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NOVEMBER 2009 THE BLACK PAGE THE BLACK PAGE NOVEMBER 2009

4 Yael: by Sean Mitchell

18 Balancing Act: by Jayson Brinkworth

A Different Way to Flow: 22 by Ryan Carver

23 Global Educators Database 25 The Final Word Solo drums, beautiful drums, warm drum tones and full-on exhilarating drums. In this double CD, master-mu- sician David Jones has allowed the drums to shine in all their acoustic glory. Not since in the THE BLACK PAGE is distributed via PDF 1940s or Sandy Nelson in the 1960s to email inboxes worldwide. have drums been this far out front. To get the latest edition click below: David Jones has long been famous www.theblackpage.net for his utilisation of every conceivable Send us your feedback at: [email protected] percussive instrument – yes, even the kitchen sink – to make interesting Sean Mitchell Publisher soundscapes and rhythmic flourishes Jill Schettler Editor in Chief that leave an indelible mark on the Jayson Brinkworth Writer heart and soul of his listeners. Ryan Carver Writer Click below to visit www.davidjonesdrums.com.au

EARTH FRIENDLY For international sales outside Australia please click HERE. No Paper,m No Ink, No Waste 2010 THE YEAR OF THE LEGENDS Feature Artists Scott Atkins Skip Hadden Pete Lockett Danny Seraphine Liberty DeVitto Bernard Purdie May 22 - 23, 2010 Jerry Mercer Asani, Ed Mann & Bruce Aitken Savoy Theatre Paul Wertico Glace Bay, Nova Scotia Dylan Mombourquette Canada Chris Sutherland Billy Ward Roxy Petrucci Special Guest Stars Sean Mitchell, Ben Ross, Moe Hashie, Denny Seiwell Mark Marshall, Todd Mercer, and The Bill Cobham Pete Lockett Cape Breton Percussion Virgil Donati Ensemble. Alan White John Morrison Legends Award 2010 Carmine Appice, Alan White, Jerry Steve Wilton Mercer, Roxy Petrucci, Virgil Donati Dom Famularo

Click below to visit www.capebretoninternationaldrumfestival.com by Sean Mitchell

