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Home , Abraham Laboriel, Across from Midnight, Back in the High Life, Brooks Wackerman, Carlos Vega, Coming Back Down

’ jimmy paxson, up close with & studio master JR Robinson

magazine The Official Publication of • 8.0

abe laboriel jr. inthrough the outdoor how he landed all the inside gigs

Plus dw artists hit europe, Q&A with the of nashville, DW’s latest gear and more! NOW reinforcement hoopsorplies.We ever. enduredyearsofresearchanddevelopmentexpensetodoonlyonething,bringyouourbestsoundingsolidshelldrum The different? dramatically so Solid Super is Why drums. shell answer is a groundbreaking Molecular Compression Process that produces the most dense solid solid maple shell ever created. And this is a truly one-piece shell, no at glued look new completely a Solid, Super Series Collector’s DW the Introducing ©2009 Drum Workshop, Inc. All Rights Reserved. HEAR THIS EDGE 8.0 A 16 Featuring 12 FEATURESARTIST Legacy EDGE Magazine is a publication of Drum Workshop,Inc. Drum of publication a is Magazine EDGE Abe Laboriel Jr Laboriel Abe Nashville of Drummers Billy Endured. Mason, Family, T ravis 12 chooling & the beginning of a legend. a of beginning the & Schooling abb and McNabb Cactus ©2009 Moser Drum 06 W orkshop, Inc. All Rights eserved. #PRCAEDGE -V8.0 Reserved. 20 ssc 14 08 04 02 NEWS PRODUCT 26 24 10 06 ISSUE EVERY IN 28 road 22 11 3Drumsticks 8000 PDP Exo-X DW Paxson Jimmy Feature: Artist Up T New Road ime Close: Update Drum T Machine: Artists Stories: T echnology Project Series ips with ips linic with Clinic Danny 24 or promotional use only.use promotional For edals & Pedals DW Drum JR Seraphine Robinson rtists hit Artists T ech - ech Denny Hardware Robbo NOT FOR SALE. FOR NOT Europe Seiwell 16 22 Here’s my were very comfy way down low (my trying to get this snare to do something review of the guess is it’s the X-shell causing this). radical by experimenting with different Eco-X DW The Eco-X 12x14 easily tunes lower than heads, die cast hoops, crazy-different . I my Series 16x16 that I played at the Purecussion snares and what-not, but have the first MD Fest 08! the always complied and “Eco-X kit” sounded musical. Again, the tuning DW ever After feeling like Ringo in the 1970s for range is sick. Right now I have mine constructed. an hour or so, I did my thing and started tuned up super high, like a side snare Eco-X Project It is the very randomly moving the pitches around. or reggae snare. It will do anything you Billy Ward first prototype I’ve never had toms that are so easy to ask it to do. -, drummer-approved. that John tune to where you get a good sound no By Billy WArd Good made matter what. Helen Keller could tune OK, they are flexible, so what do they and, like most all of his experiments, it these things and I’m not kidding! If sound like? I think there might have went directly into the showcase room at you see a kit in a drum shop, tune the been some truth to those who once said the factory to be played with ensuing bottom head evenly – simply “ballpark” there a “DW sound”, but now we opinions to be gathered. John Good and it. There’s no need to be fussy. Then have many very good brands of drum I discussed this kit by telephone before it tune the top head anywhere. Get crazy! heads and many drummers look for was ever made. JG desperately wanted Check out what happens with raising or more musical options in a drum than to make a kit that was more affordable, lowering just one or two lugs! It’s really just “loud and proud.” Anyone with yet with absolutely no sacrifices in incredible! I had well-known NYC half an ear can distinguish the sound terms of quality and tone. When he drum tech (credits include S. Gadd and of DW’s Jazz Series from the various realized it could also be “green” (better Collector’s Series, and now with the for our environment) his enthusiasm bamboo/birch combination of the went ballistic! JG desperately Eco-X drums, there is clearly another wanted to make a kit sound available. These Eco-Xs offer The Eco-X experiment began with that was more great tuning flexibility. The my snare drum and its finish is also affordable, yet with is pure gold. Period. The snare is so experimental - “blue jean” stain and absolutely no flexible, I intend to take it into any it really looks cool - like blue jeans! So sacrifices in terms of unknown rooms (such as at a night club they made the bass drum and toms in quality and tone. or studio that I’ve never played before) the same blue jean finish. The only When he realized it because it will adapt to anything. The problem was the toms and bass drum toms sound unique. While, typically for came out in PURPLE, not blue! End could also be DW, they get along with each other very of the Blue jean color experiment! “green” (better for well, they offer uniqueness in tone and Since receiving this kit, I’ve seen the our environment) sustain. They really speak quickly and two beautiful natural finishes that his enthusiasm went sustain incredibly. In fact, the 12X14 the production models come in. I’m ballistic! sustained so long I ended up partially jealous that I don’t have one of leaving my stick bag slung over the side those beautiful factory finishes, but my to cut the sustain a bit, which is nice, little “ugly ducklings” sound so good, I because I enjoy having such easy access can’t let them go! S. Jordan) Artie Smith witnessing this to my stick bag. There is a bit less honk at my studio (he couldn’t sit back and or lower midrange frequencies in these Out of the box, the bass drum is sick. listen. He grabbed a drum key and went toms, which along with the incredible Un-freaking real-super bottom. JG at it!). The tuning range on these toms sustain makes these drums my first says they ALL have this quality and is astounding. Also, even though they choice if I ever get a gig with , he doesn’t really know why. Well, it is are x-shell (and therefore you would or . I’ve already the best 18x22” bass drum I have ever think they want to be low) these guys purchased gig bags for these drums heard. I normally abhor the DW pillow, LIKE being tuned really high, perhaps and intend to use them on local gigs but as is - this drum is perfect. I have not Peter Erskine high (go as high here in . The fact that not touched the heads or the tuning as possible and then go higher), but these drums cost less than the rest of since it came out of the box. Normally high. This is the first time I have ever DWs lineup should be considered John I immediately put my Evans heads on fantasized about taking a drum key and Good’s present to each of us. After you my new drums, and someday I will as lowering the floor tom four steps with get yours and fall in love, send him a this batter head will inevitably get tired, the turn of one or two lugs in between thank you note. I did. but why try to improve on “perfect”? I SONGS on a stage! have to try to remember to bother John about making some Eco-X woofers! The snare drum took a while for me to enjoy and accept, not because it wasn’t Next out of my box-o-new-toys were the good, because it was so flexible. Just toms. They came out of the box tuned like the toms, this snare drum will do really low. Like “Come Together” by anything you ask of it. Of course, it really low. There’s a nice feels as perfect in terms of edges and “pop” on the stick sound – nice attack. hardware as the other Eco-Xs, with all I played them as is for a while and then the hardware being the same as on the I put the Evans heads on and the toms other DW kits. I spent quite some time

[EDGE 8.0] 3 Introducing the All-New PDP M5 Series An All-Maple, all-Lacquer, feature-Packed 5-piece kit designed for every style of music. Nothing sounds quite like maple. It offers drummers attack, resonance, warmth and plenty of projection and volume. That’s why many of the most sought after professional players choose maple when it comes to touring and recording. It just sounds good. Pacific Drums and Percussion’s David Leon explains, “Traditionally, maple kits are associated with a high-end price. Drummers would have to shell out big bucks to get the benefits of boutique-quality all-maple shells. From the beginning, our mission with PDP was to offer drummers an exceptional value, by bringing quality drum kits to the masses. Why should drummers with smaller budgets have to suffer by playing junky kits that were designed by massive overseas factories? We feel like the new M5 kit is the perfect balance of quality and value.”

M5 sets come in five stunning burst and fade lacquer finishes in F.A.S.T. sized 8x10, 9x12, 12x14 toms, matching 5x14” snare and 18x22” bass drum. 7x8 travis smith_trivium and 14x16” toms are sold separately and can eric moore_suicidal tendencies be added to expand the 5-piece set up. Available at PDP retailers today or paul bostaph_testament check them out on the web at jon wilkes_red jumpsuit apparatus www.pacificdrums.com.

PDP’s X7 Series Goes Maple value-priced 7-piece kit comes close. Pacific Drums and Percussion has announced a major upgrade to their best-selling 7-piece kits. Shells are now made entirely of maple with absolutely no change in price. That means drummers can now get pro features such as True Pitch Tuning, STM (Suspension Tom Mounts), heads and more, combined with a sonically superior all-maple shell. Offered in a variety of stage-stealing lacquer and wrapped finishes, X7 kits come in F.A.S.T. sized 7x8, 8x10, 9x12, 12x14 and 14x16” toms with a matching 5x14 snare drum and 18x22” bass drum. See the upgraded X7 series now at participating PDP dealers or online a www.pacificdrums.com.

