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Volume 40 • Number 12 34 On the Cover Ralph Peterson “I’m a better player. My energy is used to uplift the people I play with now, instead of beating them down in some testosterone-induced display of musical machismo.”

The jazz drummer and educator was chuckling as he said those words, but there’s a seriousness between the lines that tells of hard battles, and sweet successes. by Ken Micallef

Cover and Contents photos by Paul La Raia FEATURES 18 THE 2017 MODERN DRUMMER READERS POLL Cast your vote in the drumming world’s most prestigious ballot!

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Red Mist Red AN EDITOR’S OVERVIEW

Founder Senior Art Director “Best service I’ve received from ANY store!” Tell Them How Good Ronald Spagnardi Scott G. Bienstock 1943–2003 Robby, Vista, CA Editorial Director You Are… Publisher/CEO Adam J. Budofsky Isabel Spagnardi he second part of that title is Managing Editor Senior Vice President Michael Dawson …Just Be Cool About It. T Lori Spagnardi Make what you will of this, but I’ve Associate Editor always viewed much of life through Vice President Willie Rose cool-colored glasses. Blame it on Kevin W. Kearns

Clyde. Walt “Clyde” Frazier was the Editor at Large Kick pedal, snare stand, and hi-hat stand not included Associate Publisher Billy Amendola super-smooth NBA guard who, in Tracy A. Kearns the early ’70s, played on the New Business and York Knicks’ only two championship Advertising Director Content Development J i m E s p os i t o teams. On and off the court he was Bob Berenson Miguel Monroy known for his high style and chill demeanor. Clyde passed behind his Advertising Assistant Digital Media Director back. He called his autobiography Rockin’ Steady. He was my hero. LaShanda Gibson EJ DeCoske Of course, basketball is entertainment, and in real life some things The MD Pro Panel: Chris Adler, Gregg Bissonette, Jason Bittner, Will Calhoun, are just unavoidable. To be sure, the time’s going to come when you’ll be Terri Lyne Carrington, Matt Chamberlain, Jeff Davis, Peter Erskine, Bob Gatzen, chatting up someone at a bar and later realize you had a booger sticking Daniel Glass, Benny Greb, Matt Halpern, Horacio Hernandez, Gerald Heyward, out of your nose the whole time. Or maybe the person sitting next to Taku Hirano, Susie Ibarra, Jim Keltner, Pat Mastelotto, Allison Miller, Rod Morgenstein, Chris Pennie, Stephen Perkins, Dafnis Prieto, Rich Redmond, Brian Reitzell, Jim Riley, you was this hot producer; unfortunately you were on your fi fth drink Antonio Sanchez, Gil Sharone, Chad Smith, Steve Smith, Todd Sucherman, Billy Ward, and they were still on their fi rst, and your unsolicited offer to help ’em Kenny Washington, Paul Wertico out the next time they’re “stuck in the studio with some crappy indie MODERN DRUMMER ADVISORY BOARD: SUBSCRIPTIONS: U.S. $29.95, Canada Roland TD-30KSE DW Collector’s Series Exotic Shell Pack drummer” lands with a thud, managing only to insult them and slap a Kenny Aronoff, Eddie Bayers, Bill Bruford, $33.95, other international $44.95 per red fl ag across your forehead. Harry Cangany, Dennis DeLucia, Les year. For two- and three-year subscription Outstanding playing feel plus a huge range of incredible Roland These stunning maple/mahogany shells sound and look absolutely DeMerle, Peter Erskine, Bob Gatzen, prices go to www.moderndrummer.com. SuperNATURAL drum sounds! This kit has it all! amazing — in a Dragon nish you’ll only nd at Sweetwater! Life’s a minefi eld, man. But here’s the thing. Boogers…boogers Danny Gottlieb, Jim Keltner, Paul Leim, Single copies $5.99. happen, and there’s no point in losing sleep over that. But blowing a Peter Magadini, George Marsh, Rod potentially career-altering opportunity because of a lack of self-control Morgenstein, Andy Newmark, Neil Peart, SUBSCRIPTION CORRESPONDENCE: Steve Smith, Billy Ward, Dave Weckl, Modern Drummer, PO Box 274, Oregon, and an overabundance of ego? That’s on us. And that ain’t cool. Paul Wertico. IL 61061-9920. Change of address: Self-confi dence is good. Egotism is not. And most people can tell Allow at least six weeks for a change. CONTRIBUTING WRITERS: Please provide both old and new the difference in a