not turning a huge profit), the ultimate drum kit may actually lie in the palm of your hands, quite literally. Enter John Dutra, drum maker, drummer and entrepreneur. John has come up with a DVD entitled Guerrilla Drum Making, the very first custom drum making video ever. With it’s recent release, cus- tom drum making has now entered a new arena, one that could be in your back yard.

By Sean Mitchell

John you have obviously used this system unrealistic. People need to see someone doing it, yourself. How long can a person expect to see seamlessly and in action, so they can watch it and say, “Ok, got it. I can do that. No problem.” a finished result from start to finish? The second reason is that the online explanations It’s really hard to say. It depends on the finish type and small selection of pictures was completely cen- and the amount of detail that’s put into the drums. tered around specialized equipment that only pro- I’ve built entire drum kits that take a day to complete, fessionals can afford and operate. I mean, I worked but I’ve also built kits that take a month to finish. at a custom drum shop for years, and we had all those tools—they are not easy to use for the one- off drum builder! So I sat back and asked myself, How and why did you come up with this DVD? “For all the people wanting to take a leap into drum There were two reasons why the DVD needed to making, how many of them are scared right off the be made. The first was that there were barely any bat strictly by the tools that are being used?” Appar- visual explanations of drum making techniques and ently, the answer I presumed was correct. tactics. Mostly everything was step-by-step drum making procedures with pictures. For such a de- How much money can a person expect to save tailed craft, that seemed crazy to me. There are with the Guerrilla System? too many realistic steps that get left out when docu- menting something with pictures and it seems truly That’s another question that is really hard to answer. I tell people all the time that they should make their won’t sell for anything. own drums because they want to make their own drums. Saving money is just a bonus. I mean, in Do you need a lot of space to set up a Guerrilla theory, someone could spend a ton of money on drum making shop? their own custom kit, spending more than the cost of buying a custom drum kit from some of the big Space is not a problem. My first idea for the video boy custom companies. And then again, someone was to make a drum in every different situation pos- could spend nothing on something that looks and sible: apartments, cars, outside areas, garages, sounds better than kits that some of the custom sheds, bedrooms, kitchens. I turned against it be- drum companies offer. cause it may have been cheesy and I wanted multi- ple camera angles and great camera shots. But I’ve What are some of the benefits of making your drilled drums in my kitchen before, ya know. And if own kit? you’re spraying lacquers and aerosol fades, I’d say that “space” isn’t as important as a “well-ventilated It’s completely customized. The builder’s imagi- area.” nation and patience is the limit. Nothing is lost in translation. There are no telephone calls with cus- Any reaction from the big companies so far? tom companies saying, “I want this, this and that... and make sure to have half the lugs in the stripe I’ve gotten one e-mail from a small company that and the other half outside the stripe,” and so on. It I won’t say. It was pretty funny actually. But for the never turns out the way you initially imagined it, and most part, not much. I’ve heard a few things about then you force yourself to compromise and settle. some of the big guys “hearing about it.” I say don’t settle. You’ve got a vision, make it hap- pen yourself. I’m finding also that it’s somewhat of Any feedback or samples on how these kits a rebellion against some of the custom drum com- sound? panies that are out there endorsing anyone, just to build a roster and sell kits. They end up with this Some of the Guerrilla Drum Makers have bought brand defined by their endorsees, defined by a style brand new shells and say they sound awesome. of music, etc. In that sense, Guerrilla Drum Making And some people just buy garage sale kits, or re- is a manual that says, “Avoid the branding. Think for vamp an old kit, and say they sound great and feel yourself. Make your own kit and your own company. good to play because they look great. Endorse yourself!”

Are there safety issues that need to be ad- dressed when dealing with the painting pro- cess?

Yeah, there are pretty much safety issues with ev- erything. I tell people to carefully read the directions on aerosol cans and finish products; always wear Click here to visit John’s website a respirator mask and work in well ventilated areas etc.

What is the resale value on these kits, should the average player decide to unload some old gear down the line?