Platinum Series Sounds as Good as it Looks. Launched just two short years ago, Drum Workshop’s PDP Platinum Series already has a serious list of notable players taking them PDP’s all-maple Platinum Series features a sleek new patented dual oval tube lug design with STM (Suspension Tom Mount) standard. It’s also got killer custom-inspired finishes, but what many drummers many not know is just how good they sound. The secret is a straight 8-ply maple shell with a sharp 45 degree Pro Cut bearing edge. The warmth and projection of maple provides a big round tone and a lack of reinforcement hoops means Platinum drums are big and open. A perfect combination for all hard hitting players, from Gospel, Hip Hop, R&B to Hard Rock, Punk, Metal and beyond. See PDP’s high-end Platinum Series drums at your favorite drum shop or online at www.pacificdrums.com. [EDGE 8.0] 5 >TIME MACHINE >Time Machine: JR robinson John JR Robinson: track and I played to it. It must have went to the enormous place. The timing of all High Life” were both incredible and they well, because they asked me to come back this was amazing. All the players on that allowed me to do what I wanted. It’s very a career retrospective every week at that time to work with them were stellar including my old band rare that we get to do that and producer and I became the studio drummer. There mates from Rufus and on really gave me the freedom to by rich mangicaro were a couple of “famous” drummers at that percussion. That record changed history. express. That whole record was great. time, that will go un-named that I replaced, who couldn’t play to the RM: It seems that it click. changed your career… RM: John, what would you say to young players you’ve been working out there, given the current state of our business, RM: As you know, John “Working with John constantly since. Since who are trying to get in and make something for – it’s not something that space in this article doesn’t themselves? every drummer can do and this company permit to thoroughly cover well. Not only to play with is so exciting and your discography, although JR: I just wrote a curriculum for Berklee the click, to lock with it, but what article would, I love about this. I’ve always had some kind of also to play musically with when you hear how you’ve organized home studio so I feel it’s always important it. your recording credits by for drummers to control their own destiny. their drums and see year, on your website. I I say always collaborate and co-write with JR: Well that’s it. I think what goes into it all, recommend our readers to others. Log your ideas and learn electronics… then, I realized that I check that out. It’s quite not just electronic drums but learn a pro- wanted to be a studio there’s no question incredible. tools rig, know your Mac and know how to drummer. My plan was to get through Berklee why they’re the JR: Man, I’m trying to mic your drums and learn what mics work and then move to New remember ‘em all. I’m best for what drum. I also wanted to say photos by York. I was in my 3rd leader. ” still trying to organize something about my new association with year and then left to just and catalog it all. I still DW. My new drum set is extraordinary. I’ve known John JR Robinson for a while now. Four a divorce. You get used to certain ways that played and opened for older aged bands. Working with John and this company is so years ago, I had the distinct honor of signing him things are done and of course, I made a lot I studied snare drum and also sang in church, focus on working. haven’t figured out Asia to his endorsement agreement. Ironically, of great records on . But, as which I think helped with my drumming. or Europe! exciting and when you hear their drums and this was one of the last major achievements that life progresses and changes, both companies Then in Jr. High, there were two drummers RM: Is this when Rufus found you? see what goes into it all, there’s no question I enjoyed while working with the Swiss and artists grow and change and it was time ahead of me, a few years older and I finally RM: One has to wonder whether you ever had a why they’re the leader. company, because shortly after that, I moved on for me. With DW, the question was how got the chance to play. I made a lot of mistakes JR: I was in a band called “Shelter”, touring social life back then. Tell me about a typical day, from my career there to pursue my playing and was my personality and soul going to come reading the chart but director, Dick around the Northeast and Midwest and one when you were recording so much. You were writing full-time. Now, after all these years and through with these drums. I just did a gig Bauman thought my feel was much better time, in Cleveland, Rufus came with Chaka doing 3 sessions in one day. Was this also when most ironically, I’m once again experiencing an this past Saturday with for the than the other two guys and I finally got my into the club we were playing. At the end of cartage services began to take affect? honor when DW asked me to interview John for Andre Agassi Foundation in Vegas and I had reading together. Then during High School, the set, they asked if they could sit in with Selected Discography: his article in Edge. John and I have become good that Christmas morning anticipation. I got I played in bands and went to Jazz band me. By the end of the night, that entire band JR: Exactly. I had Rufus’ roadie friends over the years and while we’re colleagues to sound check an hour early and hardly had camps during the summers. That’s when I was up on stage with me and we did an helping me. I had heard storied then in this business, I never loose sight of who this to do anything to them…they just sounded met Ed Soph. At that time, I was trying to entire set…and it was smokin’! Four weeks about doing this type of 2009 : The Concerts man is…and I’m continually humbled. amazing almost right away. On that gig, I decide whether to pursue a career in music later, I was in and in that band. schedule too. It was typically a 10am, 2004 : You’re the Inspiration: A Collection was playing with , Macy Gray, or basketball…I had an offer for a basketball 2pm and a 6pm. Sometimes, we’d 2002 : Ultimate Collection Very few musicians have achieved what John has. Tim McGraw, Daughtry and Cherise, so there scholarship but finally decided that I wanted RM: So you began touring with them? even have an 11pm hit too. Those 2002 : Unison / Celine Dion / Colour Of My Love Since he began his recording career back in the was this huge variety of styles and everybody to make a career of music. It was Ed who were the hay days of recording and 2001 : Nine Lives-Remastered late 70’s, has played on more hit said that I sounded better than ever. inspired me to choose the Berklee College of JR: They were on an international tour and LA was just flowering. That’s why 2000 Mariah Carey: Rainbow (Bonus Track) recordings than just about anyone in the history Music in Boston. my first gig was in Hawaii! That’s were I loved Jeff (Porcaro) so much…he 2000 : Collection of His Greatest Hits of popular music. Just naming a few of them – RM: You know, I’ve known both John Good and I met Danny Seraphine! I had always was very kind to me when I came to 1999 : Dance “”, “”, “All Don Lombardi for a long time and have enjoyed RM: So, who was else was at Berklee when you idolized Danny, with the Midwest connect, LA and we found ourselves sharing 1999 : D’Lectrified the Chicago records…now we’re golfing the load on many records. Now, 1999 : Slowing Down the World Night Long”, “”, “Change watching their success. You’ve known them as were there? 1998 David Foster: Touch of David Foster The World” – these songs are household titles… well for some time, right? buddies! our industry’s changed so much that there are very few record dates 1998 : Guilty: 30 Years of Randy Newman without even naming the artists. And the list JR: Whew! In Gary Chaffee’s class was 1998 : Todos Los Romances goes on…and on. We sat down recently at DW to JR: Yes…I’ve known John for a long time Steve Smith, and Vinnie RM: So did you record with them right away or anymore that feature a rhythm was there touring work first? section, playing live, like back then. 1998 : Greatest Hits [EMI] have a conversation about his big decision to leave and as you know, when you walk into his Colaiuta! That class was intense. 1998 : When You’re in Love (For the First Time) the drum company that he was with for 28 years, office, it’s filled with beautiful, raw shells I still get called for that, especially for JR: We toured for about a month…I finished film soundtrack sessions, but it’s the 1998 : Bathouse Betty why he did this and basically try to review his and different exotic woods. I’m a wood guy RM: Would you say that Gary was your 1997 : Bass-ic Collection massive career, all within an hour! Through the so I just love that. We’re the same age, have predominant influence? out their ’78 tour, before I went in the studio reason why I and many other guys with them. I ended up doing quite a few have built studios in our homes. 1997 Ladysmith Black Mambazo: Heavenly magic of the Internet, you can find that interview similar concepts and we both like football! 1997 Joe Cocker: Across from Midnight on DrumChannel.com, by the way. You may find Everything translates into these drums. It’s JR: Actually, it was . I was very records with them. RM: John, will 1997 : My Time The Anthology (1969-1997) some little gems that don’t quite translate here in been really nice to exchange ideas and then fortunate to get 6 months in with Alan. I 1997 : Vonda Shepard print. Don’t worry – we kept it clean! realize that we’re on the same page. think between my Ed Soph education and RM: Your drum part for “Ain’t Nobody” is all the great really great…I’ve heard you talk about that in hit records that 1996 : Karen Carpenter Alan’s, it’s all melody-based. With Ed, he 1996 : In My Lifetime Rich Mangicaro: John, this is a major change for RM: So you’re originally from Iowa. What was changed me from a toe bass drum player to some of your clinics. you’ve played on, do you have any 1996 Disney: Music from the Park you and I know, one you thought very carefully it like growing up in a small town? Was there a heel-down player. That took a couple of 1996 Rufus & : Very Best of Rufus Ftg Chaka Khan about. When I found out, it seemed to make sense any kind of a music scene? years to do. JR: Many think it was a programmed part, favorites? but it was me playing that groove. It’s a 1995 : Frampton Comes Alive II to me. JR: Well, Steve 1994 : Emperors of the Soul JR: I was young so the scene was my Dad RM: For melodic reading, was it with mallets or very robotic part, which is what we were W i n w o o d ’ s 1993 Elton John: Duets John Robinson: I think the natural evolution would wail on me when I didn’t practice ? going for. It was a big hit for them. “” 1992 : Shadows & Light of me being with DW is coming full circle piano! He was very musical as was my Mom and “Back In The 1992 Manhattan Transfer: Anthology: Down in Birdland because when I was a kid, I was playing and both my Grandfathers as well. I also JR: It was mallets and at that time, I wasn’t RM: And that was around the time period when 1992 : Breathless maple, American drums. It’s great to be have cousins that play but I was the one who allowed to use piano as my minor instrument you met Quincy Jones? 1992 : Tubular II welcomed and made to feel like family, right was crazy enough to try to make a living and I was distraught about that. I wanted to 1991 : out of the gate. out of it. Mom taught me what Swing was, have piano under my belt, but at that time, JR: I had met him before that, but he then 1991 : the concept of it and pointed out examples mallets were what they viewed as the way came in to produce one of our records. Not 1991 Patti LaBelle: Burnin’ RM: And they’re right around the corner from on recordings. What got me though was a for drummers to learn melodic reading. But I long after that, I got the call to work with 1991 : Storyville your house! 45 I had of “When The Saints Go Marching did end up studying with and Quincy on ’s “” 1991 : Keep This Love Alive In”, from a film about Red Nichols featuring we became friends and did gigs together as record. 1989 : Through the Storm JR: It is…I can roll outta the rack and in Danny Kaye. I was 7 and I played that over well. 1988 Rubén Blades: Nothing But the Truth twenty minutes, I’m here! and over and wore it out. That led me to my RM: Did you have any idea of what you were 1988 Glen Fry: Soul Searchin’ first drum set when I was 8. It was a 1940’s RM: So you were giggin’ all the time during getting into, at that time? 1987 Michael Jackson: Bad RM: Before we get into your history, I want to Ludwig kit, no Toms, just a snare, bass drum, Berklee? It seems like that record 1986 : Back in the High Life address this change. You had a long association hi-hat and old Zildjian cymbal. I wasn’t even was Michael’s transition 1986 Bob Seger: with your previous drum family and I’m sure holding the sticks correctly but I played a JR: Always. Although there weren’t many between his Jacksons 1985 : Crazy from the Heat many would like to know how you came to this swing beat, right away. gigs at that time, I began playing around era and his solo super- 1984 Laura : Self Control decision. I know you’re a very loyal guy and take town. Also, there was only one studio at stardom. 1984 Fee Waybill: Read My Lips your relationships very seriously. RM: Were you in school music programs? Berklee at that time and I ended up getting 1984 : Straight From the Heart asked to replace some drum parts on some JR: And Quincy is the 1981 : Magic Man JR: You know, being with one company JR: Eventually. When I was 10, I met a music-minus-one stuff and I didn’t even great master of that. He 1979 Rufus: Numbers for almost 29 years and then leaving, is like player through my parents and we had a duo know what a click was! They pulled up the really brought Michael [EDGE 8.0] 7 >HARDWARE NEWS 8000 series ultra heavy-duty pedals & Hardware We Believe that a pedal should be built like a tank, and hardware. Rock’s elite swears by there that cater to a heavier style of DW 9000 series pedals and stands, play, but we wanted drummers to have but never play like one. but what about the really hard hitters, the option of a fast, yet powerful chain The 8000 pedal, a hybrid design that combines key features from its 9000 and 5000 Series the guys who play massive drive pedal”, continues Sikra. “Then we cousins. A road-ready workhorse that provides drummers with the unmatched versatility of an and even bigger drums? Until now, decided to do a heavier line of stands to infinite adjustable cam and the power of a time-tested, chain-driven hex shaft. The best of both heavy-alloy 22” crash cymbals, high- compliment the series.” worlds atop a sturdy piece of steel diamond plate. Sure, the 8000 is built to last, but its flying china cymbals, floor tom-sized smooth, responsive playability is what drummers really love. rack toms and larger-than-average kick DW 8000 stands feature Mega-Tripod drums have been a drum tech’s worst bases for a wider footprint and larger- nightmare. Those days are over. gauge steel tubing to avoid sway and flex. Oversized tube joints and Recently, DW launched its largest scale memory locks were tooled-up to keep hardware to date. The ultra heavy- stands planted in place, and removable duty line includes two types of hybrid counter weights and T-Ball tom arms pedals, the chromed-out 8000 and come standard. “DW Chairman and 8000B Black Diamond Power Footboard R&D Chief Don Lombardi explains, models. Both include a 5000-like fixed- “We have a retro-styled 6000 Series cam hex shaft for maximum throw, with for Vintage and Jazz players, a 7000 the versatility of a 9000 adjustable cam. Series single-braced line for gigging All-metal construction and a diamond drummers and 9000 Series hardware steel base plate means these pedals for just about everyone else, but what were designed to survive the toughest we didn’t have was an over-sized stand beatings and the 8000B’s extended for heavy rock guys.” The 8000 Series footboard provides optimum leverage includes a straight/boom 8700 cymbals to push lots of air. Matching hi-hat stand, 8300 snare stand, 8999 double stands are available for both models in tom stand with three cymbal arms, 8500 2-leg versions for drum and & 8500B hi-ht sands and 8100 & 8120 double pedal players. “We wanted to 4-leg thrones with included backrest. Roy Mayorga - Stone Sour create the ultimate chain drive pedals Lombardi concludes, “This stuff is for Drum Workshop is known for designing for Metal drummers”, comments DW’s monster drummers, guys who hit hard and building some of the world’s most R&D Specialist, Rich Sikra. “There are and play big drums and cymbals. We reliable, heavy-duty, road-tested pedals some direct-drive, boutique pedals out dare you to break this stuff.”