second. Veteran music producers, bandleaders, Patrick Berkery, David Ciauro, address. Call 800-551-3786 journalists—they have notoriously sensitive BS meters. One of the John Emrich, Bob Girouard, Mike Haid, or 815-732-5283. Phone hours, reasons Clyde Frazier was so cool was that he didn’t brag. He let his Dr. Asif Khan, Rick Mattingly, Ken Micallef, 8AM–4:30PM Monday–Friday CST, Mark Parsons, Martin Patmos, Jeff Potter, or visit Subscriber Services at playing do the talking. Okay, that and his custom-made suits. And his Will Romano, Bernie Schallehn, www.moderndrummer.com. Rolls-Royce. The point is, the real reason people paid attention to him Ilya Stemkovsky, Robin Tolleson, back in the day was because he was an elite player. And today, as a TV Lauren Vogel Weiss, Paul Wells. MUSIC DEALERS: Modern Drummer is distributed by Hal Leonard Corp., commentator for Knicks games, he commands our respect because he’s MODERN DRUMMER magazine 800-554-0626, [email protected], a fountain of wisdom with the playing cred to back it up. (ISSN 0194-4533) is published monthly www.halleonard.com/dealers by MODERN DRUMMER Publications, To be fair, musicians have always had to sell themselves to survive. If Inc., 271 Route 46 West, Suite H-212, INTERNATIONAL LICENSING in the service of acting cool we’re keeping our talent to ourselves, that’s Fairfi eld, NJ 07004. PERIODICALS REPRESENTATIVE: Robert J. Abramson as career damaging as developing a rep as a local blowhard. We need to MAIL POSTAGE paid at Fairfi eld, NJ & Associates, Inc., Libby Abramson, 07004 and at additional mailing offi ces. President, 7915 Via Grande, Boyton let people know how diligently we’re working, and how much we love Copyright 2016 by MODERN DRUMMER Beach, FL 33437, [email protected]. Pearl Ash Cajon Zildjian Studio Recording Set that work. And there’s no shame in sharing how proud we are of our Publications, Inc. All rights reserved. Sabian B8X 16"/18" recent projects. But we have to do it in a modest, conversational way. Reproduction without the permission of the POSTMASTER: Send address changes to Pearl’s Ash Cajon delivers great dynamics, Selected by our in-house drummer, Nick publisher is prohibited. Modern Drummer, PO Box 274, Oregon, Two vibrant, focused crash cymbals that live plenty of thump, and satisfying snap. This D’Virgilio, this cymbal set delivers peak It seems obvious, but musicians far too often fail to recognize that IL 61061-9920. the way into someone’s heart—and contact list—is to fi nd out what they EDITORIAL/ADVERTISING/ up to the logo — plus a BONUS 10" splash! ash version is a Sweetwater exclusive! studio performance! ADMINISTRATIVE OFFICES: Canadian Publications Mail Agreement need and fi gure out how to help them with it. I suppose it’s possible to MODERN DRUMMER Publications, No. 41480017 Return undeliverable get a nibble by standing up in the middle of a party and yelling, “Hey, 271 Route 46 West, Suite H-212, Canadian addresses to: PO Box 875, Stn A, everyone! I’m a drummer and I’m awesome! Takers?” But generally Fairfi eld, NJ 07004. Tel: 973-239- Windsor ON N9A 6P2 4140. Fax: 973-239-7139. playing the long game, and observing social protocol, works much Email: [email protected]. MEMBER: National Association for Music better. Development, National Association of Today the internet offers more opportunities than ever to announce MODERN DRUMMER welcomes Music Merchants, Percussive Arts Society manuscripts and photographic material FREE SHIPPING FREE TECH SUPPORT FREE 2YEAR WARRANTY “Amazing drummer for hire!” It also offers more opportunities than ever but cannot assume responsibility for MODERN DRUMMER ONLINE: to leave a less-than-stellar impression. Just like in life, at some point them. www.moderndrummer.com (800) 222-4700 Sweetwater.com we’re going to be seen with a metaphoric booger sticking out of our PRINTED IN THE UNITED STATES nose—maybe even a real one! But if we strive to be like Clyde, doing the Music Key work and playing it cool, we too should be rockin’ steady, for a long time % * on purchases of select manufacturers’ products made with your Sweetwater Musician’s All Access to come. 0 INTEREST for 24 MONTHS Platinum Card between now and December 31, 2016 – 24 equal monthly payments required.

