By “Pistol” Pete Kaufmann
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by “Pistol” Pete Kaufmann 68 MODERN DRUMMER • JANUARY 2010 Reprinted with permission from Modern Drummer Publications, Inc. Copyright 2010 fter a yearlong break, the multiplatinum rock group Incubus recently released Monuments And Melodies, a greatest-hits dou- Able CD (replete with B-sides), and supported it with a summer tour. But don’t think for a minute that drummer Jose Pasillas and band had been relaxing while being away from the road. Pasillas had a baby, guitarist Mike Einziger studied music at Harvard, singer Brandon Boyd focused on his art (he designed the cover for Monuments), and bassist Ben Kenney worked on his own musical project. At a tour stop at Radio City Music Hall, Pasillas fueled the band’s fire with his creative playing, ferociously attacking the drums with confi- dence, originality, and fluidity. He owned the music like it was a part of him. It seems that when you’ve played with the same band since high school, it’s hard to lose the connection or get too rusty, even after twelve months off. While the group was in town, MD took advantage of the opportuni- ty to pick the brain of this young veteran of the road. In opposition to his aggressive drumming style, in person Pasillas is humble and soft- spoken, and he gladly talked at length about the unique demands of life on tour with Incubus. MD: After touring on and off for almost sev- cool perspective. I got that idea when I was enteen years, Incubus recently took a year- in high school, and I’ve pretty much done long break. Why? that since the beginning. I want people to Jose: The break was much needed. We see what I’m doing. toured for a year and a half before that MD: The song “Monuments And Melodies” break, and we were ready for it. We had off the new album sounds like you’re play- planned to do other things in our personal ing with brushes and a cymbal with rivets lives: Mike went back to school, I had a in it. child…. Everyone was pursuing different Jose: Yeah, that’s right. things. It was a good time for us to do that. MD: Is that your jazz influence coming MD: Did you take a break from the drums through? It’s not very often you hear a rock while you were off tour, or did you keep drummer exploring that kind of sonic territory. playing? It would be cool to see you play that live. Jose: No, I played every day. I ended up Jose: We never mess with that song live; it taking jazz drumming lessons for almost a didn’t get that much attention. But then year. I’d been meaning to take lessons and again, we’ve been playing stuff we haven’t learn jazz for years; I finally had the oppor- played in years, so there’s always the possi- tunity, so I did it. bility that we’ll play it sometime. MD: Did you notice a difference in your MD: Bassist Ben Kenney has been in the playing after you took lessons? band for a while now. He’s a much different Jose: It made me a better, more rounded player. I didn’t play anything but jazz for a TOOLS OF THE TRADE long time. I went into it not knowing what Pasillas plays DW drums, including 4x13 and 8x14 snares 1 to expect, just hoping that it would help me (Rockit shells); 5x8, 5 /2x10, and 6x12 rack toms; 14x16 and as a musician. And when I came back to 14x18 floor toms; an 18x20 bass drum; and an 18x6 tube tom. He uses Sabian cymbals, including a 4" bell, an 8" AAX rehearsals, I did feel a difference: Playing splash, a 10" HH China Kang, a 10" AAX splash, a 12" felt more effortless, and I was more at ease Evolution splash, 13" Evolution hi-hats, an 18" Paragon China, with my instrument. a 20" Vault ride, a 21" HH Vintage ride, a 21" HH Raw Bell dry MD: When I saw Incubus play the other ride, and a 22" prototype; DW hardware, including two low night, I noticed your drumset was set up snare stands, two low tom stands, a three-leg 9500 series hi- hat stand, a 9000 series bass drum pedal, a low drum chair, sideways. What made you shift your kit to and a cage with ten cymbal arms; Remo heads, including clear the side? Controlled Sound Black Dots on the tops of the toms, clear Jose: One of my favorite drummers, Jon Ambassadors on the bottoms of the toms, a coated Powersonic Fishman from Phish, always