Photo - Mat Evanz: www.matevanz.com wise man once said, “Noth- Yael, as a child growing up, how did ing you can do, but you can the love of drumming develop for you? learn how to be you in time; What were the musical influences in A your life when drumming first entered it’s easy.” Enter a free-spirited drum- the picture? mer with a million ideas and only a humble set of hands and feet with I was always intrigued by rhythm and which to express herself. had one beat or another going on in Often the very best perform- my head. My parents had an 8-track ers don’t really have to say anything player in the car. I’d say motown, Ste- at all. It’s not so much about how vie Wonder, Jackson 5, The Supremes, or what they say but rather how Ray Charles, James Brown, and Janis they make you feel. As we enter a Joplin were the popular ones in their new millennium and the dawn of a collection; American music and funky new age of thought, you can thank drummers. Only in my introduction to the deity that holds your faith (and I heard the drum reso- the name you choose to give it) that nate through me simply because of the Yael’s DrumAddict: The Love Project mix and the magic of how Bonham lays Journey has come to fruition. down a groove. To this day, it’s like the The Love Project Journey is, first time I ever heard it. Every time it inspired me to get a Ludwig kit immedi- what I have come to believe to be, ately and play to the records repeatedly a true masterpiece. One that mar- over and over again. I had one cymbal ries music, video, audio, graphic de- and eventually a set of hats for a couple sign and photography. An artistic solid years. statement made from kindred spir- its wanting only to forge something Your newest project DrumAddict: The truly demiurgic on the canvas of si- Love Project Journey, is a very eclectic lence. A project so unique that future one in that you utilize some culturally generations will be able to listen to a specific sounds/instruments with some piece of art that dared to stand on very modern as well as classical sound- it’s own and be the anthem our kind scapes. How has the music of these cul- could never categorize. tures and genres influenced you? If we absolutely had to bestow a label on DrumAddict: The Love Proj- I’ve been working with the guys in my ect Journey, it could be said in two newest project for quite a while now, words; truly original. though the level it’s at now is definitely new to all of us. It’s quite surreal. I’ve been tight with Nik (Chinbou- kas) since the early 90’s and Yury (Ani- sonyan) since moving to Los Angeles in 2000. The three of us have been in and out of many projects together and col- laborated over the years on multiple re- cords, soundtracks and live shows. Dur- ing the making of this project, for ex- ample, I recorded drums for Nik in when he produced Chris Caffery’s Pins and Needles. Same for Yury when I recorded some tracks on ’s latest release, but that was again back in LA. My music life with these boys has been nutty. Nik and Yury are my east and west coast co-producers and co-engineers on The Love Project. Yury started out on violin (Armenian/Russian influences), Nik with Greek music all around, and me, I was born in Tel-Aviv. My dad was born in Cairo, and my mom was born in Casablanca. All different countries, but the actual sound of the music resonat- ed the same vibe in all of us. It made me hungry. Basically the way I see it we are comparative to one big mutt, full of love for music that needed a home. We are united outside the box of one musical Photo - Amir Magal: www.amirimage.com direction or a single style of expression. There is a whole world full of sound and each other for many years, so the com- color and I found the guys to bring it fort is there, and we will definitely con- forward, who help me see it more clearly tinue to work together given the oppor- each time. I co-produced and arranged tunity. We use anything and anyone we all the music with Nik and Yury along dig and that can play. If it sounds good, with a couple other amazingly talented chances are we want to record it. musicians: Lucia, Dave, and Yariv on The whole Love Project DVD a couple tracks. We’ve all worked with thing came about kind of organically. While we were making the Love Project CD, we filmed all the sessions, from east to west. Again using any tools I can get my hands on, from the camera on my MacBook to my little HDV to having my friends in film bring their monster equipment down for some sessions; the sweeter the idea, the more people that were interested in hopping on board. We were able to be selective and I was lucky enough to play with one of the most talented musicians ever and best friend, Roy Mayorga (StoneSour, Amebix) on a track we call “YaelaYorga” It ex- poses us on a whole other level. This has led to a unique drummers’ per- spective DVD documentary film entitled The Love Project Journey and has been submitted and advanced in some instances for the 2010 Sundance, Slamdance, Cannes, and Zero film festivals.

Would you categorize yourself as a metal drummer? What was it about metal that drew New from DW DVD, you to that genre? The Love Project Journey. Studio and touring drummer Yael takes drummers on an inspiring rhyth- mic journey that has no boundaries. I wouldn’t personally categorize myself as a This is a groundbreaking must-see metal drummer, but if that’s what the gig calls DVD for everyone in the band! There’s no better holiday gift for a drummer for, I have the hat. I’ve worn it many times as than pure inspiration. DW DVDs are not the I’ve played my share of “metal drummer” gigs. instructional videos of the past, they’re a look inside a drummer’s head, their dreams, I’ve recorded quite a few metal-esque tracks their story, their life. Get your favorite drummer what they really want this holiday in my day. I don’t do it on a daily basis any- season, get them a DW DVD. more, so I try keep those metal chops in check for when I need them. It’s like snowboarding or riding a bike; I need a minute but then I get the bug again and it’s on! You need to be in shape to play metal 24/7, and blast beats from hell aren’t always my favorite item on the menu these days. I prefer the play-what-feels-good WWW.ALFRED.COM/DW category. If it’s metal that day, that’s cool, but Photo: Cory Strassburger - www.alieanna.com

