2015 MD June

WIN A CANOPUS/DREAM PACKAGE VALUED AT $9,000
THE WORLD’S #1 DRUM MAGAZINE
GROOVE SCIENTIST
BENNY
GREB
BUSTS THE MYTHS
THAT HOLD US BACK!
STUDIO TALK WITH

JOHN MAYER’S
AARON STERLING
JUNE 2015
WISE UP & WARM UP

WITH RIVAL SONS’ MICHAEL MILEY
12 Modern Drummer June 2014
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CONTENTS
Volume 39 • Number 6
On the Cover
30 Benny Greb
by Michael Dawson
In his eagerly awaited new
instructional DVD, the drummer
boldly addresses the history
and mystery of grooving like the
greats. “I wanted to look at the
full scale of phenomena within
groove and what you can do to
develop them,” he says, “so that
it’s not a matter of upbringing or
other things you can’t change.”
Cover and contents photos by Gerhard Kühne
Features
16 Catching Up With… Dave King /// Steve Smith /// George “Funky” Brown
42 Dirk Verbeuren Soilwork’s detailed demon. by David Ciauro
50 Aaron Sterling The studio is where it’s at for John Mayer’s guy. by Robin Tolleson
56 What Do You Know About… Rick Wakeman, Carly Simon, Cats, and way, way more. by Will Romano
Barry de Souza
60 Jamie Miller An L.A. vet heads down the Trail of Dead. by Stephen Bidwell
Encore 88 Bill Evans Trio, Sunday at the Village Vanguard. by Jeff Potter
89 Great Drum Covers III Classic album art with the drums front and center.
Education Equipment Departments

62 Strictly Technique 20 Product Close-Up 8 An Editor’s Overview
Dynamics Mechanics Maxwell Drums Nesting Kit The Groove Revelation
Loud, Soft, and Everything in Between Paiste Masters Dark Crashes and Hi-Hats by Michael Dawson
by Bill Bachman Vic Firth Barrel 5A and 5B Drumsticks,
Split Brushes, and Tala Wand 10 Readers’ Platform
66 Rock ’n’ Jazz Clinic Bamboo Slats
The Drumset Drag SJC Maple/Brass Hybrid Snare 14 News
Orchestration Options for Powerful and
Melodic Textures 26 Electronic Insights 18 It’s Questionable
by Powell Randolph Drum Miking 101 E-Drums and Apartment Dwellers •
Part 5: Multi-Mic Setup Warm-Up Exercises From Rival Sons’
68 Jazz Drummer’s Workshop by John Emrich Michael Miley 11:08 AM
Elvin Jones–Style Triplet Fills
Part 2: Orchestrating Accent Patterns 28 Gearing Up 80 Showcase
by John Xepoleas Suicidal Tendencies’ Featuring Drum Market
Eric Moore II
3/19/15
70 Around the World 84 Critique

Traditional Percussion on Drumset 76 New and Notable
Part 3: Timbales Highlights From NAMM 2015 90 Backbeats
by Arturo Stable 2014 Guitar Center Drum-Off
1
Grand Finals
72 Rock Perspectives
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A John Bonham Foot Pattern