Good question. I always say, “poor products yield poor results.” I’d say that transfers over to your question. A poorly made drum with bad products Happy Holidays from THE BLACK PAGE Thanks to my family: Mom and Mitchell and The Black Page. This opportunity is a Dad, Misty, Corey, and Denny gift, and I enjoy every moment of it. You are a true for your constant support and musician and your passion runs very deep, thanks encouragement. And Heather for trusting me with the words for your project. for putting up with the rack- ett and a home full of drums. First and foremost, thank you Sean Mitchell and everyone to those of you who subscribe at The Black Page, Vic Firth & and find something to read Team, and Scott at Beatnik for every month between these having faith and giving me a chance. Thank you so pages. I am eternally humbled much. To all my students for your support and dedi- that you read our magazine. cation. I learn so much from you guys too. Thanks To the love of my life Jill. It to Dom Famularo, Neil Garthly, John Favicchia, and has been an incredible seven Joe Bergamini for looking out for me and giving me years since fortune smiled the encouragement to get to the next level. upon me and brought you into my life. Thank you for sharing this great journey with me. Your talent and Thank you to my beautiful dedication continues to inspire me. To my family, I wife Laura and my children miss you very much. Thank you for your support. To Tyson and Jayla for putting up my interviewees, thank you for sharing your wisdom with my schedule, support- and experience. What a great honor it is to know ing my passion, making me you. To the guys in my band, thanks for making it so laugh and realizing how lucky fulfilling to be a drummer. To the agents and venues I am every day to have you in who have consistently ignored my emails and calls my life. My Mom and Dad for over the past year in my quest for gigs. Without you buying me that first Westbury there would be no reason to remain even more per- set, not complaining about the noise and supporting sistent and brazen. Success favors the bold, see me through life’s challenges. I will never be able to you in 2009! And finally, to Jayson and Ryan, with- repay you for all you have done, I love you. My in- out whom this magazine does not exist. I am awed laws the Roddicks, the love and support is beyond by the immense talent you both possess and very words. You really understand the passion for music proud to call you friends. and life. I love you all so much. The companies, it is an honor to use your gear and to be treated so well. A big thank you goes out to Terry Ryan and everyone at Sabian Cymbals, Sean those of you across the globe Browne and everyone at Yamaha Drums, Eric An- who have found that special derson and everyone at Trueline Drumsticks, Ryan “something” in my articles Goldin and everyone at Mountain Rhythm Percus- each month. I’m honored sion, Daniel East and everyone at Future Sonics Ear that I could share insight with Monitors, Brian and everyone at Flix Products, Rob you on our musical journeys. Eriksen and everyone at Impact Cases, Suzanne Sean Mitchell, my soul mate Simon and everyone at D’addario Canada, Steve and friend, thanks for taking a Lobmeier at Evans Drumheads, Colin Funk and chance on a university girl a few years back. With- John Meydam at Kaman and Ed Peck at Epek Per- out you, I never would have experienced life in its cussion. Aaron Pritchett, Lisa Bokop, Aaron Lines fullest. I love you. A writer can not succeed without and all of the other artists and writers who have the support of a great team; thanks to you Jayson trusted me with their music, I always appreciate the and Ryan for keeping me on my toes. Last but not calls. My students and fellow teachers, you inspire least, I’d like to extend a big hug to my family who me more than you will ever know. And finally, Sean nurtured and encouraged me. Happy holidays! HOLIDAY GROOVES by Ryan Carver Listening to music is a key part of making music. It is important to listen to grooves from other drummers and all styles. Groove school is a collection of some great grooves from various artists. Each groove can inspire you, and open up different ideas and possibilities. This month has some solid grooves. It’s all in how these great drummers play the groove that makes it happen. Listen to the feel that each one generates. Listen to the drum sounds, the way they hit the hi-hat, and the bass lines.

Ryan Carver is a member of the Academy of Drums faculty, the Vic Firth education team and PASIC. Click either link below to visit him on the web or to email Ryan your questions and groove requests. www.carverdrums.com www.myspace.com/ryancarver THE FINAL WORD

“It was very interesting to work with someone who would give you that ulti- mate freedom that seemed to have whatever time existed in your head.” Mitch Mitchell July 9, 1947 - November 12, 2008