I like to have options. As for who turned DW drums) and of course Nirvana! me on to metal drumming, it’s endless: Bottom line, what drew me to metal Sabbath, Ozzy, Dio, Motorhead, Metal- music is the release; the energy that lica, Venom, Testament, Maiden, Judas goes back and forth from player to au- Priest, Anthrax, King Diamond, etc. dience is quite intense. By far the most ’ guitar playing drew enjoyable instrument in the metal band me to triplets and odd time grooves scene is drums. that had a ton of melody and dynamics. , , Charlie Your set up is very creative. Talk to me Benante, , , about your current setup and what sorts Clive Burr, , Niko Mc- of sizes and/or types of drums you uti- Brain, Mikkey Dee and the list goes on: lize to get the sounds you are after. all monarchs of the metal drumming to me. The guys that kill and are under- I’ve been using my Spider Pine, DW Ex- rated beyond words are Kings X drum- otics VLT’s (vertical shells) “DrumAd- mer Jerry Gaskill and Clutch drummer dicted low rider” on Drum Channel Jean-Paul Gaster… if you want to hear with Ray Luzier and Terry Bozzio this groove and odd time signatures played past month or so, messing around with so tasty you won’t need breakfast! smaller toms in front. I also have the I got into most of the Seattle bands “Senza Peso Cave” kit for the track “Sen- and a dirtier grungier sound as it’s cor- za Peso” that I used and borrowed parts porately described: Alice in Chains, for the video shoot. Thanks again T- Soundgarden, Mother Love Bone, Pearl Boz, DW and Sabian. I go for dynamics Jam (this is also where I fell in love with [I use two] 22” kicks, a 12” rack smack in between those 2 kick drums, 10” rack left and sometimes a 6” rataban by the ride. 14 floors to the far left of my main hi-hats. A 6 short stack rataban and 10 popcorn (snares off) snare directly under the hats 8” chrome mini timbale if no rataban available. Then we have the 14 floor next to the 18 floor tom on the right. I’m using 21” AAX Ride, F/X cymbals as much as I can get my hands on Max Stax, 10”+12” Choppers, 18”+ 19” Ozone crashes, JoJo 13” Hats, Alu- Bell, Bozzio’s Radia chinas, Radia mi- Photo: Cory Strassburger - www.alieanna.com cro hats, Calhouns Chinese, and some all around the kit, grooves that use hi Factory Metal Copter tops and crashes. to low range without full on intention. I love the stackers and new “blingnuts” I know they are there, and when I feel experimental all the way. They make a like the moment calls for low end, I fire bell. I want to use it, see how that veer away from the hi-hat maxed out happens. section. Otherwise I spend most of my time there to groove. You can do a Can you give the uninitiated a run down million things with simple kick, snare, on the projects that you feel have best hat. It’s all you really need. The rest is represented you along your drumming color. I also have the new Rat Rod snare path? drum on there by PDP that I love. And last but not least, a very special snare Meanstreak was my first step into the drum built “In Loving Memory,” hand public eye straight outta high school. painted by Louie Garcia at DW. I used First time in those Van Halen maga- it live once on Drum Channel (DC Live zines, cable TV shows, and my first real with Ray Luzier and Curt Bisquera). It touring-the-van experience, opening is my Love Project snare drum hands and sharing the bill with some big rock/ down (The story is on the DVD). metal bands at the time, from Flotsam Photo: Cory Strassburger - www.alieanna.com