*O er applies only to single-receipt qualifying purchases. No interest will be charged on promo purchase and equal monthly payments are required equal to initial promo purchase amount divided equally by the number of months in promo period until promo is paid in full. The equal monthly payment will be rounded to the next highest whole dollar and may be higher than the minimum payment that would be required if the purchase was a non-promotional purchase. Regular account terms apply to non-promotional purchases. For new accounts: Purchase APR is 29.99%; Minimum Interest Charge is $2. Existing cardholders should see their credit card agreement for their applicable terms. 8 Modern Drummer December 2016 Subject to credit approval.

Swtr_Dec2016_MD.indd 1 9/20/16 2:56 PM “Best service I’ve received from ANY store!” Robby, Vista, CA Kick pedal, snare stand, and hi-hat stand not included

Roland TD-30KSE DW Collector’s Series Exotic Shell Pack Outstanding playing feel plus a huge range of incredible Roland These stunning maple/mahogany shells sound and look absolutely SuperNATURAL drum sounds! This kit has it all! amazing — in a Dragon nish you’ll only nd at Sweetwater!

Pearl Ash Cajon Zildjian Studio Recording Set Sabian B8X 16"/18" Pearl’s Ash Cajon delivers great dynamics, Selected by our in-house drummer, Nick Two vibrant, focused crash cymbals that live plenty of thump, and satisfying snap. This D’Virgilio, this cymbal set delivers peak up to the logo — plus a BONUS 10" splash! ash version is a Sweetwater exclusive! studio performance!

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Charlie Watts Gearing Up Dropped Beats This is what I’ve been a player and reader of MD for many years. Your article on The snare drum that appeared on the bottom of page 76 in the Charlie Watts’ gear in the August issue inspired a few memories, September 2016 issue was incorrectly labeled as a 1929 Ludwig so I dug out my back copies from the basement. Sure enough, & Ludwig Super-Sensitive. It’s a 1929 Ludwig & Ludwig Standard- there was Charlie in the February 1990 issue with the exact same Sensitive. Gretsch kit right down to the no-name Italian at ride, hardware, happens and pedals—although his snare of choice then was a Ludwig Supraphonic. Looking through the other pages, which featured lots of power- tom sizes, big kits, now-defunct products, and plenty of bad hair, when the it was interesting to re ect upon what endures and what doesn’t. At that time, Charlie’s setup was probably a bit of an anachronism. Many of the players and innovations of that era have come and gone. By the same token, the whole vintage thing had yet to take hold. In that context, Charlie, and his modest yet classic setup, world leader have resolutely stood the test of time. Brett Thomson The photograph of Jason Bittner on page 20 in the September Sydney, Australia 2016 issue should have been credited to Robert Downs Photography. in percussion Favorite Drum Shell Type? up to get a great sound. I added a Craviotto This month we asked our social-media followers hand-made oak snare in January. It’s a killer setup about their favorite drum shells. While maple for hard rock. was heavily favored all around, birch, mahogany, Terry Shields gets authentic. bubinga, and oak rounded out the top ve, respectively. Here are some of your comments Birch. The natural characteristics of that wood and picks. make it great for all settings. For example, in a large room with cathedral-type ceilings, you don’t I’ve played kits ranging from solid maple to solid have to stress on mu ing so much, especially birch to the drums I currently have now, which if using single-ply heads, because that shell has feature 6-ply blended kapur and birch shells. such a focused sound. They’re quite the sonic pairing to my ears. I also Christopher Whit eld came up in a time when any sort of hybrid wood shell implied lower quality. Today, there’s almost no limit to the For low pitches I like walnut because it o ers an amazing tonal sort of shells manufacturers are creating. range. For higher pitches I prefer cherry because it has a certain Nelson Steele richness to it. Warren E. LaFever I have DW maple with reinforcement rings, but my next kit would probably be DW’s maple/mahogany set. It has a dark tone but I have two birch sets—one modern and one vintage—and they’re ts any genre of music, which is what I’m looking for. A maple kit surprisingly very di erent-sounding. I love the rich tone and also ts any genre of music, but doesn’t o er the same tone that a impact you get from birch, and I nd it has a much more de ned maple/mahogany kit does. tone than maple. My favorite snare is still my homemade Honduras Janus Nicolajsen rosewood. With a 7x14 stave construction and .875"-thick shell, it’s a beast and weighs a ton. I like thin shells. I think they give out more tone and nesse than Kit Cunningham thicker ones. I also prefer hybrid shells because they amplify the sonic spectrum of the drums, making them more versatile My favorite shells produced today are Dixon ultra-maples. They’re for all types of music. There are many good combinations, but I thin and don’t have reinforcement rings, and they have a really own a ’98 Premier Cabria with blue gum eucalyptus and dark red pure tone with lots of warmth. The placement of the bearing edge meranti wood. The eucalyptus is as hard as bubinga while the toward the inside with a rounded outer cut makes for great head meranti is soft but very porous. I love it. It gives out a very resonant contact. They’ll go high for bebop without choking, or sit slow sound but is focused with lots of low frequencies. Another great and low. They project well and have a nice mix of attack without combination is bubinga/maple or bubinga/birch. I think the trick sacri cing beef. is to mix woods that give a dark sound with other woods that are Brian Ferguson brighter to get the perfect combination. Nelson Rodriguez Want your voice heard? Follow us on Facebook, Twitter, and Instagram, and look out for next month’s question. THE WOOD BRICK CAJON I bought the new Yamaha Live Custom oak shells a couple of years Meticulously hand-inlayed in Peru from solid walnut, ago, and I have to say, it was a great choice. They have a deep, mahogany and almond, offering the quintessential HOW TO REACH US [email protected] Spanish cajon sound. The Art of Rhythm is LP. resonating sound with a great attack, and they’re so easy to mike LPMUSIC.COM ©2016 LATIN PERCUSSION. ALL RIGHTS RESERVED. 10 Modern Drummer December 2016