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AN EDITOR’S OVERVIEW
MODERNDRUMMER
The Groove Revelation Founder MODERN DRUMMER ADVISORY BOARD:
Kenny Aronoff, Eddie Bayers, Bill Bruford,
Ronald Spagnardi Harry Cangany, Dennis DeLucia,
1943–2003 Les DeMerle, Peter Erskine, Vic Firth,
Bob Gatzen, Danny Gottlieb, Jim Keltner,
Publisher/CEO Paul Leim, Peter Magadini, George Marsh,
I Isabel Spagnardi
don’t want to give the entire Rod Morgenstein, Andy Newmark,
Neil Peart, Steve Smith, Billy Ward,
story away, but this month’s Dave Weckl, Paul Wertico.
cover artist, Benny Greb, made Senior Vice President
Lori Spagnardi CONTRIBUTING WRITERS:
one statement during our discus-
Patrick Berkery, David Ciauro, John Emrich,
sion of his latest DVD, The Art Vice President Bob Girouard, Mike Haid, Dr. Asif Khan,
and Science of Groove, that Kevin W. Kearns Rick Mattingly, Ken Micallef, Mark Parsons,
Martin Patmos, Jeff Potter, Will Romano,
resonated deeply with me: Bernie Schallehn, Ilya Stemkovsky, Robin
“Trust your own aesthetics.” Associate Publisher Tolleson, Lauren Vogel Weiss, Paul Wells.
Tracy A. Kearns
!"#$%&'()"*+#,*-
Really? Can it be that simple?
MODERN DRUMMER magazine
So all I need to do is acknowledge (ISSN 0194-4533) is published monthly
Editorial Director
what I like, strive to make my Adam J. Budofsky by MODERN DRUMMER Publications,
Inc., 271 Route 46 West, Suite H-212,
drumming sound like that, and
Fairfield, NJ 07004. PERIODICALS MAIL
then everything will be okay? It Managing Editor POSTAGE paid at Fairfield, NJ 07004 and at
seems like a logical and simple Michael Dawson additional mailing offices. Copyright 2015
by MODERN DRUMMER Publications, Inc.
solution for learning how to groove, but as someone who’s often unsure All rights reserved. Reproduction without the
whether or not my time feel is hitting the mark, those four words carried Associate Editor
permission of the publisher is prohibited.
Billy Amendola
a ton of weight.
EDITORIAL/ADVERTISING/
Of course, I still have to make an honest assessment of whether my Associate Editor ADMINISTRATIVE OFFICES:
groove is actually living up to what I’ve grown to love and admire in Michael Parillo MODERN DRUMMER Publications,
271 Route 46 West, Suite H-212, Fairfield,
others, but that’s where the exercises Benny outlines in his DVD come
NJ 07004. Tel: 973-239-4140.
into play. Some of them are incredibly humbling (the time chapter), Senior Art Director Fax: 973-239-7139.
while others reaffirm that the countless hours I spent refining my touch Scott G. Bienstock Email: [email protected].
and dynamic control as a classical percussionist weren’t for naught
Advertising Director MODERN DRUMMER welcomes
(the sound chapter). After watching Benny’s DVD, I had a much clearer Bob Berenson manuscripts and photographic material
picture of what I needed to focus on to make myself a more confident but cannot assume responsibility for them.
musician, which I’m learning is truly the name of the game. As groove Advertising Assistant SUBSCRIPTIONS: U.S. $29.95, Canada
master Jim Keltner once said, “If you’re going to be a drummer, you have LaShanda Gibson $33.95, other international $44.95 per year.
For two- and three-year subscription prices
to be very confident.”
Digital Media Director go to www.moderndrummer.com.
I’m still digesting all of the advice Greb dropped on me in regards to Single copies $5.99.
EJ DeCoske
developing groove, but there are several other artists featured in this issue
SUBSCRIPTION CORRESPONDENCE:
who have very different viewpoints that may inspire you to reevaluate Music Engraver Modern Drummer, PO Box 274, Oregon, IL
your own aesthetics. Maybe you’ve been meaning to get your double Willie Rose 61061-9920. Change of address: Allow
bass drumming together. Then dig into the work of Dirk Verbeuren of the at least six weeks for a change. Please
The MD Pro Panel: provide both old and new address.
extreme metal band Soilwork. Or perhaps you need to chill on the licks Call 800-551-3786
Chris Adler, Gregg Bissonette,
and focus on a more selfless blend-with-the-track approach, like what Jason Bittner, Will Calhoun, or 815-732-5283. Phone hours,
Terri Lyne Carrington, Matt 8AM–4:30PM Monday–Friday CST,
session master Aaron Sterling does so gracefully with John Mayer. Then
Chamberlain, Jeff Davis, Peter or visit Subscriber Services at
again, it might be time to throw caution to the wind and go all out, like Erskine, Bob Gatzen, Daniel Glass, www.moderndrummer.com.
post-punk powerhouse Jamie Miller does as drummer and guitarist with Benny Greb, Matt Halpern, Horacio
Hernandez, Gerald Heyward, Taku MUSIC DEALERS: Modern Drummer is
…And You Will Know Us by the Trail of Dead. Regardless of where your distributed by Hal Leonard Corp.,
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Stephen Perkins, Dafnis Prieto,
Rich Redmond, Brian Reitzell, INTERNATIONAL LICENSING
Jim Riley, Antonio Sanchez, REPRESENTATIVE: Robert J. Abramson
Gil Sharone, Chad Smith, & Associates, Inc., Libby Abramson,
Steve Smith, Todd Sucherman, President, 7915 Via Grande, Boyton Beach,
Billy Ward, Kenny Washington, FL 33437, [email protected].
Paul Wertico
POSTMASTER: Send address changes to
The Modern Drummer Pro Modern Drummer, PO Box 274, Oregon, IL
Panel is an open-ended group 61061-9920.
of professional drummers who
contribute regularly to the Canadian Publications Mail Agreement
magazine’s content. It represents No. 41480017 Return undeliverable Canadian
an unparalleled amount of musical addresses to: PO Box 875, Stn A, Windsor
experience, which members share ON N9A 6P2
with readers across the spectrum
of the magazine’s editorial mix. MEMBER: National Association for Music
The Pro Panel was established in Development, National Association of Music
2011, with multiple players added Merchants, Percussive Arts Society
to its ranks during each of its first
three years. Beginning in 2014,
MODERN DRUMMER ONLINE:
players are being added one at
www.moderndrummer.com
a time.
PRINTED IN THE UNITED STATES
READERS’ PLATFORM
“Teach Your Parents Well”
!!"#$$%!
Great April Editor’s Overview by Adam Budofsky! There is not a
P
lenty has changed for Kenny Washington
day that goes by that I don’t have some kind of contact with my
since his last Modern Drummer feature
interview, in the July 1991 issue. For a long
&'()*$+,-$
time, Wash was considered an underground figure
in the jazz community. He was incredibly busy, but
teachers, who I consider my great friends: David Summerlin, Tony

mostly playing with older innovators, including
Dizzy Gillespie, Benny Carter, Tommy Flanagan, and
Johnny Griffin. Sadly, most of the legends he built
!"#$%&&'"(&)*&!*+,*(-%.
his career with have passed on. Washington is still
Mallard, Eddie Todd, and the late Brad Baker, all phenomenal
very active these days, though, primarily
performing with the piano trios of Bill Charlap and
Benny Green. Despite having the same instrumen-
tation, these two units couldn’t be more different,
drummers in Wilmington, North Carolina. These four men have