and Jetsam and King Diamond to Iron (the 1st) in the forefront, Cedel Johnson Maiden, Overkill and Anthrax. I am on piano, James on bass. We got a ton still very close to the girls and think the of press. We played Nells on a regular band was truly ahead of its time in some basis, as well as the NYC Buddha bar ways and had some very good years and clubs. We got to play in Morocco and songs under its belt. They are passion- Abiza after performing at Central Parks ate about music to this day so that says Tavern on the Green and being seen by a lot to me. Great memories there. the Crown Prince of Morocco. Next was probably 1st Born 7. This Recording a soundtrack paved the happened one night sitting in with way to a full album at one of the top stu- Layne Stayley, from Alice dios in the world. It was my first time in Chains, Arrested Development vocal- playing with session cats that played ist Dionne Farris and Fishbone on a late with Peter Gabriel, Tom Petty and night post Lollapalooza jam at the lime- Aretha Franklin at Powerstation in NYC light in NYC playing to an overpacked (now known as Avatar). These years de- house. This experience was my first step veloped my ear for funk and hip hop and away from the all-girl-metal-band label where the one is on drums. Dynamically which I really started to dislike. I found there was a lot to learn. I was very used it boring that nobody can ask about any- to playing hard and fast the whole time. thing else but “what it’s like to be a girl This was relentless in a whole different playing with the big boys?” The sound light. But I loved it. It lead me back to of 1st Born 7 was unique. It had Boots opportunities to play with one of my fa- on guitar, Toni Ridley on vox with Eric vorite all time bands, Fishbone, on tour with Snot and Dubwar. This was great to along with Yury, and we tracked about see because it combined so many styles 10 songs with his project The Creins. I and the audience loved it. went on to record Chris Caffery‘s (Tran- I played with my friends Tom, siberian Orchestra), solo debut Pins and Chris and Philippe in New York with a Needles. During this time I recorded ses- band called Drain NYC, which later be- sions on and off with Nik in New York came Tung and signed to George Kar- and other spots in LA. I went back to ras’s label Rock Records. Every band the studio to record on George Lynch’s had its new thing that I can experience. post Lynch mob solo debut with “Souls.” You just have to lay the pocket down be Caffery and Lynch are metal guitar he- cool and get the gig. roes, so to speak, and have made their Before the Miller tour, when I first mark. I didn’t tour with either guitarist moved to LA, Roy (Mayorga) told me (just the recordings). about an audition to check out. I audi- tioned, toured US, UK, Scotland, signed Since you began The Love Project Jour- a record deal with Centrury Media, re- ney, you have, no doubt, faced some corded a couple CDs, with the band My challenges and growth. Talk to me about Ruin. I recorded a live record in the UK the personal growth you have experi- off the cuff, and it was back to the grind enced at this level, and what the term with the metal again. We had a good self sacrifice now means to you after a run for a while but went separate ways huge project like this. in January ‘05. After having a blast on the Miller I possibly sacrificed my sanity in this tour with Res, Kweli n’ crew I continued process, and my savings! I am learning to work with multiple Grammy award that it is practically never “done-done” winner, sushi connoisseur, songwriter even when you think you’re finished, and phenomenal bassist Colin Wolfe so it’s difficult to maintain sanity when