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October 2016 Modern Drummer 13 NEWS Out Now

Blonde Redhead Masculin Féminin For twenty years the members of the popular New York City indie-art-rock group Blonde Redhead have thrived by embracing their natural inclination to evolve, viewing internally and externally generated changes as opportunities to explore new realms, rather than reasons to retreat to past successes. The new four-LP/ two-CD package Masculin Féminin off ers plenty of evidence that singer Kazu Makino, drummer Simone Pace, and Simone’s twin brother, guitarist/vocalist Amadeo, have always been uniquely able to fi nd fertile ground wherever they plant their musical seeds. The thirty-seven tracks here, originally released on Sonic Youth drummer Steve Shelley’s Smells Like Records in the early ’90s, are wildly diverse but inevitably thrilling. “There was so much I wanted to express at the beginning,” Simone Pace tells Modern Drummer, “especially because I had just so many diff erent interests in music, and I really wanted to give each song a chance to be unique.” One approach that Pace uses to this day to give Blonde Redhead tracks their own voice is to focus on individual elements of his setup. “I’m always interested in using each part of my drumset like a single instrument,” he explains, “and giving it the attention it needs. I learned a lot from playing Brazilian and Cuban styles on the kit, [where] you are in fact approaching the diff erent drums and cymbals as sections of a percussion ensemble. So interesting—and I’m so lucky to be able to bring that into an alternative context.” (Numero Group) Adam Budofsky

Dance Gavin Dance Mothership An organic, genre-defying groove imbues the intricate breakdowns and unison guitar riff s on Mothership, the seventh studio album from the post-hardcore group Dance T i m C ayem Gavin Dance. Drummer Matt Mingus, a member of the band since its inception in 2005, attributes the feel to a wide range of idols. “I heavily draw infl uence from funk and Motown artists,” Mingus says. “I love the Four Tops, Aretha Franklin, Earth, Wind & Fire—all that good stuff . I’ve also always been a fan of classic rock music, like Steely Dan, the Eagles, the Who, Lynyrd Skynyrd, and of course Prince— Si m on F os t er you can’t forget about the legend. I feel I pulled a lot of my sense of groove out of a combination of those artists.” Mingus fi nds that the group’s recording process presents a worthy challenge. “Usually in the studio there are one or two tracks where our producer may change the double kick patterns just a little to follow the guitars, and [the new part] might be a little outside my abilities,” he says. “I like it because then I have no choice but to learn them for the live show. I’ve most certainly found it’s a good way to put a little pressure on myself to get better.” (Rise) Willie Rose