8000 Artists (L to R) Roy Mayorga (Stone Sour), (Testament) and Travis McNabb (). Product (Clockwise) 8500T Hi-Hat, 8500TB Hi-Hat, 8002 Double Pedal, 8000B Single Pedal. The complete line of 8000 Series pedals and hi-hats, see them at www.dwdrums.com Product (L to R) 8300 Snare Stand, 8700 Cymbal Stand, 8500TB Hi-Hat, 8500T Hi-Hat, 8120B Throne, 8002 Double Pedal, ©2009 Drum Workshop, Inc. All Rights Reserved. 8000 Single Pedal, 8799 Triple Cymbal/Double Tom Stand, 8002B Double Pedal and 8000B Single Pedal. >UP CLOSE >TECH TIPS danny seraphine: CTA building christian’s kit By Rich Mangicaro By Iain “robbo” Robertson Photos by Rick Malkin don’t call it a comeback Christian Eigner legendary drummer danny seraphine returns to the spotlight. >>> drummer: Danny Seraphine was put on this earth to RM: I know Rick Van Horn is a huge fan of your DS: I executive-produced a movie called play drums. He’ll tell you it’s what he does best. playing, so I’m sure it was a dream-come-true for “Lonely Street” and produced the soundtrack. band: Depeche Mode And as many of us know, he’s been incredibly him to do the introductions! The story is about an older Elvis, played by successful at it. As a founding member of the Robert Patrick, who fakes his own death Tech: robbo multi-platinum, Grammy-winning band Chicago, DS: Rick was great…everyone at the magazine because he hated what he had become…and Danny has carved his place in music history as was. then plans his own comeback. The film is one of music’s most influential drummers. Any of available to rent now and the soundtrack will The main kick is tuned to be as BIG as a big snare sound. (Enjoy the Silence). toms considering their shallow shells– us who play drums have, at one time in our lives, RM: Was it sort of a launching pad show for you be available soon…I’m just finishing it up. I’ve possible – it is a 20x24” and has a loose they sound like others’ regular depth spent time learning the grooves for such enormous and the band? also produced a couple of Broadway plays Remo Ambassador bass clear head. We There are 2 piccolo toms (4x8” & 4x10”) 13” and 14” toms respectively. hits as “25 Or 6 To 4”, “Make Me Smile” (that and I’m doing a series of clinics now, which all drum solo at the end!), “Beginnings”, “Saturday DS: We began playing shows around the my companies are graciously behind. I love have a 6” hole cut at 4 o’clock in the mounted on the left of the kit above In The Park”…the list goes on and on. How many country, yes. However, we still haven’t found doing them and meeting other drummers. front head, which is also as loose as Snare 2 – these are double headed In fact, Christian started by spec’ing of us have played in cover bands, playing these representation for the band yet. You would Regarding the band, C.T.A. we’ll be in the possible without wrinkling. There is a piccolo toms - both tuned as high as deeper shells on rack 2 and 3, but he songs…playing his parts. All of us! Being one of think with these members and what they each studio soon to do our next record, which I’m double pedal on this kick. possible on top. likes his rack toms almost flat and with the few bands in history to fuse Jazz and Rock the bring to the table, we’d have some interest, but really excited about. We’re planning on doing 24” kicks we had to angle them to get way they did, Danny’s playing provided a new level we’re still trying to find that match. I think it’s mostly original material and a few Chicago of drumming in popular music and to this day, a bit political that we don’t have an agent yet. tunes. There are a few Chicago songs I co- The second kick is tuned as high as Tom 1 is also 10” but a slightly deeper them at the correct playing height. By continues to inspire generations. wrote that, although not quite as well known possible on both front and back heads. shell (5”) – again it is tuned as high as knocking an inch off the depth of these RM: That and what’s happened to our industry in as the bigger hits, were really cool tunes and There is no dampening at all in here. possible - as if it was piccolo 3, but its shells we are now able to get them as In this issue’s Up Close, we wanted to know what the past 8 years. That’s what is so wonderful the will be fun for us to do in this band, our own The idea is to use this as an FX kick. positioned to the right of the main hat flat as he wants and still achieve the Danny’s up to lately. We found some exciting drum community – we’re all here to support each way. I’ve also thought about doing some big- We put distortion and reverb on it and to fit with required tom fills. (In Your desired deep, rich tom sound. things to check out, to listen to and to look forward other and I’ve experienced this love and support, no band arrangements of the tunes…I’d love to to. matter what level of player, no matter what region do that. Otherwise, we have some shows this Christian uses it in a couple of songs Room). of the world. Drummers just like to hang and share month back east and in San Diego. almost like a gated snare! (Never Let Finally, can I just say how much Rich Mangicaro: Danny, your band ideas. What DW and DrumChannel.com are doing Me Down). Racks 2 and 3 (6x12” & 6x13”) and Christian and I enjoyed building this Transit Authority-C.T.A. is great. Tell us about is just that – extending this exchange and support, RM: Thank you Danny. It’s been an honor and I’m Floor 1 and 2 (14x16” and 16x18”) are kit with the DW Rack system? This is this project. You formed the band in 2006, right? worldwide. looking forward to seeing the band soon! The main snare (5.5x14”) sounds so more traditional toms. Tuning starts a big kit with a lot fit into a confined Danny Seraphine: Yes. Peter Fish, a friend and naturally good at most tensions that with the 18” floor, trying to get it as low space – often with no more than 1/8” keyboardist/ told me that he wanted it is tuned almost entirely for stick as possible without too much flapping between items. With other rack systems, to play in a band with me. At that time, I response. At the required tension it (Personal Jesus) and then tuning up you invariably find that the position was jamming with , who has natural lows, but still has plenty of roughly in 4ths, as I usually do on you want is in between 2 cogs on an introduced me to guitarist Marc Bonilla. We had met with Don Lombardi, DW’s Founder high-end crack on rim-shots. ’ kit. angle bracket, and it usually involves and he suggested we put a band together to compromises. With this DW Rack, you play for photographer Lissa Wales’ benefit Snare 2 is deeper (7x14”) and is tuned We have been amazed at how can adjust things to exactly where you concert in Arizona. So we did some rehearsing as low as possible and with the snares deep and rich a sound we want them to go and then, lock them in LA, brought in Ed Roth on keyboards and looser – it too, is used with reverb as can get from the 12” and 13” off! Mick Mahan on bass and it sounded really good. When we got to Arizona, we still needed a singer and Larry Braggs, who flew in with David Garibaldi and Tower Of Power, volunteered. Well, Larry brought it to a whole other level and, in front of my eyes, I’m seeing this band blossom. It was like Chicago on Christian’s steroids…like the original C.T.A. I realized depeche mode rig then that this was the band I’d been waiting for. After our 3 songs, the ovation was pretty Collector’s series overwhelming and I looked at Peter and said, ™ “Hey, we got somethin’ here.” SSC Maple in classic marine finishpy 20x24” Kick Drum, 20x24” Kick Drum RM: How was the experience when you guys played 5.5x14” snare, 7x14” snare Modern Drummer’s festival? I saw the video of it, DS: That’s right. I’ve been 4x8” piccolo, 4x10” piccolo which was fantastic. with them for a long time 5x10” rack tom and love what they’re all 6x12” rack tom DS: Thank you. Man, that was a really great about. And Don Lombardi thing. The reception from the crowd was so was instrumental in the 6x13” rack tom warm and enthusiastic. I was humbled by it inspiration for this band. 14x16” floor tom, 16x18” floor tom and you know, it had been a long time since I’ve DW 5000 & 9000 Series Pedals played those songs in front of a large crowd, so RM: So what do we have to DW Rack System Hardware it was really great to feel the appreciation from look forward to with you and everyone. It was an emotional night for me. also C.T.A.?