Photo - Amir Magal: www.amirimage.com Editing is a whole other animal. And do- ing such a huge project like this entails a mountain of patience and integrity. To see your vision through, and enhancing it in the editing bay, finding ways that show how the whole experience felt is a great thing to know. The pilot flies the plane best and Alain Vasquez (director- editor) and Cory Strassburger (special F/X - animation) were the best people. I was blessed enough to learn what I know now from them. I am blessed to know them. It’s sweet to be a fly on the wall when you’re into doing something or seeing how others do it... or make it happen. A good editor hardly ever sleeps and I went through some of my most Photo: Cory Strassburger - www.alieanna.com intense personal life changes in the middle of the making of my Love Proj- there’s constantly another “last step” or ect Journey some of the biggest highs of more to do on an independent project. my life, some of my very lowest points as It tests your patience. You challenge well. Everything we do and go through yourself daily when you wear many makes us who we are. If I can change hats. You have to learn to be very flex- one thing I’d bring “her” back. Other- ible with people, time and work. Your wise I’m right where I need to be right hours are grueling and you know you now and feel like I learned more in four love it or you are completely crazy. years than I ever thought possible, es- pecially the ‘08 and the ‘09! Having been in the television me- dia field at one point myself, I always Now that the project will soon be hit- found that in any editing situation I re- ting the road, how do you plan to take ally gained some insight into the small the vibe you have created in the studio things I missed, or could work on, as a and translate it to the stage? performer. How did the time in the edit- ing suite (and the constant playback of The vibe comes to life through the peo- your footage) change the way you look ple that see what we’re doing more than at yourself as a player? just those hearing about it. Hence the DVD is the way to go, plus we threw in worked with. For the name DrumAddict, a bonus EP with a hidden track to boot. Yarivs chill cousin and her man (Ran You definitely get alot for your buck and and Meirav) were sitting around at my it’s important to feel good about what place. He is a film guy, cinematographer, you do in life, no matter what it is. It’s photographer, and I needed a name for wonderful to finally have the ability to the DVD so we were brainstorming and bring it forward on this level (thanks to at one point I said, “It’s like an addic- Scott at DW for believing in The Love tion,” and he said, “Yeah but addiction Project). I think the time has come to to drums,” and then I said, “Yeah, like a blow some minds at the drum festivals, drum addict instead of a drug addict.” film festivals and, wherever possible, The three of us stared at each other for throughout the world. I would normal- a moment and it got real quiet. I knew ly never say this about myself (‘cause it that was it. It was an “Aha” moment (is sounds a bit much) but I’ve seen many that what those are called)? musicians doing their thing and this DrumAddict was the starting title time I really got some of the best tal- of the DVD. As the years went by the ent out there. I am undeniably proud project grew substantially larger. It’s not to mention and show them off. It is to entirely drummer based or directly in- be hoped that through all the channels structional like most drummers’ DVDs; I’ve signed up for now or featured this it’s a documentary. As Scott puts it so project with such as IMDB, without simply “we got out the mics, brought a box, VH1 and PBS along with some in the cameras, then we hit the record major film festivals in 2010 (Sundance, button.” I am sorta the nucleus of it all. Slamdance, Cannes, Zero, Berlin, Sac- ramento etc.) bigger things will keep happening ,and it will continue to grow. I’m just at the helm getting the team to- gether as much as possible.

How did DrumAddict: The Love Project Journey come about?

It’s always been connected, constantly, consciously, subconsciously perhaps even less than six degrees of separation, I think. At this point, everyone you dig or know happens to know or like someone Photo: Leor Vaknin else that likes you or someone you have I play on everything with everyone else, Now that you are on the other end of hence I grew increasingly into the title this project, what events transpired as on a personal level. The DrumAddict it you thought they would? Any surprises is, The DrumAddict I am, officially even. in the outcome? I started a company called DrumAddict and everything. I am surprised I learned how to use Fi- The music we were doing and all nal Cut Pro and edit for real. After Ef- the sweet people putting in their time fects, creating menus and arranging and talent proved it to be a true labor the bloody credits were my nemesis. I of love. If we had to pay for all this work got through it somehow... well, it took and time and space in dollars and cents around three tries to get it right, but, we wouldn’t be here right now feeling hey, it’s all new to me. this way about it all. There’s a good rea- I learned a lot about people and son we are called the “starving artists”... passion. Things about myself I nev- we are broke! Ha! So anyway, the words er knew. I went through four espresso “Yael’s project” and “love” were floating machines, okay maybe five. I never ex- around at each session. Dave said, “It’s pected Terry Bozzio to be on my DVD like Yael’s little love project.” So another making music with my people and my “Aha” happened: DrumAddict Presents friends and enjoying it so much. Experi- The Love Project Journey. The journey is menting with him was simply a magical the whole trip to get to this point. time for all of us. I always wanted to give my friend Marc’s family something spe-