More New Releases Donny McCaslin Beyond Now (Mark Guiliana) /// Norma Jean Polar Similar (Clayton Holyoak) /// For more with Simone Pace Taking Back Sunday Tidal Wave (Mark O’Connell) /// Kings of Leon Walls (Nathan Followill) /// and Matt Mingus, go to Memphis May Fire This Light I Hold (Jake Garland) /// Famous Last Words The Incubus (Craig Simons) moderndrummer.com.

Stickman Drum Camp This past June 29 through July 2, in instruction throughout the four-day event. Camp producers George Dimas and Saskatchewan, Canada, the Stickman Drum Drummer Kevin Churko (Ozzy Osbourne, Jayson Brinkworth organized the event at Experience camp completed its fi fth season Disturbed, Ringo Starr, Slash) related life Living Skies Retreat and Conference Centre, with a world-class lineup of instructors experience garnered from his journey to in the picturesque Qu’Appelle Valley. A large including Carter McLean, Jason Sutter, becoming a top engineer and producer, and outdoor tent served as a drum-building Mark Kelso, Emmanuelle Caplette, Brent Ronn Dunnett led a select group of campers venue and held end-of-camp concerts in Fitz, Jayson Brinkworth, and Chris Dimas. through the hands-on process of designing which attendees performed while applying Thirty campers were provided with personal and building their own snare drums. what they’d learned. “Every year gets better

14 Modern Drummer December 2016 On Tour

Tommy Benedetti with John Brown’s Body The veteran roots-reggae band John Brown’s Body is currently touring in support of its September groove-laden release, Fire ies. Drummer Tommy Benedetti, whose exceptionally deep pocket has powered the group for more than twenty years, explains, “Our touring has evolved toward a more strategic approach in the last few years. We aren’t really out for more than two weeks at a time. Mostly we’ll do three- or four-date runs and then fl y home in between. Then maybe four times a year we’ll go out for two weeks. Don’t get me wrong—in the early days we would be out for two mont hs straight, and yes, it was challenging! Thankfully now we travel more comfortably and have settled on a schedule that gives us a good balance of tour life and home life.” On record, the songs brim with pure and tasteful grooves, but live Benedetti feeds on audience excitement. “With the energy of a crowd—and JBB is a high-energy show—I tend to play a lot more fi lls than you’ll hear on record,” he says. “I consider myself more of a live player, and I have big ears, so I’m always listening to the horns, bass, or vocals for something to react to.” Willie Rose T ob i n V og g es s er, N oC oas t

Jamie Perkins with the Pretty Reckless With an album in the can, a new chart-topping single, and an extensive domestic fall tour underway, things look bright for veteran drummer Jamie Perkins of the Pretty Reckless. Together with producer Kato Khandwala (Blondie, Breaking Benjamin), who previously worked with founding band members Taylor Momsen (lead vocals, guitar) and Ben Phillips (guitar, backing vocals), the group whittled more than twenty songs down to the twelve gutsy, T aryn D eck en gritty best for the band’s third full-length album, Who You Selling For. Live, Perkins ditches the click to create a natural vibe for the new tunes. “[It’s] as organic as possible,” he says. “I have a Roland SPD-SX that I use to trigger intros, and if there’s a sound eff ect that somebody wants to use, we’ll throw it in there. There are no tracks so far, but there’s a song on the new album called ‘Prisoner’ where we might wind up having a track of the intro when we play it live.” Ben Meyer Also on the Road Alan Cassidy with Black Dahlia Murder /// Remi Aguilella with Daughter /// Jamie Saint Merat with Ulcerate /// Charlie Schmid with Tombs /// Chris Ulsh with Power Trip /// Jack Bevan with Foals /// TJ Orscher with Bear Hands

For more with Tommy Benedetti and Jamie Perkins, go to moderndrummer.com.