[EDGE 8.0] 11 >4 QUESTIONS: 1 legendary music city, 3 in-demand players

Travis: More so than any particular drummers, I think so much of my musical voice was formed by my Travis McNabb • Cactus Moser • Billy Mason Photos by Gregg Roth surroundings. My dad played in a Rock band in the 60s and his dad played Bluegrass music in the 40s, 1. There are so many talented in town for 50 bucks a night, or even so I feel like so much of players in Nashville, how do for tips. You’ve got to be humble and comes straight down the line from you manage to land big gigs on willing to do whatever it takes. Then, those guys. I grew up with a healthy a consistent basis? you’ll meet more players and get in the exposure to so much different music, circle. which is reflected in my career, and Cactus: For me it’s been interesting. I by my work in the Rock and Country had my own band, Highway 101, for worlds. many years and that of course has the 4. What advice do you have for upside of being your own boss. So, I at the quality level they need, but that Band or Pro Tools rigs in writers’ homes, only had to kiss my own butt to get the young, up and coming players are people they actually WANT to be so there’s a lot more players trying to get that want a career in Nashville? gig...no wait did I say that out loud? around. If you couldn’t make the music the same gigs. You have the guys that What I mean is you only have to worry feel good, you wouldn’t even get a shot. were only doing master sessions, now Cactus: Be as professional as you can about making hit records in order to But on TOP of that, being a positive force doing demos and the demo mill guys in your attitude and in your playing keep yourself employed. Granted, and being easy to deal with personally doing live touring gigs. It’s still a “be ability. You have to look at yourself as a that’s a daunting task some of the time. makes it feel good on other levels, and ready and be professional when you get product. Ask yourself, how can I present It’s great to know why you’re working. that goes a long way. there world.” Maybe more personal PR my product in the best light possible? The Nashville music scene is always I feel that a big part of being successful is required to keep you in the mix than Your playing has to be solid, you have evolving. With the demise of a in this business, is knowing why it use to be. Just talking to people opens 2. What’s the Nashville studio to be able to play with the click, and traditional music industry, Music Row some players are able to get and keep many doors. scene like these days? be creative. Finally, know when and has been whittled down to a select few themselves employed! I have worked how to interact with the people you major labels and studios are going out with other artists , at the same time Travis: I’m relatively new to the 3. Who are your Nashville are working for and with! It’s not brain of business faster than you can say, as being in Highway. I just am always Nashville studio scene. The bulk of my drumming heroes? surgery, just be polite and smart. That’ll “Pro Tools”. Nowhere are these global looking for situations that will let me session work has been in Los Angeles go a long way to having a great and long music biz changes more prevalent, than do what it is that I love to do, and that is until recently. I will say that there is a Billy: Lonnie Wilson, Paul Liem, Eddie career doing something that’s not a job, in a music-centric city like Nashville. play! Studio work here in Travis: It goes lot in addition to Country happening Bayers. but something you honor doing! It’s a city that synonymous with Nashville is as tough to w i t h o u t in Nashville, and so far folks have been American music, musicians and music get as it is in any music saying that very kind and welcoming. Cactus: Larry London is a guy that was Travis: Character in one’s playing fans. So what’s a drummer to do when city. So, I always try to y o u ’ r e as creative a player and as diverse, as matters. Machine-like ‘perfection’ is record sales are declining, local gigs make sure people are e x p e c t e d Billy: The studio scene is tough here. any of those that have come from this BORING! Get your time together, get are fleeting and it’s getting harder and very aware that I am here to ‘bring it’ There’s so much music downloading town. I came to Nashville from Los your chops together, get your feel harder to make ends meet as a session and not on the road all musically. going on. Now, people are recording Angeles and Larry was one of the together, and then play with PASSION. cat? Answer: you hit the road. the time so they will call One thing at small studios and putting it out on players that I had heard on Elvis, or Embrace your natural tendencies, let and give me the chance to some guys YouTube themselves. on Conway records, or even on a Steve them become your own musical voice, We posed the identical four questions say yes or no to working o v e r l o o k Perry record. Greg Morrow is a guy that and play like a human! to Sugarland’s Travis McNabb, Tim opportunities. I feel like is the fact Cactus: It’s still healthy, yet with the has a very similar playing style, being McGraw’s Billy Mason and Julianne producing and finding that A-list recording world becoming something able to play with root feel and chops Billy: Young players need to work hard Hough’s Cactus Moser to see what we’d ways to create music, such artists can we all do in our homes, it’s changed a that match. Eddie Bayers basically to play every style of music out there. come up with and the answers are both as writing, really are great afford to great deal. When I first came here from defined the session drummer of the last Take as many gigs as you can, anything interesting and enlightening. It seems ways to stay employed. surround Los Angeles there were drummers 20 years. He has played on so many that comes along. You’ll learn so much there are many ways to reach Nashville’s working all day and every day, making records, it really is amazing! Doing playing with different players. That’s lofty heights, but only a select few will Billy: I landed my gig because t h e m s e l v e s demos for song writers. Now many of that many master session dates in one what I did, and I guess it worked. actually make the climb. I was willing to play any gig with people that not only can play those demos are being done on Garage career…priceless! [EDGE 8.0] 13 with incredible sustain and I love that in veneer and this is very, very thin this wacky, wild diagonal cut piece of >TALKING DRUMS the lower toms for them to have that great obviously, but the grain is running in grain here and if you hold your hand note recognition and quality, so that became the direction. If you hold your hand out, you’ll notice that it twists like this. SSC Specialized shell configuration a part of the shell design. It started with out, you will see that it holds itself very the lower toms, I think, and with the bass well. Neil: It wants to spiral. drum, John applying his ideas in creating tonality by combining the wood grains in Neil: It keeps its shape. John: Now, if you tap the side while different directions. I try to straighten it out, look what John: And the grain is running this happens. Tap the side. John: Well, having said that, I, in the direction. Now, every piece of wood & JOhn Good Neil: Hello. Neil Peart here. I’m with earlier years of drum shell construction has a musical note value and you’ll Neil: Tap tap tap tap tap tap…it seems discuss the finer points of dw’s Professor John Good and he is going to and making, I always thought it was be able to hear this. Tell me if you can to me an even exaggerated raising of the latest shell technology explain to us a very complicated subject. the thicker the shell, the higher the hear it. pitch. I’m just going to be the chief device for pitch, thinner the shell, lower the pitch exposition. I’m the student, as I always and that’s it. Neil: Yeah. John: It’s raising the pitch, but it’s like to say here at Drum Workshop. I’m getting its tension from a whole the student and resident, always glad to Neil: Huh…OK, I didn’t even know that. John: There’s a note in there. Ok now, different place, so we’re going to call learn from all of the great drummers that see the way I’m tapping this, I’m gonna that “diagonal grain”, right? What come through and John about the nuances John: Oh yeah. Well, like cymbals. The hold it and I want you to tap it for me. does all this mean? Ah… of drum construction. He’s going to tell us thicker ones have a higher pitch and today about something called “Specialized the thinner ones have a darker, washier Neil: Listen...Remarkable. Neil: Ha ha ha. How can we use it? Shell Construction” and everything that pitch. So, today we’re going to mess covers and as we’ve applied it between the with that theory entirely. John: So the pitch went up, right? And John: How can we use it? two of us in instruments and as John is the pitch went up with tension. Now, going to make available to all drummers, Neil: I mean investigate that science. feel this tension here. That’s a fair Neil: When we hit things with a stick. a truly individual choice in each shell and amount of tension. its note and response that you can combine John: And the way we want to start John: Which we’ll get into later and is together as you wish, really, in the creation doing that is I brought three pieces of Neil: It wants to straighten out. a very interesting concept. How can of your own custom DW drum set. Over to veneer here and I’ve drawn some lines we us it? I have 5 drum shells here and Professor Good. so you can actually see… John: It absolutely does. So that’s what the first shell is the typical ….the shells we’re going to call “horizontal grain”. that I love….many years…olive grain John: Thank you. Thank you very Neil: They didn’t grow that way. Then we have another piece here that on the outside…on the inside, cross- much. Now Neal, essentially we’ve is a similar size. If you hold your hand laminated in between. It’s a 7-ply shell been doing this for a number of years, John: They didn’t grow this way. It’d out, and you notice the grain is going with 3-ply reinforcing hoops…one goes you and I. And I think it started with be pretty cool to find a tree that does the opposite direction, it’s going “short this way, the one behind it goes that your R30 kit. that. grain”. Hold your hand out, you’ll see way and then this way…and you have how it just falls. to have….So that’s a 7+3, 3-ply hoop.... Neil: Yeah, you started to get some glimmers Neil: Ha ha ha…But we’re looking. of inspiration back then. Neil: Like a piece of wallpaper. and more at www.dwdrums.com/ssc John: So, I’ve drawn an arrow on the John: Yes, I did because you were, I direction of the grain…to understand John: Ha ha, basically yes. And it has remember you landed your kit, the red really what we’re talking about here, a note value as well, but I wouldn’t be kit, in my showroom and you said, “Look you really need to understand veneer able to change that because I can’t put at it. Live with it for a couple weeks and first and so, I will use you asmy any tension on this, so we’re going look at the way I’ve got it tuned”. And student. to call that “vertical before that I was just giving stock pretty grain”. Then I much, shells that I was making and you Neil: Hmm. have were tuning them in ranges that maybe they wanted to go. John: OK, here we have a piece of 1/36” Neil: Or that pleased me, yeah. There are various needs that you have and from my upper to lower toms is a perfect example of that chromatic spread that the upper ones, I actually like to be very bright and tonal and tune them really tight and then a lot of times use percussive dynamics, so that when I really hit them full-out across the head, that head stretches and detunes slightly, so that becomes a part of the throaty quality that I want the high toms to add, but as I move down into the lower ones, tonality is everything. I’ve done a demonstration before with my DW drums tapping that floor tom with a finger and ooooh, it just produces a pure resonant note [EDGE 8.0] 15 It’s hard to imagine our world of contemporary music without the name Laboriel attached to it. Performing on over 4,000 recordings and soundtracks, Abe’s in through the outdoor father Abraham Sr., has He’s a got a personality as big as his football player Rich Mangicaro inspired generations physique and a feel and pocket that won’t quit. A of musicians. Abe Jr.’s destiny was dynamic stage performer and studio ace that was inevitable…he had, of course very natural abilities on whatever he picked up. His father impressed upon once was an outsider like the rest of us, and now him the importance of the feel and flow of music and how to be musical, regardless of style or tempo, has music’s elite on his speed dial. complexity or simplicity. The key was always to play photos by Rob Shanahan for the song.