while still functioning within the bebop trio
tradition. Kenny knows exactly what to do at all
times with each group.
He also continues to make regular appearances as
Busy jazz drummer and long-
been an influence on me throughout my life, since I was twelve

a session drummer, perhaps most notably on Criss
time MD contributor Paul Cross, one of the few remaining independent jazz
Wells—who we last heard from labels. Washington is on forty-six of its releases—
thirty-seven of which he recorded since we last
in his December 2012 Drummer spoke with him. These recordings are an encyclo-
to Drummer feature with the
Vanguard Jazz Orchestra’s John
Riley—sits down this month
pedia of brilliant bebop drumming; you simply
can’t go wrong with a single one of them.
When I first met Washington, in 1993, he was
years old. They took the time to include me in their lives and show
teaching students in his basement brownstone
with a man that many consider
to be the authority on classic
jazz drummers. Of course, what
apartment in the Clinton Hill/Pratt area of Brooklyn.
Not a lot of drummers outside the New York bebop
scene were even aware of him at this point. Of
me what a drummer is, and they were kind, patient and willing to
follows has far less to do with course, those with the proper inside information
dusty history than learning how
best to play in the now.
knew that Kenny was one of the best drummers to
take lessons from, despite—or perhaps because
impart any information they had to help me grow as a musician.
/0("&1&2-%3%4#"5-6
of—a reputation as being very demanding of

his students.
Many hours were spent informally, just talking and watching. They
My rudimental technique was rather weak back
then, and my first lesson with Kenny was a rude
awakening. As critical as he was, however, he was
extremely helpful and inspiring, ultimately leading
were always helpful.

me on the right path. I remember wishing at the
time that he were teaching at one of the big jazz
universities in New York. It seemed a shame that the
forces in charge of those programs didn’t under-
I am now fifty and teaching

stand or appreciate what Wash had to offer.
Eventually, word got around, and Washington is
AN EDITOR’S OVERVIE
now on the faculty at the Juilliard School and SUNY
Purchase, teaching jazz history and private drum W
in New Orleans. I strive to make MODERNDRUM
students. We begin our conversation here.
Photos by Paul La Raia

“Teach Your
44 Modern
44 ModernDrummer
Drummer April
April2015
2015 April 2015 Modern Drummer 45
my students feel important and Parents Well”

Founder
Ronald Spagnardi
1943–2003
MODERN DRU
Kenny Aronoff,
Harry Cangany,
Kenny Washington empowered. We are friends as

DeMerle, Len D
Firth, Bob Gatze
M any of you will recogni Publisher/CEO

ze the title Keltner, Paul Le
of this month’s editoria Isabel Spagnar di Marsh, Rod Mor
l from
I want to show my appreciation for the Kenny Washington piece well as student and teacher. It is
the famous Graham Nash Neil Peart, Steve
song “Teach Senior Vice President Dave Weckl, Pau
Your Children,” from Crosby,
Stills, Lori Spagnardi
Nash, and Young’s Déjà CONTRIBUTING
Vu album. (RIP,
in your April 2015 issue. Mr. Washington’s advice to students of a great responsibility, and I hope drummer Dallas Taylor.) Patrick Berkery, D
I always liked Vice President Bob Girouard, Mi
the way the line flipped Kevin W. Kearns
the script on Rick Mattingly, Ke
the title. It provided the Martin Patmos, Je
core lyrical
our instrument is priceless. Many of my own students balk at my I’m helping my students/friends idea of the song, which Associate Publisher Bernie Schallehn,
is widely recog- Tolleson, Lauren V
nized as one of the most Tracy A. Kearns
powerful calls
ever for understanding MODERN DRUMM
among battling
become confident and complete

Editorial Director
“hands first” approach to learning, only to thank me later. I have
groups, in this case the (ISSN 0194-4533)
different Adam J. Budofsky by MODERN DRUM
generations of the Woodst
ock era. Inc., 271 Route 46
Forty-five years later, the Managing Editor Fairfield, NJ 0700
world
also found that many students who come to me for “remedial” musicians as my four friends at large unfortunately
completely internalize
us drummers, the natural
has yet to
the song’s message. But
I’m happy to say that among
Michael Dawson
Associate Editor
POSTAGE paid at Fa
additional mailing o
by MODERN DRUM
chasm between generat All rights reserved. Re
or problem-solving assistance do so principally from a lack of helped me. to the extent that it does
Drummer, and count
elsewhere. Thumb through
how many times an artist
an early teacher. It’s striking
ions doesn’t seem to exist
a typical issue of Modern
makes a positive referenc
Billy Amendola
Associate Editor
permission of the pub
EDITORIAL/ADVERT
. e to ADMINISTRATIVE O
Thank you, David, Tony,