and more diversifi ed,” Brinkworth says. “The snare-building course was so cool, so we plan to bring that back next season. The 2017 camp promises to be our best ever.” Text andBenny photos Greb by Ronnis using Dunnett Vic Firth drumsticks. Caplette McLean J on C orni ck December 2016 Modern Drummer 15 IN THE POCKET IT’S QUESTIONABLE DIRK VERBEUREN Mind Matters Playing in a Band or Solo? Steps Into the Fire by Bernie Schallehn

’m new to the drums and to your magazine. I’ve been taking a few asking, “When are you going to start or join a band?” It feels like Ilessons, watching videos, playing along to songs on my iPad, and pressure, and it takes away from my enjoyment of drumming. Are making up my own beats. I’m really enjoying myself. However, drums truly only an instrument designed to accompany other reactions from family and friends have been a bit troubling. One instruments? And am I wrong to just keep playing my drums solo? friend asked me, “Why did you choose an instrument that simply S.G. accompanies other instruments?” Other people in my life have been

First o , delete the word “just” from your last your health as well as your own personal has referred to the drumkit as a relatively question. That word diminishes an activity satisfaction. new invention that he hopes will someday that gives you pleasure and enjoyment. Make Solo drumming is also a great way to elevate to the status of a more traditional it: “Am I wrong to keep playing my drums change your mental state, emotional state, solo instrument, like piano. Terry’s massive solo?” And the answer is a resounding “no.” or both. If you’re angry or anxious, cue up drumset has an almost unlimited array If you and your drums never come out of some fast, hard-driving rock on your iPad, of percussion sounds used to convey the your basement or bedroom, so what? The play for a while, and then note how you essential elements of music: melody, rhythm, truth of the matter is that you’re engaged feel. Calmer? More relaxed? Not as angry or and harmony. in a pastime that makes you happy and, anxious? Good! If you’re feeling a little sad, Those pushing you to join or form a coincidentally, is good for you. When you play along to some upbeat music or freestyle band will eventually tire of asking the same play, your heart beats a little faster, and on the kit—any type of drumming that you questions and will back o . Stay strong in your respiration increases. Play faster and think might help elevate your mood. If you’re your conviction that all you really want is harder, and your cardio-vascular system feeling happy, translate that emotion onto solo time with your kit. However, as time gets a nice little workout. The Clem Burke your drums and cymbals. It might make that passes, you may feel the urge to play with (Blondie’s drummer) Drumming Project emotion stick around a bit longer. other musicians. Should this happen, check found that working professional drummers Each of us has two lives. There’s the one out various music pages on Facebook or had a heart rate pro le similar to those of we’re given at birth, and the one we make Craigslist. Look for listings from other players pro football players and that they expended for ourselves. Attempting to please everyone who desire to jam just for fun, with no a signi cant amount of energy, 400–600 in your sphere of existence is an excellent intention of coalescing into a gigging band. kcal per performance. Research tests way to stay in a state of constant frustration Set up a time to get together with them, included measurement of heart rate, oxygen and unhappiness. Make your way of life hold your head high, and make some music. uptake, and blood lactate in rehearsal and one that lets ignorant statements like, “Why Afterwards, assess how it felt to play with monitoring heart rate and blood lactate did you choose an instrument that simply others. Did you like it? If you did, then maybe during live performances. The Tokyo accompanies other instruments?” bounce o try jamming with them again. If it wasn’t that Medical and Dental University found that you. Better yet, take the person who asked much fun, you can always go back to your drummers have an above-average white you that question to a solo concert by Terry practice room and play on! blood cell count, which are the cells that Bozzio. The reason Bozzio is able to create are instrumental for the immune system to a mesmerizing two-hour show is because HOW TO REACH US ght o infection. So keep drumming for he thinks di erently about the drumkit. He [email protected]

Getting the call from his childhood metal idols, Megadeth, Dirk had a lot to think about: leaving Soilwork, which was Dirk’s home for the past 12 years, was not a lighthearted decision. One thing Dirk didn’t have to worry about was his gear. TAMA Starclassic drums are a perfect ﬁt for Megadeth: loud, powerful, sturdy and boasting a ferocious tone and attack that will shake venues everywhere.