I first met Abe Jr. during his high school years, at the NAMM show in Anaheim, California. That year, I had booked with a band he assembled to perform in our booth at Paiste and Jeff came to me and said, “Rich, meet Abe Laboriel’s son, Abe Jr. He’s gonna sit in and wait till you hear his !” The feel and groove coming from this 17 year old was so deep, something you could feel inside of you. Something you could tell was coming from an old soul.

Rich: I remember that day so well at the NAMM show, when Jeff introduced us.

Abe: Yeah, it’s amazing…we’ve known each other for 22 years! You signed me to my Paiste Endorsement abe Laboriel Jr. and you were the first one to take a chance on me… so thank you, man.

RM: Well, I’m honored. It’s great to have our long friendship and to see where you’ve taken it. I admit that I have some pride attached to it. You know, I’m sure in all your interviews, you’ve been asked how it all started… especially growing up with your Dad, who’s such a legend in music. But, tell me – how do you remember it all starting for you?

AL: Really, quite literally with pots and pans, 18 months old, wooden spoons, with headphones on and just banging away. I got my first drum set when I was 4 years old, which was a gift from Jamey Haddad.

RM: Jamey is amazing…I didn’t know you had that early history with him. Tell me about your other early influences.

AL: My Dad plays a little drums and would show me some things to play. He has an amazing feel and would show me a simple beat and stress the pulse and feel. I would play it and he would jam with me. I would also listen to records and try to emulate what I heard. We moved to LA when I was 5 and by the time I turned 10, I told my Dad that I wanted to be a professional musician, seriously. I would go to sessions with him and watch him play with Gadd or Jeff and many others. So then, Dad asked Alex Acuña whom I should study with and Alex said, “I’ll teach him.” Alex really gave me the freedom to explore and learn improvisation.