Photo - Amir Magal: www.amirimage.com cial that represents his work combined nor do I wish to. with mine, as he affected so many peo- ple in such a short time on this Earth, What is it about the independent road and I finally got to do that. Louie Garcia that attracts you? brought the Mirage Art back to us the Marc way. The indie road is where the hungrier I never expected Senza Peso to artists get to showcase their work. It’s turn into a short story and a CGI vid- just more raw, and nobody is telling you eo with Cory and Alain directing their how to sound, what to wear, and what vision using the song. Days of filming you need to do in order to be cool, or with a crew of top grips, camera opera- what they believe to be cool. You have tors, DP, makeup, hair stylists, clothing to be hella determined to make it work designers, set designers, art dept. etc. independently. Not to say that signed The list goes on and on. One spark set artists who handed off the big bucks off many fires. I can’t put this one out, haven’t impressed me with music but most of the time it seems they’re getting and shall continue for an eternity. Mu- paid to look the part rather than being sic is immortal, universal and will hope- the part or living it. Everything and ev- fully be looked at as the sound of art. eryone seems to get on TV or the radio with barely any experience and as long What do you have coming up? as someone can make a dollar with it, they’re in. Personally I don’t have TV for A tentative Drum Channel spot with that reason. It’s boring to me. Cable has Chad Smith that I’m working on. I just some cool indie programs that I think finished up a Drum Channel live with are worthy. They retain some sense of Ray Luzier. Then we’re working on at- integrity and that is kinda crucial to me. tacking the drum festivals this year By all means I enjoy a great comedy just starting with Australia I believe in Jan- as much as the next guy/gal but keep it uary. interesting because the A.D.D. will kick Thank you so much for this op- in and I will go back to a mix or an edit portunity, Sean. Our very first feature any day of the week. and real interview regarding The Love Project Journey, and you’ve graced us My next question is two parts. You re- with the cover story. I will never forget cently talked with Terry Bozzio on Drum it. Cheers, Sean... Hope to meet out of Channel. First off how cool was that? interview land in cyberspace at 30,000 feet real soon. All we have is now... make Eleven on the cool meter for me. I’ve it count!!! been a fan forever.

Second, Terry made a comment that I felt was very valid in that the music business has changed and in fact needs to be rebuilt. Where do you see our in- dustry headed in the next 50 years?

I think there is a level of musicianship still out there gettin’ cooked up in the right ways. It’s just more apparent in the U.S. that it’s a business more than an art. In other parts of the world it is their way to communicate, sometimes even the only way. That has traced back many moons prior to our existence here 11.11.09 Click below to preorder your copy today. www.drumaddict.net Balancing Act By Jayson Brinkworth

his month I have decided to base my article around some drumming exercises rather than writing about gear or T some crazy concept rolling around in this head. One thing I have noticed in all of my years teaching is that drumming is all about balance just like life. If we are playing and ever feel like we are off balance or leaning, we need to break that down before we can progress too much further. This progress needs to happen between our hands and our feet, especially our hi-hat foot. If we are unbalanced while we play, it will show in our dynamics, tempo and inconsistent tone.

I have used the following exercises for years and have found them to be very helpful. CROSSING OUR BODY The first step is understanding that the right and left side of our body have to get along. This is a simple exercise with our hands and feet both playing a single stroke roll. The catch is, whenever our right hand plays, our left foot plays and visa versa.

The great thing about this is you don’t even need a drumset to work on it. Once you get it moving and the hands and feet feel comfortable, move the hands around the kit and make sure the feet don’t switch.

THE NEXT STEP The next four exercises change it up a bit, but still focus on crossing our body and balance. They are based on the first six exercises from Stick Control and can be reversed for a left hand lead as well.

Saskatchewan’s hippest music school. Click below to visit www.musicinthehouse.ca The first measure is 1/8 notes with our hands and feet playing together. The next measure has our feet staying on the same pattern in 1/8 notes, while our hands switch to the same pattern in 1/16 notes. Once we switch, the body begins to cross, especially in exercise 3, 4 and 5.