Michael Parillo
fundamental technique. We are all indebted to Mr. Washington Take this issue. In his Q&A,
finds cause to refer back
Purdie was interviewed
cover star Bernard “Pretty”
to his first drum instruct Purdie immediately
or, Leonard Heywood. Senior Art Director
MODERN DRUMMER
271 Route 46 West,
NJ 07004. Tel: 973-
for the piece by MD’s Billy Scott G. Bienstock Fax: 973-239-7139.
for stating so clearly that without good rudimental skills, time, Eddie, and Brad. I am indebted with the legendary R&B
in our report on jazz great
himself a thankful recipien
drummer at one time.
Kenny Washington, who
Amendola, who studied
The same relationship
exists
spoke with Paul Wells,
Advertising Director
Email: mdinfo@mode
MODERN DRUMMER
Bob Berenson
to you always.
t of Washington’s famous manuscripts and photo
feel, and tone suffer. In this month’s Catchin

only about how he once
he recorded alongside
g Up With… department,
studied with Morris “Arnie”
drumming tuition.
Terry Silverlight talks not
Lang but also about how
Advertising Assistant
LaShanda Gibson
but cannot assume res
SUBSCRIPTIONS: U.S.
John Golden Jr.

the classical percussionist
John Lester
$33.95, other internatio
In that same column, for his latest album, Duets. For two- and three-yea
Mountain drummer Corky Digital Media Director
his own teachers per se, Laing doesn’t mention go to www.moderndrum
but he does go out of his any of EJ DeCoske Single copies $5.99.
served in the role of drumm way to thank those who’ve
er’s best friend through
career—the bassists Jack out his distinguished
Bruce, Felix Pappalardi, Music Engraver SUBSCRIPTION CORRE
Elsewhere in this issue, and Noel Redding. Willie Rose Modern Drummer, PO B
Mike Haid interviews
Gabor Dornyei, who remains international perform 61061-9920. Change o
extremely active in drum er at least six weeks for a
former MD features editor education, and The MD Pro Panel: provide both old and new
Rick Mattingly talks with
HOW TO REACH US [email protected]

the timeless method book Colin Bailey, author of Chris Adler, Gregg Bissonette, Call 800-551-3786
Bass Drum Control. And Jason Bittner, Will Calhoun,
we learn that Butch Walker in their feature stories, Terri Lyne Carrington, Matt
or 815-732-5283. Phone
regular Mark Stepro studied 8AM–4:30PM Monday–Frid
Kotche and with onetime with Wilco’s Glenn Chamberlain, Jeff Davis, Peter
Glenn Miller/Stan Kenton Erskine, Bob Gatzen, Daniel
or visit Subscriber Servic
that the individualistic drummer Ed Soph, and Glass, www.moderndrummer.co
Chaos Chaos drummer Benny Greb, Matt Halpern,
guided by Death Cab for Chloe Saavedra has been Horacio
Cutie’s Jason McGerr. Hernandez, Gerald Heyward,
Taku MUSIC DEALERS: Modern
So, what’s to be made Hirano, Susie Ibarra, Jim Keltner,
of all this? It seems that distributed by Hal Leonard
encouragement to give we drummers don’t need Pat Mastelotto, Allison Miller,
800-554-0626, sales@hal
credit to our instructors—we Rod Morgenstein, Chris Pennie,
It never hurts to remind ’re already doing it! Stephen Perkins, Dafnis Prieto,
www.halleonard.com/deale
ourselves of our own respect
or of the nature of the ful nature, however— Rich Redmond, Brian Reitzell,
music biz. Right now, INTERNATION AL LICENSIN
readers who just a short any number of Modern Jim Riley, Antonio Sanchez,
time ago were carrying Drummer Gil Sharone, Chad Smith, REPRESENTATIVE: Robert J
backpack are reaching our latest issue in their & Associates, Inc., Libby Ab
great heights in their playing school Steve Smith, Todd Sucherman
,
story of the star who forgets careers. Sadly, the age-old Billy Ward, Kenny Washington President, 7915 Via Grande,
where he or she came , FL 33437, abramson@prodi
might not have to spend from never goes away. Paul Wertico
very much time at all in You
you find yourself sufferin the music industry before The Modern Drummer Pro POSTMASTER: Send addres
g through a long night—
character, and it ain’t fun, or tour—w ith that kind of Panel is an open-ended group Modern Drummer, PO Box 27
no matter how many records of professional drummers 61061-9920.
drummers aren’t comple they’ve sold. And we who
tely immune to the ego-infl contribute regularly to the
successful musical career ating symptoms that a magazine’s content. It represents Canadian Publications Mail
can bring. But if we regularl No. 41480017 Return undelive
stay humble—and make y remind ourselves to an unparalleled amount of
musical
sure to keep people in experience, which members addresses to: PO Box 875, Stn
put us in our place when our lives who care enough share
need be—we’ll all be just to with readers across the spectrum ON N9A 6P2
fine. of the magazine’s editorial
mix.
The Pro Panel was established MEMBER: National Association
in
2011, with multiple players Development, National Associa
added
to its ranks during each of Merchants, Percussive Arts Soc
its first
three years.
MODERN DRUMMER ONLINE:
8 Modern Drummer April www.moderndrummer.com
2015
PRINTED IN THE UNITED STAT

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FROM NAMM 2015 Rock Perspectives HEAR THE DRUMMING!

Watch video demos of the hottest drum, cymbal,
and accessory introductions straight off Powell Randolph demonstrates how to play Listen to tracks
the convention-room floor. John Bonham’s famous foot ostinato on on Spotify corresponding
Led Zeppelin’s “Four Sticks.” with this month’s issue.
BLOGS GET WIRED NEWS SOCIAL MEDIA

The most extensive selection MD’s monthly Wire newsletter Stay on top of clinics, Keep connected.
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on the Web. great multimedia content. news from the world of drumming.