RM: Was there reading involved? [EDGE 8.0] 17 I wanted to be really prepared so I brought a merit in the future of recorded music. So I worked AL: A little bit. You know, we had the with all the clicks programmed a lot with , sequencing, programming “Syncopation” book but that wasn’t what attracted with different sounds and upbeats, so I was able and some production techniques. Sampling me to the instrument. I think the freedom that I to control what we played to rather than try to was really at the vanguard then and that really had to explore with Alex kept me interested and communicate that with the engineer. I had my interested me. So, I did that for the last 2 years of it wasn’t until later, when I was 16, that I began drums tuned just right and hired Ross Garfield to school, while still playing in bands around town. studying with Peter Donald, from the Dick Grove see to that. It was so much fun and Dad was just School and had some theory and reading lessons. so proud. We were there 3 or 4 days. RM: You know, the first time I saw you with McCartney, you were background vocals and RM: How early was it that you began hanging with RM: Were you gaining studio experience at Berklee? I thought, what an amazing experience to be singing Jeff Porcaro? those vocal parts with him! Recently, I saw a video AL: A little bit, but it hadn’t quite picked up there clip of you singing lead for a French artist…what was AL: I was about 15 when Jeff would call my Dad yet. I went through a couple of teachers at Berklee her name? and ask if he could take me to some sessions. He before landing with Ian Froman the instructor would come pick me up and I got to watch him who I really connected with. He opened my head AL: Mylene Farmer. Yeah, that was in Paris and record or rehearse. What was great about the SO much and pushed me to think outside the box we did 13 shows in a row in an arena that held hangs with Jeff was that it was not just about the and beyond the …in a more free-form 18,000 plus. drums but more about the interaction. When I way. I learned from him how to trust the other would geek out and ask him how to play a fill, players more. Ian’s approach was a continuation RM: How did that gig come about? he would say, “Ah, you don’t wanna know that.” of what my Dad and Alex taught me, but he put it But, he would eventually show me. With Jeff, I in a different context that resonated with me. AL: In 1996, I had worked with , learned about interacting with others and about and also Jonathan Brooke, doing theater gigs in having a well-rounded life. the States. I then got a call to play with this French “There’s this Pop star. That was Mylene. When I got there, we I remember getting the call from David, asking RM: What about ? unspoken language walked into this arena, 20,000 seats and I had no idea that she was that big. We rehearsed there for me, “How do you feel about making the next Paul AL: With Carlos and Vinnie (Colaiuta) and J.R., that we have from our 2 weeks and then, the first night of the tour, I was it was more just hangin’ at sessions, coming with history of jamming so shocked by the crowd. It was like a Beatles crowd! McCartney record?” I almost dropped the phone.. my Dad. I’d ask them what sticks they used and much. My father has I had never heard that before…they were so loud how they tuned the drums. Vinnie was the first taught me practically and intense. That was my first experience playing So I asked D.W. to make me a kit with 12”, 15” and with him. During that weekend, I did that show them yet…maybe I’ll set up a website. We’ll see. guy that I saw using coated Ambassadors, top and to a crowd like that. 18” toms and the 26” bass drum. Since then, I’ve with Paul and also began rehearsals with . I’m just having fun with the creation process. bottom, which, at that time most guys were using everything I know.” never gone back to smaller sizes. I finished out Sting’s dates and while I was on clears on the bottom. That helped me understand RM: That spawned a few other French artists, right? the road with him, I got a call from Paul’s camp, RM: What is coming up for you in the near future? that you can break “rules” and use different RM: So for Paul, you began working immediately? letting me know he wanted to begin doing some combinations. Also, I would learn from them how AL: Yeah…I toured with her for about 6 months of shows, but I had to say no, which was one of the AL: This year, I toured with and they would interpret a song, either from listening that year and then worked for about a year with AL: Yeah – we were at Henson Studios, which scariest things I’ve ever had to do. Luckily, he Steve Winwood. It is sort of a reunion. or from a chart. RM: Did you finish school? . My first night with him was in used to be A&M. My drums were there; Paul’s understood my commitment to Sting and waited It is an incredible experience to learn about Paris, in front of 85,000 people and I was again drums were there. Paul was in the tracking room ‘till I was done, to do his tour. American-influenced British Rock from the very RM: Were you giggin’ around town at that time? AL: Yes, although whilst there, I got an offer to blown away by the intensity of that situation. So, with us, myself, and pianist Gabe pioneers of it. I’ve been approaching this tour tour with and I considered it by the time I toured with Sting and Paul, I was Dickson. Paul was very open to our ideas, during RM: Wow, what a position to be in. Abe, of all the dates with more of a tribal mindset. As a tip of the hat AL: Not really. My first real gig with my Dad pretty seriously. At first, I wasn’t finding my niche comfortable playing those types of venues and all the creative process. you’ve done with Paul, I’m particularly interested in to I’ve added some more toms to my wasn’t until I was just about to leave LA for at Berklee. What I did get into was working with that comes with it. the trip to Russia. I have the “In Red Square” DVD, kit. My set from left to right is 14”, 12”, 13” rack Berklee. It was at the Baked Potato with Larry Phil Wilson, the ensemble leader. He really took RM: How long did you record? which I highly recommend to everyone. toms and 15”, 16” floor toms. I also have more Carlton and Greg Mathieson. me under his wing and pushed me to improve my RM: So how did Paul McCartney find you? shows scheduled with Paul too. reading. The first time I showed up outside his AL: We recorded for 2 weeks, took a break for AL: That was just an incredible experience. Paul RM: Remember that day at the Paiste booth, when you office, with my kit on my back…I figured out how AL: I received a random call from a friend named a couple of months and then came back and had never been to Russia…even with The Beatles. …At this point, Abe picked up an acoustic guitar came and sat in? Had you ever played with them before to carry an entire kit on my back…(laughs). When David Kahne, who was a producer and A&R guy recorded for another 2 weeks. It was just a Back in the day, popular music from the West and played a song. It was moody, in a minor key, that day? he saw me, he laughed and I said, “What – am I for Warner Brothers. We would run into each beautiful experience. He was so open to exploring was banned there, so that was his first trip and almost Spanish in flavor…reminded me a bit of early?” I then looked in his office and he had the other from time but had never worked together. things with us. I was into a more organic type of he was completely moved by the whole thing. I Sting. The song’s lyrics were about someone AL: No. Jeff just asked me to sit in and I was smallest office! He said, “No man, all you need is Paul hired David to assemble the musicians and programming and rather than getting a computer was so honored to have been a part of that. Not realizing a love that’s right in front of them foolishly confident enough to do it. your snare!” He really opened my eyes to the fact produce his “” CD. I remember out, I was using guitar effect pedals and loop to mention playing “Back In The U.S.S.R.” in Red and the struggle to get out of their own way to that I hadn’t really explored just one of the pieces getting the call from David, asking me, “How do pedals and also using the Roland Handsonic, Square! appreciate it. RM: Did your father ever sit with you and teach? of my instrument, let alone all of it. I left the rest you feel about making the next Paul McCartney which I love. I would create the loops on the of the kit out in the hall and, with Phil, I realized record?” I almost dropped the phone. The night guitar gear, which enabled me to be all about the RM: Yes – it must have been amazing. That DVD Abe is honored to have the influences he had as AL: Yes…the two things he would enforce were all of the different tones and sounds you can get before I met Paul, I didn’t sleep much. When live feel, then triggering it where I felt it should really captures the emotion of the event. You know, a young, up and coming player and is thankful groove and time. When we would jam together, out of just one instrument. Using sticks, brushes, I got to the studio, within 5 minutes of shaking be. I would then run all theses things through after all your work with such amazing artists, have you every single day. Unlike most of us, he had the he would make sure I kept that focus. My Dad’s hands, snares off, hitting the side of the drum, or Paul’s hand, we were listening to a demo and flangers, delays and various effect pedals and worked on your own material? amazing fortune, not only to have great studio understanding of syncopation is heavy. When any combination therein. This was another life- recording. all through guitar amps, which further gave that legends take him under their wing but also to playing Jazz, he would make sure I kept the changing experience for me. I think this is why organic sound that Paul loved. AL: Yeah, I’ve been working on some songs and have a father guide him in a way most of us can melody in mind while playing time. He would I’ve never felt the need to have a bunch of toms or RM: Is that when the big diameter thing came into play probably have enough for a record, at this point. only imagine. Even with his inherited talent and have me play the melody on the drum kit. This a large kit and to explore as much as you can with for you? RM: That was 2001? It’s just been about finding the time to record them natural ability, he learned very young the value was invaluable to me and when we play together a simpler setup. and probably, now is the time. I enjoy writing, of hard work, the importance of mutual respect now, we know exactly where we are in the song. AL: When I was juggling between playing softer AL: Yeah, we finished the record in June and he even just for the sake of exercising that muscle. and the invaluable tool of listening. Listening to There’s this unspoken language that we have RM: That’s a great compliment to Phil as you’re kind volume gigs with artists like k.d. to playing very was considering touring but had not finalized everything…to the words spoken around him, to from our history of jamming so much. My father of known for that. So, what happened with that offer hard with Steve Vai and Seal and I was finding plans when a few months later, September 11th RM: Do your song ideas begin more melodically or the subtle lessons between peers, to every style has taught me practically everything I know. from Barry Manilow? out that I was choking out drums. I found that happened. Two weeks later, I was in New York, with a groove concept? of music, to his mentors and finally to himself. the smaller diameter drums were maxing out playing with k.d. Lang and got the call from Jr. was destined to endure a RM: Tell me about your first recording experience? AL: It was a hard decision, but I decided to stay in from the way I played and not giving me what I Sting. He had some dates to finish and Manu AL: It’s melodic with harmony and a lot of leading legacy…a legacy that still thrives today. school. I changed majors…I felt I had gotten all I wanted. So I went to a 26” bass drum and loved Katche wasn’t available. Two days before Sting’s tone stuff. Eventually the melody forms and lyrics AL: The first one was a record, with could out of the drum department and switched the range…the way I could hit it soft and the note rehearsals were to start, Paul’s “Concert For come, hopefully. There’s a bunch of songs that I my Dad and Alex Acuña on percussion. They to Music Synthesis. I still studied with Ian, but I would be a darker tone, but then I could hit hard New York” benefit was to be my first big show want to record and I’m not sure what I’ll do with actually hired me to play drums on the record! wanted to work in a field that would really have and it would punch and follow me, dynamically. [EDGE 8.0] 19 ” >GEAR GUIDE 3drumsticks xl models man, www.pacificdrums.com these feel

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5BXL ACORN Sure, 3 drumsticks are made at Drum Workshop’s own factory from the finest hickory. And yes, they’re quality-matched to exacting standards, but it’s their feel that has drummers Platinum Series talking. Just about everyone travis smith_trivium who tries them says, “Man, these sticks feel really, really good.” But don’t take our word for it, try them The answer is yes, these guys really do tour with their Platinum Series for yourself. We’re certain drums. They proudly rock their PDPs on some of the world’s most high- you’ll end up saying the exact profile stages because there’s no doubt in their mind that the drums look same thing. and sound high-end. They even get to design their Platinum drums just like they would with much pricier custom kits. Guess what, it’s not just reserved for the pros, you can do it too. Besides, you have more in common with your drum heroes than you think, you both live and breathe drums. To see the full line of professional quality, all-hickory 3Drumsticks visit: www.3drumsticks.com ©2009 Drum Workshop, Inc. ® pacific drums and percussion _live and breathe drums. The 3 logo is a trademark of Drum Workshop, Inc. All Rights Reserved. ©2009 Pacific Drums and Percussion. All Rights Reserved. The PDP logo is a registered trademark of Drum Workshop, Inc. Snow Patrol, Johnny Quinn Road Stories: Birmingham NEC, March 09 DW Artists hit europe photos by Dave Phillips

Neil Peart Rush, Birmingham NEC, October 2007 De’Mar Hamilton Plain White T’s, Reading August 2008

Brooks Wackerman , Reading August 2008

Scott Travis , Birmingham NEC, Feb 09 Cora Coleman Drummer Live, London June 2009