sets up stage or clear Powerstroke 3 on the bass drum, coated Controlled left and sideways, and I thought it was a Sound Black Dots on the tops of the snares, and Diplomats on the bottoms of the snares. JOSE PASILLAS bass player from Dirk Lance. They’re playing is very loose, and the band MD: “Pistola” is another great live both incredible, but Ben comes in from a tends to stretch on it. Incubus jam. You guys do a nice version more polished, funkier perspective, hav- Jose: It’s turned into a cool live jam. All on the DVD Look Alive. ing played with the Roots and all. Has of us love playing that. And yeah, it’s Jose: We kind of keep the middle open. playing with him changed or helped really loosey goosey. We just slow it We could play that song for five minutes your drumming? down or speed it up…it kind of undu- or for ten minutes. Jose: It’s a natural progression for us. lates as it goes. It’s a cool song to play. MD: Because playing drums for Incubus It’s been so much fun playing with him, MD: You and DJ Chris Kilmore have to is physically demanding, do you warm and he’s made me a better musician. I lock in live with the sequences. You use up before you play? feel it every night; he’s a well-rounded, a click live, right? Jose: I’ve tried warming up, but it accomplished player and plays every Jose: I use a click during half the set. doesn’t really do anything for me. It’s instrument very well. MD: Did you use a click on “Love Hurts”? more about my psyche. All that practic- MD: You guys have been playing “Punch That’s a heavy groove. ing won’t help me; I’ll just feel awk- Drunk,” one of the B-sides from Monu- Jose: Yeah. That’s a fun song to play. A ward. I look at every song as a personal ments And Melodies. On that song your lot of pocket in that one! challenge. I don’t really prepare for it, I just try to get in the right frame of mind. MD: Incubus tours a lot. It must be a challenge to be consistent night after night. Have you had any bad nights when you just weren’t feeling it? Jose: We played the Hollywood Bowl, which was a big night for us, and… I didn’t play badly, but I wasn’t feeling well. It was kind of a low point for me; I wanted to have a good time, but I struggled through it. You try hard to get out of it, but sometimes you can’t. That night I couldn’t—it happens. MD: On Late Night With Jimmy Fallon you covered “Let’s Go Crazy” by Prince, with Incubus and the Roots playing at the same time. What was that like? Did Questlove and those dudes just jump in? Did you rehearse? Jose: We only went over it once or twice. They’re such good musicians. It came out really cool; it was pretty rad. MD: I noticed you took the lead and Questlove followed. It’s always great to watch two drummers work together in musical ways. Jose: It was cool getting up there and running with it. He’s a great musician. MD: When I bumped into Ben Kenney the other night he was saying that sometimes you two play drum solos together for live shows. Jose: Yeah, we’ve done that. We’re pretty eye-to-eye. We’re not battling each other, we’re battling with each other. [laughs] We have a good time. Turn to page 73 for drumming highlights from Incubus’s Monuments And Melodies. JOSE PASILLAS 5 Drumming Highlights From Monuments And Melodies Transcribed by Stephen Bidwell ncubus took the opportunity to include rarities, live cuts, and a handful of new songs on the recent best-of release Monuments And Melodies. Leadoff track “Black Heart Inertia” I utilizes some clever mixed meters that don’t sound angular and never detract from the lyrics. Jose Pasillas sets up a tom-intensive backbeat in the intro that he returns to in later choruses, with changing textures. On the bridge to “Black Heart Inertia,” Jose sneaks in a half-time groove in 7/4 and then doubles it up, creating a bit more urgency going into the next transition. Here’s Pasillas’s blazing double-time breakbeat during the verse for “Pardon Me.” The drums and bass lock up to create slight tension going into the last chorus in the backbeat-oriented ballad “Dig,” and Jose brings it all back together with a tasteful sextuplet fill. Pasillas and Co. dig into a dense Mars Volta–style groove during the opening and choruses of “Megalomaniac.”.