MAY 2010 THE BLACK PAGE Randy Cooke In a real funky world THE BLACK PAGE MAY 2010

Randy Cooke 3 by Jayson Brinkworth

Taking Care of Yourself 10 by Chris DeRosa

Good Times on the Bass Drum 14 by Ryan Carver Global Educators Database 16 THE DRUM WORKS The Final Word 19 The Drum Works is based in Muri bei Bern, Switzerland, headed up by British profes- sional drummer and teacher Richard “Doc Spoons” Spooner. The Drumworks offers THE BLACK PAGE is distributed via PDF to expert drum lessons in all styles of contem- email inboxes worldwide. porary music from rock, punk and heavy To get the latest edition, click below: metal, to blues, funk and jazz. The studio is equipped with digital music/ www.theblackpage.net video recording and playback facilities, three professional Ludwig drums, Paiste cymbals, Send us your feedback at: DW hardware and a full range professional [email protected] PA & monitoring system The program of study can be determined Sean Mitchell Publisher by you if you need to give something special Jill Schettler Editor in Chief attention. You can also choose to follow a Jayson Brinkworth Writer Ryan Carver Writer program put together by Doc, such as of the Rich Spooner Writer popular UK Drumsense method or the Trin- ity College of Music graded exam syllabus Rock School, among others. EARTH FRIENDLY Click on the link below to visit us online No Paper,m No Ink, No Waste www.thedrumworks.net Randy ByCooke Jayson Brinkworth

What do you get when you combine a good eh-saying Canadian kid, who can stand a -40 winter, with a passion and desire to commit whole heartedly to the groove, and a boundless and energetic work ethic that just won’t quit?

The answer is the one and only Randy Cooke.

Randy’s career has spanned the who’s who of the music industry, but he doesn’t rest on his past accomplishments. He is a believer in the “you are only as good as the last notes you played” concept, and he has a knack of playing all the right notes.

So, how does a kid from Toronto end up working with the likes of and ? How does he network himself into one of the hot shot players in Los Angeles? Read on and get into the very funky world of Randy Cooke.

Just a word of warning: this article is very inspiring and you might find yourself reaching for new heights in your own playing.

Photos: Char Beck - www.charbeck.net Randy, first off, let me say what a pleasure funk and reggae band called Phase IV com- it is to have a chance to get a glimpse into prised of close family friends. We played your groovy world. To start, let us know originals as well as covers, and to this day I what your formal years were like growing attribute much of my groove sensibilities to up Toronto. When did you start playing, that musical environment. I played for four or how did you start, and what were some five years with them. of your first experiences drumming? Being fifteen years old, you couldn’t play clubs, so we all had to get special notes from My exposure to drumming occurred practi- the LCBO allowing us to play licensed estab- cally from birth, as my father was a snare lishments, as long as we went straight from drummer in the Toronto Scottish Regiment street to stage and back out again without Pipes and Drums. There was always a snare loitering. There were only a few clubs that drum lying around and sticks that I could catered to R&B so we ended up at a lot of bang away with. He taught me my first rudi- the same places for years. We still loved ev- ment (the long roll – “mama – dada”) along ery minute of it. with others as I progressed. I loved drum- ming, but didn’t want to wear a kilt, so he en- You did a lot of live playing as well as stu- rolled me in the Cadet Lancers of Etobicoke dio work throughout your Toronto years. Drum Corps. I was about thirteen years old How did you break into the studio scene at the time and in grade 8, I think. The first there? two years of high school found me messing around on the school during morn- My exposure on a live basis brought me into ings and after school, which led to me in- enough social circles that enabled me to rub evitably begging for a kit of my own! That shoulders with people that hired drummers first kit came Christmas of grade 10 (fifteen for sessions. I didn’t wake up one day and years old). The following summer, I joined a decide I wanted to be a session guy. I just became one through a slow and natural pro- everyone will gravitate to a specific personal cess. I do think one of the necessary tools musical genre, but that doesn’t mean (s)he for being reliable in the studio was being able can’t appreciate and round his/her perspec- to comfortably play to a click. Since I was al- tive on all other styles that exist. I think the ready used to playing to a click live for many best players at any one genre surprisingly years in the funk band (we used loops and have many deeper layers of prior exposure sequences etc.) the transition from stage to all the others. As far as boot camp for to studio really wasn’t that intense. If you’re young players, the school of Top 40 will al- considered a great live player, the only thing ways remain the best! I did so much of that separating you from being called a session in my early years purely for financial stability. player is your ability to do what you do to Little did I know that having to learn so many