Go slow and make sure your hands and feet don’t switch up. If you have “lucky under- Advertise with wear” that you must wear on every gig, The Black Page • Incredible rates

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Contact Sean at: [email protected] you might be a for ad rates drumgeek! The most complete Once you get all of these working online drum community. on their own, try running them together as a whole exercise. You can also work them with the right hand on the ride and left on the snare—or anywhere on the kit. Our biggest focus should be on feeling balanced while playing each exercise and dynamics should remain Click below to visit controlled. www.drummerconnection.com Go slow and have fun. e

Jayson Brinkworth is an accomplished drummer, percussionist, vocalist, educator and writer. Click on the link below to visit him online. www.jaysonbrinkworth.com A Different Way to Flow: by Ryan Carver This is a fun concept I have been working on lately. I picked it up from watching NYC drum- mers like Keith Carlock and Zach Danziger play. They were able to keep time with the ride and hi-hat together and then comp between the bass and snare drum. This is a jazzy concept but in a rock funk type setting. Once you develop the coordination and feel you can create alot of interesting variations and a train like time flow. Try to make up your own variations by playing some rudiments between the snare and bass, or adding to the ride pattern. But make sure what you play always has a smooth time flow.

Ryan Carver is a member of the Academy of Drums faculty, the Vic Firth education team and PASIC. Click on the link below to visit him on the web or to email Ryan your ques- tions and groove requests. www.carverdrums.com GLOBAL EDUCATOR DATABASE AUSTRALIA Thunder Bay, Ontario Contact Info: [email protected] www.musicworkshopdirect.com Hand drumming/kit drumming

Mike Michalkow Dan Slater Vancouver, BC Melbourne, Victoria Contact Info: Contact Info: [email protected] [email protected] www.mikemichalkow.com www.drumhappy.net Randy Ross CANADA Woodstock, New Brunswick Contact Info: [email protected] CHINA

Bruce Aitken Marion Bridge, Nova Scotia Contact Info: [email protected] www.bruceaitken.net Chris Brien Kowloon, Hong Kong Jayson Brinkworth Contact Info: Regina, Saskatchewan [email protected] Contact Info: www.chrisbrien.com [email protected] www.jaysonbrinkworth.com www.musicinthehouse.ca USA

Adam Hay Toronto, Ontario Contact Info: [email protected] www.adamhay.net Stefano Ashbridge Los Angeles, California Sean Jesseau: Music Workshop Contact Info: Dave McAfee [email protected] Mount Juliet, Tennessee www.drumlessonsinLA.com Contact Info: [email protected] Jake Burton myspace.com/davemcafee Nashville, Tennessee Contact Info: David Northrup [email protected] Murfreesboro, Tennessee www.JakeBurtonMusic.com Contact Info: www.davidnorthrup.com Ryan Carver Intermediate to Pro Level Brick, New Jersey Contact Info: Mike Otto [email protected] Baltimore/Westminster, Maryland www.carverdrums.com Contact Info: [email protected] Chris DeRosa mikeottodrums.com New York, New York Contact Info: Dyrol Randall [email protected] Dallas/Fort Worth,Texas www.chrisderosa.com Contact Info: [email protected] Dom Famularo www.dyrolrandall.com New York, New York Contact Info: Rich Redmond www.domfamularo.com Nashville, New York, Las Vegas, L.A. Contact Info: Sean J. Kennedy www.richredmond.com Ambler, Pennsylvania Contact Info: Billy Ward [email protected] New York, New York www.seanjkennedy.com Contact Info: [email protected] www.billyward.com

THE BLACK PAGE WANTS YOU The Black Page is looking for a few good educators. The Global Educators Database is published every month in The Black Page. To submit your contact info to our database, email Sean at: [email protected]. Listing is free for all pro/semi pro educators. Please provide reference material to be considered. THE FINAL WORD

I told people I was a drum- mer before I even had a set. I was a mental drummer. Keith Moon