16 Modern Drummer December 2016 DIRK VERBEUREN Steps Into the Fire

November 2016 Modern Drummer 17 THE MODERN DRUMMER MAGAZINE READERS POLL CAST YOUR VOTE IN THE DRUMMING WORLD’S MOST PRESTIGIOUS BALLOT

Voting is open between November 1 and December 15, 2016 at moderndrummer.com. Hall of Fame Metal Up & Coming Jazz Peter Erskine Eloy Casagrande Louise Bartle Carl Allen David Garibaldi Brann Dailor Jonathan Pinson Scott Amendola Harvey Mason Alex Rüdinger Loniel Robinson Mark Guiliana Rod Morgenstein Gil Sharone Chris Turner McClenty Hunter Clyde Stubbleﬁeld Jay Weinberg Chris Woollison Ralph Peterson

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18 Modern Drummer December 2016 Rock Educational Tommy Aldridge Product Will Calhoun Mark Guiliana, Exploring Your Creativity on the Drumset (book/DVD) Barry Kerch Dafnis Prieto, Steve Smith A World of Rhythmic Possibilities (book/online audio and video) Sarah Tomek Jim Riley, Survival Guide for the Modern Drummer (book/CD) Steve Smith, Studio Pathways of Motion (book/DVD) Shannon Forrest Aaron Sterling, Ash Soan Sound of Sterloid, Vol. 1 (web video series) Aaron Sterling Recorded Performance, Audio Steven Wolf Mark Guiliana, Nir Z Blackstar (David Bowie) Deantoni Parks, Pop/R&B Technoself (Deantoni Parks) Robert “Sput” Searight, Larnell Lewis, and Jason “JT” Thomas, Josh Dun Culcha Vulcha (Snarky Puppy) Andrés Forero Joshua Wells, Terence Higgins IV (Black Mountain) Carter McLean Matt Wilson, Rashid Williams Beginning of a Memory (Matt Wilson’s Big Happy Family) Recorded Performance, Video Country Mikkey Dee, Garrett Goodwin Clean Your Clock (Motörhead) Pat McDonald Neil Peart, R40 Live (Rush) Rich Redmond Daniel Platzman, Jim Riley Smoke + Mirrors Live (Imagine Dragons) Ben Sesar Rat Scabies and Andrew “Pinch” Pinching, Don’t You Wish That We Were Dead (the Damned) Chester Thompson and Ralph Humphrey, Clinician/Educator Roxy: The Movie (Frank Zappa) Benny Greb Claus Hessler Mike Johnston Thomas Lang MAKE YOUR VOICE HEARD! Jost Nickel Go to moderndrummer.com today.

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y motto has always been to keep “Mgrowing both artistically and personally,” Jerry Marotta says. “If I didn’t, I’d probably fall asleep.” Indeed, and despite the fact that he named his recording studio Dreamland, there’s no need to worry that the Woodstock-based drummer will be nodding off anytime soon. Marotta is busily forwarding his art in a wide range of settings, including recordings and performances with the Security Project, whose repertoire consists of interpretations of Peter Gabriel’s music. Named after the singer’s groundbreaking 1982 album, which Marotta played on, the Security Project has so far put out two in- 1