NEWS
Out Now
The Wrecking Crew
This documentary, named after the group
of musicians responsible for a staggering
number of the hit records coming out of Los
Angeles in the 1960s and early ’70s, became
available on demand this past March. At
press time a limited national run in theaters
was scheduled through May 10, and a DVD
release is planned for the spring. Produced
and directed by Denny Tedesco, son of
Wrecking Crew guitarist Tommy Tedesco,
the film includes interviews with the
legendary artists Brian Wilson, Herb Alpert,
Glen Campbell, and Roger McGuinn, among
others, as well as Crew members Hal Blaine
(drums), Tommy Tedesco (guitar), Carol Kaye
(bass), Al Casey (guitar), Earl Palmer (drums),
Gavin Harrison
Plas Johnson (saxophone), Joe Osborn Cheating the Polygraph
(bass), and Don Randi (keyboards). For more Porcupine Tree/King Crimson drummer
information, go to wreckingcrewfilm.com. Gavin Harrison’s brand-new solo album
Earl Palmer Hal Blaine comprises eight Porcupine Tree songs,
reimagined with help from bassist Laurence
Cottle in something of a big band style and
executed with the drummer’s razor-sharp
Bad Company Bad Company and Straight Shooter precision and world-class chops. “I don’t
Deluxe Editions (Simon Kirke) /// My Morning Jacket think of this as jazz,” Harrison says. “It’s more
The Waterfall (Patrick Hallahan) /// Bachman Heavy Blues like cinematic orchestral arrangements.
(Dale Anne Brendon) /// Dwight Yoakam Second Hand There’s an overall theme that ties the
Heart (Mitch Marine) /// Paul Weller Saturn’s Pattern (Ben record together.” Cheating the Polygraph
Gordelier) /// Blues Traveler Blow Up the Moon (Brendan is also impeccably produced, in part due
Hill) /// Raven ExtermiNation (Joe Hasselvander) /// Blur to each instrument having been captured
The Magic Whip (Dave Rowntree) /// the Atomic Bitchwax separately. “Purists wouldn’t enjoy that fact,”
Gravitron (Bob Pantella) /// Billy Cobham Reflected Journey and Mirror’s Image (Billy Cobham) /// Harrison says, “but it gives you complete
Joey Calderazzo Going Home (Adam Cruz) /// Everclear Black Is the New Black (Sean Winchester) discrete control. You can put one trombone
/// Whitesnake The Purple Album (Tommy Aldridge) /// Built to Spill Untethered Moon (Steve player in each corner for the surround mix.
Gere) /// the Word Soul Food (Cody Dickinson) /// Danko Jones Fire Music (Rich Knox) It’s another level.” Ilya Stemkovsky
Meinl Announces Lineup for 2015 Festival

The Meinl Drum Festival celebrates its tenth anniversary this coming June 27, in Gutenstetten,
Germany. The roster includes Thomas Lang with Luke Holland of the Word Alive, Adam Markó
(Special Providence), Richard Spaven (José James), Matt Garstka (Animals as Leaders), Kerim
“Krimh” Lechner (Septicflesh), Robert “Sput” Searight (Snarky Puppy), Benny Greb (Moving Parts,
The Language of Drumming, The Art and Science of Groove), Ralph Peterson, and Anika Nilles (Nevell).
For more information, go to meinldrumfestival.com.
Who’s Playing What

Matt Chamberlain, Kenney Shawn Cameron
Jones (ex–the Who, Small (Carnifex) has joined
Faces), Ben Thatcher (Royal the Pearl Drums
Blood), Dan Freese (Verses), artist roster.
Bob Hall (Catfish and the
Bottlemen), Freddy Sheed
(Baxter Dury), Joe Luckin
(the Mouse Outfit), Jonathan
Ulman (independent), Greg
Clark (independent), and
Kristinn Agnarsson (John
Grant) are using Protection
Racket drum cases.
Brent Fitz (Slash Featuring Myles
Kennedy & the Conspirators) is
using Vater sticks.

!"
#$%&
,+-.-/'0*%-/
Josh Freese is out with the

Replacements on their first full U.S.
tour since 1991.
Ryan Brown is on a world

tour with Zappa Plays Zappa,
performing the 1975 Frank
Zappa and the Mothers
of Invention album One
Size Fits All.
Also on the Road

Converge (Ben Koller), Trap
Them (Brad Fickeisen),
Harm’s Way (Chris Mills),
and YAITW (Randy Baucom)
are performing at a series
of DW Fest Europe shows in
Belgium, France, Switzerland,
and Germany. /// Armored
Saint (Gonzo Sandoval) and
Saxon (Nigel Glockler) are
doing a few dates together this
month. /// Brann Dailor with
Mastodon /// Matt Ochoa and
Jon Olazabal with Dirty Heads
/// Tom Hane with In This
Moment /// Jamiel Blake with
Sam Smith /// Laura King with
Mac McCaughan /// Mickey
Curry with Bryan Adams
/// Eloy Casagrande with
!"#"$%&'(#")*+*
!%&-112'3*45"46
Sepultura /// John Humphrey

with Seether /// Jared
Shavelson with the Rentals

CATCHING UP WITH…
!"#$%&'()*++*,
Dave King
Hot on the heels of two 2014 albums by the Bad Plus,
The Rite of Spring and Inevitable Western, the drummer
returns with something completely different.
H ave you ever brought a pair of antlers to use as sticks on a