Roger Taylor Queen, Birmingham NEC, October 2008

Ian Matthews Leicester De Monfort Hall, , May 09

The View, Steve Morrison Wulfrun Hall, Wolverhampton, Feb 09

Joey Castillo Queens of the Stone Age, Reading August 2008 Daniel Adair Paul Bostaph Birmingham NIA, , May 09 Testament, Birmingham NEC, Feb 09 , Birmingham NIA, April 09 Jack Bruno [EDGE 8.0] 23 individuals I’d ever met and I’m happy RM: So, without the kit to learn the tunes, RM: That’s so true. So, what’s happening to have . how did you prepare so you felt ready? currently for you? JP: For a while, I was working with RM: Jim, being thrown into such a situation, JP: I transcribed pretty much note for Giorgia Todrani, who is one of Italy’s how do you learn to nail it, on-the-fly like note what Mick, and most iconic singers. Recently, I’ve that? Stan Lynch played and pretty much been doing some one-offs with Johnny jimmy paxson slept with headphones on. I had some Rivers, who hits include “Memphis” JP: I follow these five steps: 1) Listen to pads in my room…that, with a lot of and “Secret Agent Man”. Other recent the tune. 2) Make a chart. 3) Play to the determination, I got through it. When projects include CDs with A Fine tune, with the chart. 4) Play to the chart, I got home, I entered what I call “Camp Frenzy, Sharon Little, The Casualties without the tune. 5) Play the tune, Waddy!” Of Jazz, Julian Coryell and I recently without the chart or the recording. My did an eclectic tour opening for Louden goal is that when it comes time to play, I RM: How is it playing with Lenny Castro? Wainwright III, with my girlfriend, don’t need to reference anything. singer/ Jenni Alpert.

RM: So, how did Stevie Nicks find you? RM: Jimmie, your drum collection is really under the radar “My goal is that when a drummer’s playground! JP: On a break from touring, I came home it comes time to and my cartage guy, Ross Garfield- JP: I’m a bit of a collector. DW has really owner of Drum Doctors, had heard that play, I don’t need to raised the bar over the years on drum , Stevie’s bandleader, reference anything.” quality. I have quite a few of their kits, no more was looking for a drummer for her. including Stevie’s favorite, a VLT Gold Stevie Nicks’ stickman isn’t a newcomer and he’s Ross recommended me, for which I’m Glass finish set. I am also a junkie for eternally thankful. old classic American drums, as well as not an overnight success. He’s an L.A. drummer JP: Playing with Lenny is effortless… import mahogany drums from Taiwan who got the gig because he’s just that good. RM: Along with learning all the songs, I he’s simply the deadliest percussionist and Japan. By Rich Mangicaro. Photo by Rob Shanahan. know that you’re great at focusing on the there is - period. His feel and choices are Regarding cymbals, everyone at Paiste is right drum sound for the gig. How did you second to none and we quickly became like family to me and I use a combination apply that to the Stevie audition? real close, both on stage and off. I thank of their lines. For drumheads, I use God for every moment with him and Evans and my sticks are . The underdog. We love rooting for them. and some other cats. Gregg was teaching stroke…three strokes from one up & JP: I am a firm believer that bringing the on top of playing all those great songs, But when we look further into their at the time, so I studied a bit with him, down motion. It’s just a more efficient right sound for any situation is key. I Stevie gives us a big solo every night. RM: Talk about your studio a bit? history, we find these ‘overnight success which was great. Later, I met Joey way of playing. knew from learning Stevie’s music that With Lenny, you never know which stories’ have already accumulated Heredia and he hipped me to Murray I wanted the snare tuned way down into direction it’s gonna go. For example, JP: My room is a recording/rehearsal credits, have spent years schlepping on Spivack, who ended up reworking my RM: Makes complete sense. While you were that /Russ Kunkel/Stan one night he may play his entire solo space…I operate both Pro Tools and the road and have paid their dues – ten entire approach. studying with Murray, what was going Lynch zone. Ross has an old 7x14 Tama on his bass drum and a … Logic. The room is about 20’ x 40’ with times over. Thus is the case with Jimmy with you professionally? brass snare that I rented a few times other nights, he may use his entire rig. a 16’ ceiling and I do a lot of sessions Paxson. When I first met him, I had RM: Let’s talk about Murray. I think there and we both agreed it would deliver. At We both look at our solos as a place to there. I have an extensive drum heard of his mother, Jazz keyboardist are many drummers who don’t even know JP: There was a jam session at a LA club the audition, I hit it once and everyone be spontaneous. We have a set ending collection, including some cool, vintage Sunnie Paxson. When I dug further, I about him. Seems to be more of a West coast and I met Chris Chaney there. Chris noticed. That IS the sound for Stevie’s worked out, but other than that, it’s kits and tons of percussion stuff, so it’s found an astounding lineage of talent. thing… later introduced me Gary Novak and music and she heard it right away. To wide open. a one-stop shop. honestly, a lot of what I’ve accomplished achieve this now, I use a DW 8”x14” Rich Mangicaro: Jimmy, I was intrigued JP: Studying with Murray was the greatest as a drummer stems from their early Edge snare that just sounds unreal. RM: Who were your influences that helped RM: Jimmy, what would you say to players when I learned about your musical family. thing I ever did for my drumming. In support. Later I ended up subbing for you learn to construct a good solo? who are trying to make something happen What was it like to grow up in such a the beginning, he said to me “Play like Gary with . It was my RM: When did you find out you had the gig? for themselves, especially given our tough creative environment? you play and practice like I show you. first actual tour… and a serious crash- JP: ’ Lifetime “Believe It” economic situation? What I teach you will creep into your course. From there, I went on to work JP: I was on the road with Edgar Winter record is THE drum bible. Also, there’s Jimmy Paxson: My dad was always playing and the change will take care of Ronnie Montrose, which turned into a and I didn’t hear anything from them a live solo with Steve Gadd and Ralph JP: WORK ON YOUR TIME AND BE blazing on the drums and I watched him itself.” It was a whole different way of gig that lasted, on and off for years. for 3 or 4 days. In an airport, I noticed McDonald on a Grover Washington PREPARED!! With the Internet and all play all the time. He never sat me down holding and controlling a stick. Lot’s of a missed call from Waddy. His message Jr. video, which blows my mind. Any the available resources, the knowledge and said “Well son, this is how you…” emphasis on up-strokes, down-strokes RM: What was the gig like with Ronnie? said: “Ah, Jim, it’s Waddy Wachtel. or Simon Phillips is out there to be absorbed 24/7. Like It was more through observation. He and things like the mechanics of a flam. Listen, I don’t know what to tell ya… open solo and finally, on they say, ‘practice at home’. Once you would have me play along to all these Learning the up-stroke itself was the JP: It was great…all instrumental but, you got the gig. Welcome to the ’s “How The West Was get on a gig, if you’re lucky enough to great Jazz records while my Mom biggest breakthrough and it is the one music. The hard part was that I knew family. Hope you’re not doing anything Won”. These are all huge for me. have people to lean on, know that they’ll would have me listening and playing thing I see missing from players that are I needed to establish myself in more of for the next year or so!” That was about only carry you so far before you’re to , and struggling with technique. the mainstream music world. Strangely 5 years ago. RM: Jimmy, working for such diverse female expected to stand on your own. Always whatnot. She is really artsy and helped enough, it was around that time in ‘99 singers, how do you adjust your playing to support the music first and know the me get in touch with the emotional side RM: Jimmy, explain a bit more about the when I got an unexpected call from RM: Wow! How did it feel, getting that call? fit their varied styles? boundaries…then know when and how of drumming. ‘up-stroke’? Alanis Morissette’s tour manager to step out without being musically asking me if I could leave for Venezuela- JP: Incredible. I’ve had other big gigs JP: I try to get acclimated to where distracting. The pressure is immense, RM: What was it like when you first got to LA? JP: The up-stroke is a delicate release immediately. At first, I thought it was but that call was life changing. I had they lay the cadence of their vocals, in but if you love music and you play where the hand naturally drops, someone playing a joke on me but about 3 weeks of back-to-back work in relation to the beat - their way of feeling for the song, that’s what it’s all about. JP: Well, first thing I did was called a putting the wrist into motion and a actually Gary was leaving the tour with Europe with both Sophie B. Hawkins the groove. Then, I connect with what You never know when the call is going few drummers that I hoped to study stroke happens on the way up. For short notice and Chaney recommended and Edgar so I had no choice but to they’re saying, lyrically and emotionally to come in so just keep growing…and with, finding their numbers through the example, the leading hand of a 5-stroke me to take over. It was an interesting learn all the songs in hotel rooms and and convey dynamically what’s needed keep going. Musicians’ Union. I left messages for roll would play the first 2 strokes on an position to suddenly be in, to say the actually got home only the night before from there. It’s all about the subtleties. Vinnie, Jeff Porcaro, Gregg Bissonette up-stroke and the 5th would be a down- least. Alanis was one of the warmest the first rehearsal. [EDGE 8.0] 25 Lesson 6 Upon reaching the completion of the first five >DRUM CLINIC exercise, we now count backwards with an exercise for the number 4,3,2 and finally 1. Here 9 fundamental rudiments we go!!!! By Denny Seiwell Having been at #5 we move on to #4 which is photo by Alex Solca called the “4 Stroke Ruff”. A ruff is a series of notes played in rapid succession and in musical terms is made up of grace notes (softer notes than the original stroke).... so... we are going to play 4 notes rapidly starting with the right hand. RLRL. The last note (L in this case) is louder than the first 3 notes. It should sound like “dig I n raising the sticks approximately 8 inches above with the wrist, and the bounce comes from the ida bop” if you said the phrase quickly. With the the drum and down as we “wave goodbye” with weight of the stick being dropped and allowed accent or louder note being the “bop”. Once you both sticks. If you are right-handed, your left stick to bounce. ONLY two bounces though. Here have played this evenly, try to start the ruff using might not cooperate. Don’t worry about this, it comes the control part. (RRR) (LLL) etc. Again, the other hand. LRLR, it is played faster than you will improve with these exercises. Start to increase we start slowly and pick up speed as it becomes can say 1234, hence the dig ida bop phrase....this speed of the single strokes RLRLRL accelerating more comfortable. Without having to think...we is a way cool rudiment!!! slowly but trying not to tense up the arms or are using the middle fingers to stop the bounce hands. Best results come when you play as fast stroke. This will also help us with our “2 Stroke Lesson 7 as you can until tension appears, and then stop Roll”. RRR, LLL RRR LLL. Trying to maintain the Coming back down the count of exercises and start over again. Try to make the same sound same stick path and sound of each stroke. This 1,2,3,4,5,4 we are now at 3 again. This is an with each stick. Again, if you are right-handed exercise will make your hands work with the exercise very similar to the last one using the the left stick might sound different than the right. proper pressure of the stick grip. ruff. However this is only 3 strokes long...hence This exercise is the very first thing we must learn #3. We start this rudiment by playing two soft in order to start getting control over the bouncing Lesson #4 grace notes with the left hand, and a regular of the stick. We now move on to the “4 Stroke Roll”. This stroke with the right....llR....rrL....llR....rrL. allows us to use more fingers in our stroke, which The grace notes are played softer and spaced Lesson #2 provides more control and power. We start by evenly like the 4 stroke ruff, but shorter. In Now that we have a grip and a stick path, the making a stroke, followed by “three” bounces the demonstration of sticking you will notice ability to stroke from the wrist, not the whole of equal volume and space if possible. This small letters for the grace note, and caps for the arm, we must learn how to bounce the sticks and exercise will not have to be played as quickly finishing stroke. llR....rrL....etc. going hand-to- stop and control the bounce. We now learn the due to the degree of difficulty. (RRRR) (LLLL) etc. hand or starting each time with your other hand “two stroke roll”. This was taught as “mamma starting slowly and gradually picking up speed. makes this rudiment very fluid to play when the dada”. We start by dropping the right stick and Remember, DO NOT stroke from the arm, but motion is felt. The grace notes are played very Denny Seiwell making a second sound with the bouncing stroke, from the wrist and fingers. One down stroke from close to the drum head, and the stroke uses the but only one stroke. The right stick strokes and the wrist and the bounces from the fingers. Again, stick path used in all other rudiments so far. bounces one time and then must be stopped after we will use the middle fingers to help produce the My years of playing and teaching drums, I the second note is heard, “mamma”. RR. Next, we bounce strokes, as well as to stop it. This exercise Lesson 8 always wanted to simplify the 26 rudiments into do the same stroke with the left hand. Stroke and will enable the student to really learn to control This brings us to the Flam, a rudiment which is the strokes necessary to actually play the drums. bounce stopped after the second note, “dada”. the bounce stroke. basically 2 notes. A soft one, and a louder note By trial and error, I have been using this concept on This is the hardest part of playing drums and played almost together. However, the grace note beginning students to professional drummers. If either when this is mastered all drumming becomes so Lesson #5 or 1st note is soft and the second note is louder. the pros or the students spend 10 minutes working on much easier. It is the bounce stroke that will allow We have now learned several of the 26 Rudiments, Again, the grace note is played much closer to these exercises, it will greatly improve their drumming speed and ease of play. In this exercise we shall which I have boiled down to 5 basic rudiments the head or playing surface, and the main note overall. It employs all of the necessary strokes that learn how to bounce and control the sticks. We that must be learned to enjoy playing the drums. is the same stroke used in all the other exercises. must be mastered in a fun and easy way. start the same as the single stroke roll, by making .Next we learn the first of the hand-to-hand rolls When you can play this rudiment going from the same stick path 8 to 12 inches from the head beginning with the 5 Stroke Roll. We start this by hand to hand, you will notice a definite pattern Lesson#1 or playing surface if you are using a practice pad. a stroke and a bounce stroke with the right hand. and motion of the hands. This challenges the First we should learn how to hold the sticks. There Starting with the right-hand, we make the initial Repeat this with the left hand, and add a single student into playing a loud and soft note almost are two types of grips used for playing drums. The stroke with the right-hand, and follow it by a stroke at the end... producing the 5 stroke roll. together, and at the same time. traditional grip, which was developed due to the bounce stroke. Do not make two strokes of the RRLLR---LLRRL etc. again speeding up gradually fact that originally the drum was hung around the wrist. It is a matter of dropping the stick lightly and using the same stick path and sound of each neck with a strap, and therefore sat at an angle. and allowing it to bounce one time only. RR. note. This short roll will be followed by many Lesson 9 This is not how drums set players today need to Next, we do the same with the left stick, which measured rolls of various lengths. When this roll This brings us back down from exercises adjust to hit their drums. The traditional grip is may be a little harder to do . Don’t worry, this will is played correctly, the last note of the 5 strokes 1,2,3,4,5,--4,3,2 and 1 again. This time we perform wonderful and will be explained and taught at a improve in time. Then we start hand-to-hand by will be accented slightly. Sometimes this roll is the same single stroke roll that we performed later lesson. However, the other grip… the match making the stroke and the bounce from RR to LL counted easily by the strokes 2- 4- 5, since they in exercise #1. This time though, after having grip is more in use today and simpler to get and accelerate slowly, trying to make both notes are played fairly quick. A bounce stroke with each done the prior exercises, we can now hopefully started. So we will start with this grip. (RR) (LL) the same volume and sound. As we get hand, and a stroke with an accent at the end. The perform this roll with more agility and speed. aster the bounce becomes easier, but try to keep 5 Stroke Roll. When playing these hand-to-hand So there you have it, in a nutshell, if you can Think of the grip, with holding hands palm the same space between the two notes and the ie. RRLLR LLRRL RRLLR LLRRL becomes easy, remember the exercise connected tot the number down and waving goodbye. In this way, the wrist same stick path up and down. You are now on you are more than on your way to being able to 1 through 5 and back down to 1 again you have hinges most easily, and goes up and down very your way. execute just about anything on the drums. an entry level understanding of the 26 rudiments effortlessly. Next, we place the stick between the of drumming. At least enough to move forward tip of the thumb and the first joint of the index Lesson #3 There... If you can remember to count to five, you can with a few illustrations and exercises designed finger lightly closing the hand around the stick. We now learn how to incorporate the fingers play the drums. As we now count backwards from to get you behind the drum set and play a few Do not squeeze! It should be held as if holding a into the stroke, since we have the wrist and the five... we are going to learn a few more disciplines and simple patterns. The next section will give you a bird in the hand. The only pressure will come from hands working properly. When we practiced the rudiments of drumming... yes It Is That Simple !!! very basic tutoring in drum music as it is written, fulcrum, which is the thumb and index finger. This bounce stroke, we automatically used he fingers On the way back down from 5 to 4 to 3 to 2 to 1 again, so we can help you find your way around the is also light but firm for control’s sake. Next, we to help stop our stroke. Now we will take that we will cover all the main ingredients that are found in drum set enough to play a few simple beats. start by “waving goodbye” with the stick in each a step further by making a “3 stroke roll”. We the original 26 rudiments of drumming. Congratulations! Who said drummers have no hand which produces the first stroke; the single start with the right hand making the stroke, the attention span? stroke roll. Slowly, we make the same stick path bounce and another bounce... ONE STROKE only [EDGE 8.0] 27 D = Drums, Pedals and Hardware [1] P= Pedals >NEW ARTISTS PH= Pedals & Hardware