Click HERE to visit Randy online at www.myspace.com/randycooke

click without it feeling or sounding as such. different styles of music for one Top 40 band Of course, when the record button gets would teach me things I never would have pressed, you’ve got to be able to overcome learned otherwise. I may not have enjoyed any nervousness or confidence issues! some of the songs myself but that didn’t mean I wasn’t up to the challenge of making You are also very diverse in playing many them sound like the original. styles. For the younger drummers out I studied privately and know how important there, can you talk a bit about the impor- that is in and of itself, all the while forcing tance of diversity and open-mindedness yourself to learn different genres of music so as a musician? you’re armed with more musical ideas from which to draw upon in your personal playing I know how important musical diversity is to style. I remember thinking, I’m never going one’s approach to feel, fills, and song con- to join a Latin band, but practicing those ex- cept. It can be compared to having a great ercises absolutely gave me things that creep vocabulary and being able to speak with into my playing today. many ideas, colors and layers. If you’re train- ing to compete in a one mile race, you run I had the pleasure of seeing you at the ten miles a day, so that when it comes time Montreal Drumfest in 2003. Your perfor- for the race, the one mile comes more eas- mance was fantastic as always, but it ily and without strain. It’s very natural that was the presentation that was so power- ful. You came out and blazed out a great of the matter remains: in the studio, for pop solo, stated afterwards that you have music, drum solos and playing in odd time never been hired to do that and proceed- just aren’t required. So, that was my (hope- ed to play a variety of tunes from all over fully) humorous point. the stylistic map. What made you decide to approach the clinic in this way? Forgive me if I am off here, but was one of the first breaks into the US market for yourself the Hillary Duff sessions? How did this session come about for a Cana- dian drummer?

It was either that or the Kelly Clarkson tracks. Both of those sessions were the result of personal relationships I already had with Ca- nadian writer/producers (Raine Maida, Mat- thew Gerrard) that had already moved to LA. I’m so thankful and grateful there were some familiar faces already down here doing great things to allow me to be able to ride on their coattails! Thanks so much for those kind words. I guess I chose that approach because it was the The list of artists you have worked with most honest way of me letting young drum- here in Canada is impressive and has mers know that there are alternative ways to grown to be the who’s who in music. go about being a live and/or session player First, how did the gig with Ian Gillan –and make a living at it. I’m always in awe () come about? and greatly respectful of players that delved much deeper into improvisational and tech- nical layers than I did, but it’s just the musi- cal cards that life’s dealt me. As a young player going to clinics, I felt that some of the material went over my head technically and musically. My ears weren’t trained enough to really appreciate the full extent of what was going on. I think you ei- ther left drum clinics inspired to want to reach those limits or frustrated and depressed feeling like you’d never reach them. My mes- sage probably speaks to the young players like myself who wanted to chop my hands off after hearing a brilliant fusion player. Of course there’s a little tongue-in-cheek that goes along with that statement, but the fact You know that saying “It’s who you know”? when Michael was poking around looking for That was in full effect here. I had for many musicians to put together for Ian’s solo tour. years played in various bands with an awe- He called his pal Andy who told him about some rock singer/ by the name his pal Randy. I got a call/email from Michael of Andy Curran. He eventually landed a gig asking for some mp3s to be sent for his re- working at a management company called view and I was fortunately welcomed into SRO. That company handled a Canadian the fold. rock act called the Tea Party. The singer of the Tea Party was managed by a fellow I believe the next artist was Dave Stewart named Michael Lee Jackson, out of Buffalo, (). How did you hook up with NY. So, on a regular basis Michael and Andy him? had to coordinate with each other as far as scheduling the singer’s solo appearances Here’s the domino effect playing out. My with his band’s own appearances. Michael Ian Gillan tour started in the east coast and also managed Ian Gillan’s solo project (as ended in the west coast at the House of Blues well as playing guitar for him). The day came on Sunset Boulevard. The dressing room was full of people I didn’t really know, one of Others in this list include Ringo Starr whom ended up making a special appear- and Mick Jagger. What were these expe- ance on stage at that evening’s performance. riences like for you? Little did I know, that was Michael Bradford who came up and displayed an impressive Both those gigs came about through Dave guitar performance during Deep Purple’s hit Stewart’s relationships with those gents. “.” Michael was actually Again, one gig leading to another! Being in a bass player that had worked with the likes a room with Ringo Starr, let alone playing in of and . We chat- his band, was incredible. He was fun- ted after the show, exchanged ny, personable, and extremely hugs and phone numbers, talented, made us all feel and weeks later I got very welcome and a phone call to do a played his ass off. session at Brad- We got to do a ford’s home stu- song with the dio. This was both of us on for a different drums and