Little Caesars commercial session? Have you blown an
enormous solo over ZZ Top’s “Legs” during your drum clinic?
videos unique. Dave will be cursing a blue streak and blasting off
fireworks of goofiness (profanity is bleeped, but it’s frequent, so
beware of sharing the clips with younger viewers, who’d just be
Possibly not. But if you have room in your mind to consider these befuddled anyway), but then he’ll suddenly invoke Hemingway or
notions, and many more like ’em, you should check out Dave King’s Frank Stella or Duchamp.
new online video series, Rational Funk, which giddily turns the idea “Years ago I started thinking about ways that I could do this,”
of the instructional DVD on its ear. King explains, “but I was sheepish about coming out with
“Of course it’s not a new concept to make a parody of instruc- something silly, because I wanted to be taken seriously as a
tional videos, in any genre of the arts,” King says. “I used to watch musician—because I take it very seriously. I want to be in the world
the oil-painting shows on PBS on Sunday mornings. I loved it. But I as someone that is righteously pro-drums, pro-expression. So I felt
don’t mean Rational Funk to be a stupid parody. The drumming in the timing was okay at this point to explore some of these other
it is very real. I am a drum nerd. I’m a guy who grew up dealing avenues of my thing, in a way that’s lighthearted and ultimately
with all the information, studying privately, but also being like, couched in some actual real-life stuff. I feel like there is room to
‘Whoa, a Steve Gadd instructional video!’” explore the nature of the performer as a ridiculous person. And I’m
Although King plunges headlong into comic absurdity in the hanging myself out as much as I’m hanging anybody out.
brief clips, which he creates with filmmaker/engineer Joe Johnson “Rational Funk is an assassination of the format, but it’s also
and has been releasing on YouTube around once a week, he also me—I mean, I am a dedicated technical fanatic of the drums. I love
sneaks across deep bits of musical insight (see “Episode 11: The rock music, love really complicated fusion from all eras. And it isn’t
Mystery of Improvisation”), along with some killer drumming. It’s just going after big, muscle-car, Black Hawk–helicopter fusion
King’s knack for balancing disparate elements, in Rational Funk as guys. It’s going after everything, from esoteric free jazz to punk
well as in his aesthetic with the Bad Plus and his other projects— rock, rap-rock. I’m going after jazz…I play jazz, you know? I just
highbrow and lowbrow, serious and playful—that makes the want to make people smile at the whole thing.” Michael Parillo

Steve Smith
!"#$%&$'()*+$',$#-$%
Is there a harder-working man in the
business? Following a world tour with
tabla master Zakir Hussain, he’s got two
new albums out and a third on its way.
F eaturing bassist Baron Browne, guitarist Vinny Valentino, alto

saxophonist Andy Fusco, and keyboardist Mark Soskin, Vital
Information NYC Edition’s Viewpoint, out on May 26, finds fusion
star Steve Smith maneuvering classic straight-ahead material and
letting it rip on three solo tracks. “I get to play over the top a lot in
this band,” Smith says, “which is fun and reminds me of when I
would go see Tony Williams, Elvin Jones, or Buddy Rich’s groups, joined by Valentino and Hammond B3 player Tony Monaco in a
where the drummer could stretch out.” Tracks include Rich’s funky organ-trio format that includes original compositions as well
“Willowcrest,” as well as his classic “Time Check.” “That one retains as the standards “Cherokee” and “Green Dolphin Street.” “The
the big band feel that we had with Buddy’s Buddies,” Smith arrangements happened in the moment,” Smith says. “It’s very
explains, referring to the group he formed in the early 2000s with relaxed and swinging. A certain energy happens when the clock is
BR alumni. Other highlights include the Vinny Valentino composi- ticking and you only have a few hours to get each tune.”
tion “The Brush Off” (you can probably guess what Steve’s working So what keeps Smith going…and going? “I am constantly
out on that one), Joe Morello’s famous solo vehicle “Take Five,” and listening to music from all eras,” Steve says, “including what’s
Sonny Rollins’ “Oleo,” which Smith adapts with Indian rhythms. happening today with drummers like Eric Harland, Bill Stewart,
Those unable to catch the group on its current tour should look and Mark Guiliana. I also stay in touch with the older masters. I feel
out for Live in NYC, recorded at the Iridium in 2011 and scheduled like I have accumulated a large vocabulary that comes from every
for an October release. place I can dig up great ideas, including Indian rhythms. With
On the album Groove: Blue, which hits this summer, Smith is these albums, I let it flow and put it all together.” Ken Micallef
George “Funky” Brown

milestones, George “Funky” Brown insists that his priorities are
family and community. The drummer is particularly proud of his
work with underprivileged kids at the Boyle Heights Technology
Youth Center in east L.A., where he assisted with a musical
Five decades on, the legendary dance band project—though not the kind you might expect. “I helped them
Kool & the Gang was recently honored with put together a heavy metal album,” Brown says with a chuckle. “It
a Soul Train Legend Award and given a star was seven or eight different bands. We pumped it up real good!
on the Hollywood Walk of Fame. One “All of us [in Kool & the Gang] come from humble beginnings,”
drummer has been there from the start. the Jersey City native shares. “Early on we discovered each other’s
personal and professional limitations. So to keep our brotherhood
K ool & the Gang has sold 70 million records, including