[19] [1] Scott Phillips – Creed D [25] [12] [2] Daniel Adair – Nickelback D

[23] [3] – Judas Priest D

[4] Travis Smith – Trivium D

[5] Eric Gardner - Street Sweeper Social Club/Gnarls Barkley D

[21] [6] Roger Taylor – Queen D

[22] [7] Fiona Daniel – The Whip D

*[8] – The Spill Canvas D [4] [20] [9] Joe Plummer – Modest Mouse PH

[10] Jeremiah Green – Modest Mouse PH [9] [11] Jennifer Ledger – Skillet D

[3] [12] Ryland Steen – Reel Big Fish D

[13] – Bette Midler PH

[14] MICHAEL ALAN BERKOWITZ – Liza Minnelli D

[7] *[15] Jonathon Mover – Independent PH [11] *[16] Dan Greco – Studio D

*[17] DANIEL HETHERTON – Elliott Minor D [6] *[18] Warren Oakes – Against Me! D

[17] [19] Jamal Moore – Backstreet Boys PDP DRUMS & DW HARDWARE [2]

[14] [20] Adam Aaronson – We Are Scientists PH

[21] Jason Bittner – Shadows Fall P

[22] MATT LETLEY - STATUS QUO PH

[23] ADAM MARCELLO – Katy Perry PH

[24] - Studio D

[25] Dominic Howard - The Muse D

*Artists not shown [24] [10] [5] [13]

[EDGE 8.0] 29 the all new dwdrums.comnow MOREthan ever THE DRUMMER’S CHOICE.

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