project, but that was un- Michael and I believably fun. were on our way His time is so to carving out a solid. It was so great personal and easy to play with musical relationship.2 him. Not an easy task Some months had passed generally for two drum- when Michael called and said mers. he was putting together a band as musical The three day session with Mick was an director for Dave Stewart and asked me if honor—again, Dave’s handiwork. Mick was I was interested. You can imagine my re- relaxed and funny and we had a great time sponse! So, I was happy and lucky to now recording some demos. You grow up being be playing Dave’s solo gigs. Not only a huge a fan and listening to records and seeing superstar from his Eurythmics’ fame, Dave’s videos, but it’s strange in a great way when songwriting has appeared in countless other you’re standing in a room working with those hit songs with other artists. He really is an same people. There is an initial surreal as- incredible wealth of talent and inspiring to be pect about it all. At the end of the day, you around. realize, they’re all musicians like the rest of us sharing that common love another take; at a gig, if you You are definitely one of of music and its expression. make a mistake, it can easily the hardest working play- be forgotten in time. But with ers in the industry. What You went out on tour with television, you get your one does the near future hold Five for Fighting. How did shot when the cameras go for Randy Cooke? the tour go, and what was red and it’s captured forever. required from you on a gig Sometimes that’s an incred- It’ll be back to the studio for such as this? ible thing—and sometimes the most part. I enjoy a num- not. I prepare mentally more ber of repeat producer clients The tour went amazingly! We than anything else. Clearing and look forward to what- crossed the country in six my mind of any distractions ever new musical opportu- weeks and played to thou- and reminding myself it’s just nities are put in my path. I sands of appreciative fans. another musical moment in really never know month to It’s the best feeling. This gig time that you’re there to en- month what I’ll be recording is pop all the way. My kit is joy with everyone else, all 5.7 or where I’ll be playing. I’m tuned low. The shell sizes million of them. (laughs) just really thankful that I can are large. The drum sound continue doing it on any lev- is big. Simple grooves with el. 8 simple fills. I play to a click live so that the song tempos are consistent night to night and John loves that. It’s a re- ally musical band. The other players are stellar and John’s a great musician and song- writer. Again, it’s always an honor to be amidst a gang like that.

You have also done a ton of the late night and day- time television shows. What is this experience like playing for millions of viewers? Any advice on how to prepare for shows of this magnitude?

The one thing I can say about playing television is that the pressure level is much high- er. There’s no room for er- ror. In the studio you can do Taking Care

of Yourself

By Chris DeRosa

n this entry I wanted to talk about drumming health. There are three aspects to this important balance: (1) physi- cal: eating right and exercising; (2) mental: taking time off to refresh and gain clarity; and (3) spiritual: the need to think outside our problems and world through meditation Ior prayer. Today I wanted to specifically address the physical. I’ve been drumming since I was eleven years old and never really thought too much about my physical body and it’s upkeep. I have always been very active and blessed with good genes in regards to healing and health. I’ve also considered myself an athlete in a way because of the physical demands drumming requires, but it didn’t go much further than that thought. Over years of practice and performing, the repetitive move- ments we do create some strain and stress on individual body parts and muscles. At times, I will drum as much as eight hours in a single day. This demand from our bodies over time can de- velop into a chronic condition. I had this unlucky situation come to my attention recently. Earlier this year, over the course of several weeks, my lower back was becoming stiff and eventually grew very painful. This “Prevention goes a long way. Listen to your body.”

continued to the point that after about six in a new bed frame. Each morning when I weeks of this progression I was at times would sit up in bed and answer my emails barely able to get out of bed. All my life I etc., I was sitting in a new less friendly po- have been blessed with a body that heals sition in regards to my back (now known quickly, and if I just work through it, it would as L5/S1). Unknowingly I aggravated this fix itself in time. Much to my dismay, this condition to the point of my then present time would be different. state of limited mobility and absolutely no I am fortunate enough to have a very drumming fun. good M.D. nearby my home, so I limped The positive thing was that after learn- my way over to see him. After a few very ing the source of my pain (and about my specific tests my doctor found what ap- then unknown condition) I was able to not peared to be a condition that developed only fix the immediate problem but also (and went unnoticed) over a long period address the bigger long-term situation. of time. Specifically my L5/S1 (a verte- This also got me thinking about my set- brae in the lower middle back) was slightly up and, more importantly, my seat. I re- compressed, causing my muscles to both alized I have had the same drum throne compensate and my spine to twist in a not for more then ten years. I quickly went out so drum-friendly way. and researched the various thrones avail- What I soon realized was that with a re- able and replaced my old Honda seat with cent apartment move I had started sleeping a new hi-tech Cadillac.