thirty-four top tens, and won seven American Music Awards
and two Grammys. And the group is regularly cited among the
intact we developed a gentleman’s code, maintaining a high
degree of respect for each other.”
The approach certainly seems to have worked for the group,
most sampled acts in history. But despite all the accolades and whose cavalcade of hits includes “Ladies Night,” “Joanna,” “Get
Down on It,” “Jungle Boogie,” “Hollywood Swinging,” and a song
that for multiple generations is synonymous with the word party,
the chart-topping 1980 disco-pop smash “Celebration.” “Our
sound evolved,” Brown says. “If you look at the earlier stuff from
the ’70s, it was more jazz influenced and swung a bit more. You
can hear it in my playing, as I was influenced by guys like Elvin
Jones, Art Blakey, and Jack DeJohnette. I was pretty much free to
play what I felt, letting my foot and the backbeat go where they
wanted to.”
.(/$')01'(%
A longtime martial arts enthusiast, Brown began to suffer from

a degeneration of the discs in his lower back, which made
drumming excruciating. In 2012, following a newly developed
stem-cell procedure, he was back out on stage within a month,
and these days he shows no signs of slowing down. “All musicians,
no matter what form of entertainer they are, are there to make
people happy,” Brown says. “To see the smiles on faces says it all.”
Bob Girouard

IT’S QUESTIONABLE
E-Drums and This is a very common problem,

and one that we addressed
Apartment Dwellers at length a few years back, in
I live in a very old three-story apartment

building with hardwood floors. I bought a
Roland TD-20 drumkit for my son, but
Technology Corner in the June
2012 issue. The basic premise is to
decouple the drumset from the
apparently the impact from the pads is floor by using multiple layers of
finding its way into the apartment below, different materials in an attempt
and the neighbors are complaining. Does to break up the vibrations. Try
someone make a platform or something to building a platform using foam
help in these situations? workout mats, .75" plywood, and thick vibrations, including NE-10 isolation mats
Chris carpet. Roland has also released commercial and the small, round NE-1, which goes
Noise Eater products to help alleviate floor beneath the feet of the stands and rack.
Ask a Pro
Rival Sons’ Michael Miley
Wise Up and Warm Up!
!"#$%&'(
Ilove your playing with Rival Sons. It’s so energetic and powerful
yet so tasteful and musical. Do you have a specific warm-up
routine that you adhere to before hitting the stage?
hand. Exercise 6 moves on to flams. Once I’ve played each exercise,
I speed up a bit and move freely between the exercises, and I’ll
improvise different combinations and inversions. Doing all of
B. B. this with the feet going underneath gets the entire body warm,
and you’re forced to focus on rhythmic precision. Once I get
Great question! I started warming up (finally) about two years ago. through the exercises, I’m feeling loose and free and ready to
After years of muscle strains and tears and bouts with tendinitis, I go play a rock show.
wised up. Rival Sons had begun playing 90 to 120 minutes a night,
1 R L R L R L R L R L R L R L R L
÷ 44 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ ..
so I had to view my work—meaning my paycheck and the food on
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
my family’s table—as being directly dependent on my physical and
structural health. In drumming, consistency is everything, and live
performance is my career. It was time to get serious and practical.
One night my wife and I hung out with some trapeze artists in Las
R R L L R R L L R R L L R R L L
Vegas, whose careers are also extremely dependent on physical and
structural health. This was my “aha” moment in terms of warming
2
up. They do two shows a day, six days a week, and their job
involves flying through the air, walking tightropes, and so on. They
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
hipped me to a bunch of training modalities and ideas that I then
amalgamated into my own one-hour warm-up before every show.
3 R L R R L R L L R L R R L R L L
Before you hit the stage, your muscles should be warm, literally.
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
The trapeze artists warm up thirty minutes before and after each
performance, along with a daily hour-and-a-half gym regimen.
Think of boxers or MMA fighters entering the arena. Even before
they get in the ring, they’re bouncing and shadowboxing, and
they’re already sweating. Olympic sprinters and swimmers also R R R R L L L L R R R R L L L L
4
keep their bodies warm and stretch. All athletes warm up before
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
competition. How are we drummers any different?
My warm-up includes twenty minutes of yoga and stretching
(this includes mental alignment, i.e., getting my head in the game);
twenty minutes of resistance-band training, jumping rope, and
5 R R R R R R R R L L L L L L L L
a quick boxing routine I got from Josh Todd of Buckcherry; and
twenty minutes of drumming on a DW Go Anywhere practice-pad
kit. My drumming warm-up routine is as follows.
Start slowly (approximately 50 bpm), and count quarter notes
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
out loud (“one, two, three, four”). Make sure the hands and feet
are hitting at exactly the same time—no flams—and remember
6 l R L Rr L R L l R L Rr L R L l R Rr L L
÷ 44 œj œœ œ œœ œj œ œœ œ œj œœ œ œœ œj œ œœ œ œj œœ œ œj œœ œ ..
that you’re warming up to get your blood flowing, your limbs
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
moving, and your head on straight. Do Exercises 1 through 6 for
about a minute each. Exercises 1, 2, and 3 are singles, doubles, and
paradiddles. Exercises 4 and 5 focus on building strength in each