concert recordings. Its debut album, Live , D i on O g us t focuses mostly on tracks from Gabriel’s groundbreaking third and fourth releases, while the brand-new Live2 reaches more When Jerry Marotta appeared on the cover of the March deeply into material from his fi rst two 1986 issue of Modern Drummer, he’d been with Peter albums, as well as forward to tracks from Gabriel for nine years, appearing on four of the former 1986’s So and 2000’s OVO Millennium Dome Genesis singer’s solo albums, including the radical yet Show soundtrack. (Genesis freaks will no hugely popular tracks “Games Without Frontiers,” “Biko,” doubt appreciate the inclusion, on both “Shock the Monkey,” and “Red Rain.” Yet Marotta had releases, of tracks from the classic double already worked with an impressive list of artists before album The Lamb Lies Down on Broadway.) he’d even heard of Gabriel, including Orleans and Daryl B ark a F ab i á nov á As this issue of MD is hitting newsstands, Hall and John Oates. Marotta was unavailable to play the band is in the midst of a U.S. tour. on much of Gabriel’s 1986 album, So, due to being in Although he’s largely known for his the studio with Paul McCartney for the ex-Beatle’s Press studio work, Marotta still yearns to be to Play album, and wouldn’t appear on subsequent part of a greater whole. “My role model Gabriel studio albums. But he kept quite busy, touring and mentor,” he explains, “is obviously my and recording with the Indigo Girls through most of brother [session legend Rick Marotta]. the ’90s, and he’s spent much of the new millennium He had the foresight to bring me to a working on projects in his own Dreamland studio in Columbia Records session with him and Al upstate New York. Kooper back when I was just thirteen years old. But my inclination was then—and still an off er to play with the little-known (at to play,” he says. “In addition to Security is—to be in a band.” the time) Gabriel. “Peter infl uenced my life Project, I’m excited about Karma Darwin, a His fi rst, the Woodstock-area group forever,” the drummer says today. “I was young band I recently produced; the Fragile Orleans, netted Marotta the “can do” rep with him for ten years, and everything Fate, a band featuring me, Fixx keyboardist that has stayed with him throughout his changed. Because of the way Peter made Rupert Greenall, and guitarist Eric the career. He joined the band in time to record music, he revolutionized my approach, Taylor; and Thor Jensen, a phenomenal its second big hit, “Still the One,” from the which really required experimentation. guitarist who I’m working with in a project 1976 album Waking and Dreaming. “Back Recording at [Gabriel’s home studio] with Flav Martin, who is a great guitarist then,” Marotta recalls, “if I had the chance to Ashcombe House provided that freedom.” himself. And naturally Dreamland studio is be in Orleans or the Beatles, I would have At home on anything rhythmic— open for business. chosen Orleans hands down. They were my traditional and electronic drumkit, “Check us out,” Marotta adds with a favorite band.” African and Native American drums, hand chuckle. “We may even make a few of your Fast-forward to 1977, when, after internal percussion—Marotta still embraces every dreams come true.” Bob Girouard strife led Marotta to leave Orleans, he got new project with a gleam in his eye. “I love

22 Modern Drummer December 2016 G eorg e K op p Billy Ficca This indie-rock hero is happy to revisit past glories. But he’s not exactly waiting around for the opportunity.

he bands Billy Ficca is most commonly associated with are all It would be a stretch to characterize some of the more meditative Tpretty diff erent from each other. Television had those lean, pieces on Heroes of Toolik’s latest album, Like Night, as dance anxious guitar jams that sound as ahead of their time today as music. But Ficca’s dance moves across the cymbals on songs like “8 they did back in the mid-to-late ’70s. The Waitresses were an art-y Miles” and “You Will Not Follow” fi ll the wide-open spaces tastefully, band that fl irted with Top 40 success (yes, that’s Ficca you hear with washes, pings, and sweet overtones lingering and blending on “Christmas Wrapping” each year around the holidays). The nicely with the rest of the ensemble. It’s a top-down approach to Washington Squares were eclectic folk revivalists. And the band drumming that comes from a love of jazz greats like Tony Williams Ficca has been playing with the last couple of years, the avant- and Elvin Jones. “Not only did those guys swing, but listen to how garde “supergroup” Heroes of Toolik (featuring members of the they played the cymbals,” Ficca says. “It’s beautiful. That’s why I’ve Modern Lovers and the Lounge Lizards), specializes in experimental always been really into cymbals. But not smashing the hell out of pop songs with trombone and violin serving as the primary lead them. Just hitting a really nice cymbal the right way and letting it fi ll instruments. some space. I think it’s one of the nicest sounds there is.” Seems like a pretty diverse lot on paper. But as far as Ficca is These days Ficca is juggling Heroes of Toolik with his Television concerned, there’s a common thread connecting those bands and commitments. TV did a short European run earlier in the year and his job within each. “To me, it’s all kind of like dance music,” he played a handful of U.S. dates in late summer. Ficca says the band explains. “A drummer’s job really is to get people to dance, or to will likely mark next year’s fortieth anniversary of the infl uential move—or to at least think about moving. Doesn’t matter if I was Marquee Moon with some shows where they’ll play the album in playing fast folk with the Washington Squares or the weird, kind of its entirety. As for new Television music, that’s not as likely. “We ska things the Waitresses would occasionally do. My job was the started working on some new stuff a while back,” Ficca explains, “but same. And really, that’s what a drummer’s body does when you’re there’s still a lot that needs to be completed—lyrics, vocals…. I’d playing—you’re dancing. The way the limbs are working, the way say it’s somewhere between being on the shelf and being shelved your body moves across the kit…it’s a dance.” completely.” Patrick Berkery

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