Saskatchewan’s hippest music school. Click below to visit www.musicinthehouse.ca I am happy to report that after several chiropractic/acupuncture sessions I was IF PEOPLE REFER TO YOU AS not only back up and running (blissfully drumming) but ultimately I was finally deal- “DRUMMY McDRUMMERSON”, ing with an ongoing condition until now not realized. The point of all this is to strongly commu- nicate to each of you to listen to your body. It’s imperative to not only try and prevent any potential injuries that our drumming can cause, but that we also each take the time to stretch before and after practice, rehearsals, and shows. It’s impossible to do what we do as drummers (including lifting heavy gear) and not go unscathed over the course of time. Trying to make exercise a regular part of our routine will go a long way towards this prevention. Since my recovery I have made three new decisions regarding my physical health: YOU MIGHT BE A DRUMGEEK! • Started a weekly yoga regime. • Sought out and bought the highest qual- ity chondroitin glucosamine supplement to add to my diet. • Committed to getting a chiropractic ad- Advertise with justment at regular intervals to keep ev- erything in line. The Black Page

Remember, don’t take your health for Contact Sean at: granted. Prevention goes a long way. If [email protected] you have any questions please send them for ad rates to:[email protected] Y

Chris DeRosa is a freelance drummer, composer and producer who lives in New York City.

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Reviews will appear monthy and will in- clude a weblink to the company’s web- site. “Good Times” On The Bass Drum : by Ryan Carver

This month I have been inspired by Led Zepellin’s “Good Times, Bad Times”. John Bon- ham’s right foot on this song always blows me away. He plays a 16th note triplet lick as in example A. John Bonham had such a smooth touch and great power in his foot. You hear every note he plays clean and clear. Practice example A to get used to the feel. Make sure you space the strokes evenly in the triplets. Try to count each as well. Then try the drum grooves that apply this lick in various ways. In the end of the song Bonham plays a two- measure beauty using this lick! Ryan Carver is a world reknown educator with a private practice based out of Brick, New Jersey. Ryan proudly en- dorses Beatnick Rhythym Analyzer from Onboard research and Carver Drums custom snare drums. Ryan is a member of Vic Firth Education Team, The Hudson T.I.P. program and the Percussive Arts Society.

Click on the links below to visit him on the web or to email Ryan your questions and groove requests. For videos of Ryan’s lessons click on his Youtube link. www.carverdrums.com GLOBAL EDUCATOR DATABASE

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

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Jayson Brinkworth Regina, Saskatchewan Contact Info: THE BLACK PAGE [email protected] www.jaysonbrinkworth.com WANTS YOU www.musicinthehouse.ca The Black Page is looking for a few Adam Hay good educators. The Global Educa- Toronto, Ontario tors Database is published every Contact Info: month in The Black Page. To submit [email protected] your contact info to our database, www.adamhay.net email Sean at: [email protected] Sean Jesseau: Music Workshop Listing is free for all pro/semi-pro Thunder Bay, Ontario educators. Please provide reference Contact Info: material to be considered. [email protected] www.musicworkshopdirect.com Hand drumming/kit drumming Chris Lesso www.drumlessonsinLA.com Toronto, Ontario Contact Info: Jake Burton [email protected] Nashville, Tennessee Contact Info: Mike Michalkow [email protected] Vancouver, British Columbia www.jakeburtonmusic.com Contact Info: [email protected] Ryan Carver www.mikemichalkow.com Brick, New Jersey Contact Info: Randy Ross [email protected] Woodstock, New Brunswick www.carverdrums.com Contact Info: [email protected] Chris DeRosa New York, New York Contact Info: CHINA [email protected] www.chrisderosa.com Chris Brien Kowloon, Hong Kong Dom Famularo Contact Info: New York, New York [email protected] Contact Info: www.chrisbrien.com www.domfamularo.com

Sean J. Kennedy SWITZERLAND Ambler, Pennsylvania Contact Info: Richard “Doc” Spooner [email protected] Muri bei Bern, Switzerland www.seanjkennedy.com Contact Info: www.thedrumworks.net George Lawrence [email protected] Cleveland/Akron, Ohio Skype : doc-spoons Nashville, Tennessee Contact info: [email protected] USA Dave McAfee Mount Juliet, Tennessee Stefano Ashbridge Contact Info: Los Angeles, [email protected] Contact Info: myspace.com/davemcafee [email protected] David Northrup Murfreesboro, Tennessee Contact Info: www.davidnorthrup.com Intermediate to Pro Level

Mike Otto Baltimore/Westminster, Maryland Contact Info: [email protected] mikeottodrums.com

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Rich Redmond Nashville, Tennesse New York, New York Las Vegas, Nevada Los Angeles, California Contact Info: www.richredmond.com New from DW DVD, The Love Project Journey. Studio and touring drummer Yael Billy Ward takes drummers on an inspiring rhyth- New York, New York mic journey that has no boundaries. This is a groundbreaking must-see Contact Info: DVD for everyone in the band! [email protected] There’s no better holiday gift for a drummer www.billyward.com than pure inspiration. DW DVDs are not the instructional videos of the past, they’re a look inside a drummer’s head, their dreams, their story, their life. Get your favorite drummer what they really want this holiday season, get them a DW DVD.

Click on the link below to visit www.drummerconnection.com FINAL WORD

“It takes more than practice, you have to have vision.” Pete Lockett