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May 2015 Modern Drummer 19
PRODUCT CLOSE-UP
Maxwell Drums Nesting Kit

Big, versatile tones in an ultra-compact package.
I f you’ve ever had to pack up your set and navigate city streets, stairs,
and sidewalks, you might agree that bigger is not always better. It’s no
wonder that drummers are experimenting more and more with different
setup configurations to help lighten the load. We’ve seen this take shape
through cajon-based kits or the use of electronics to supplement acoustic
drums without adding too much extra gear. Maxwell Drums has an
all-acoustic option that may provide just the solution you need to pack a
huge sound in an ultra-portable setup. It’s called the Nesting Kit ($1,749),
and we found that it’s just as enjoyable to carry as it is to play.
Specs and Features

The Nesting Kit comes in a three-piece shell pack featuring a bass drum,
rack tom, and floor tom. Matching snares are also available in a variety
of sizes, though they won’t be able to nest with the rest of the kit. The
shell pack that we received for review included an 8x10 rack tom, a
13x14 floor tom, and a 14x18 bass drum. The toms consist of 6-ply maple
shells, while the bass drum is 8-ply maple. All of the drums come standard
with 45-degree bearing edges and Yamaha hardware, including a
bass-drum-mounted tom holder. In addition to the kit we received,
Maxwell offers another shell pack with a 16" bass drum, 10" rack tom,
and 13" floor tom, as well as the option to have any sizes custom made
with nesting capabilities.
The bass drum and floor tom are equipped with butterfly latches and
internal seating rings that allow you to separate the shell in half and put
it back together with a consistently flawless seal. The rack tom fits snugly
inside the floor tom, which sits perfectly inside the bass drum. The entire
nested kit can be stowed in a bass drum case, with the exception of any
additional hardware, cymbals, and drums that you’d like to bring along.
To keep things as portable and light as possible, we paired the Nesting
Kit with a 5x12 snare, a cable-driven hi-hat (which we attached to the tom
stand), and a crash/ride cymbal.
Size Versus Sound

You might think that with smaller shell sizes that separate into two halves,
you would be sacrificing sound in some way. But we were happy to learn
that no such concessions seemed to exist, as we played the Nesting Kit
in a wide range of styles and at various dynamic levels. Quite simply, we
couldn’t identify any differences between this outfit and other similarly
sized drumsets caused by the nesting design.
The warmth and buttery sound of the maple shells held true from
the lowest to the highest tuning. The bass drum came with a felt cloth
that helped shave off some of the overtones and provided just the right
amount of dampening to maintain an open yet controlled tone. The
bass drum also retained the projection and big sound that we’ve come
to expect from a maple shell. Furthermore, the smaller size gave us just
enough control over the tone and resonance that we decided not to use
additional internal dampening for funk/rock grooves. The fat and open
yet controlled sound of this kick was simply too addictive to tame.
A Huge Win
There’s no doubt that the Nesting Kit from Maxwell Drums is a great
option, not only for players in the market for an ultra-compact drumset
but also for anyone looking for a small but diverse kit to meet a wide
range of musical needs. The toms sang with the delicate response of
maple, while the bass drum offered a great wide-open punch that sat
perfectly in the mix.
Miguel Monroy •

Check out a video demo of this
kit at moderndrummer.com.

PRODUCT CLOSE-UP
Paiste Masters Dark Crashes and Hi-Hats

Rich, warm, mix-ready tones from Switzerland’s super-consistent cymbalsmiths.
T he Masters series started in

2011 as a dozen ride cymbals,
made from Paiste’s CuSn20-
formula bronze and designed for
use in a variety of genres. Models
included, among others, Medium,
Dark Dry, and Dark Crisp. In 2014,
the company fleshed out the series
with three crashes (16", 18", and
20") and two sets of hi-hats (14"
and 15"). We were sent a sample
of each of the new offerings for
review. Let’s start with the crashes.
16", 18", and 20" Crashes

All three Masters Dark crashes are
medium-thin and are designed
for low to medium-loud playing
situations. They had a quick
response and opened up easily
at all dynamic levels, including
super-delicate strokes. They also
had a great combination of warm, smooth tones with just enough 14" and 15" Hi-Hats
complexity that they sat within the texture of the music rather Both sets of Masters Dark hi-hats come with a medium-thin top
than jutting over the top of it. While the Masters Dark crashes were and a medium-heavy bottom. They are also designed for low to
trashier than some of Paiste’s other offerings, such as 2002s or Giant medium-loud playing applications. Whereas I felt that the crashes
Beats, they are in no way niche cymbals. In fact, they were about in this series had widespread universal appeal, the hi-hats were a
as all-purpose as any crashes I’ve ever played. They had a pleasing little more specialized. They had a complex tone, whether struck
“broken in” sound (no harsh overtones or frequency imbalances) closed, open, or with the foot, so they didn’t offer ultra-crisp, clean
and felt very satisfying to hit. They also recorded beautifully. articulation. They occupied a bit more sonic space, with a touch
The 20" Masters Dark crash doubled very well as a light ride or of sizzle beneath every stroke. They weren’t papery like some
a crash/ride. Its crash was big and lush, the bell sounds were clear old hi-hats, but they did bring to mind more of a vintage vibe.
but integrated, and the ride remained clean and articulate at low to The 14" models were more controllable, so they fared better in
moderate dynamics. This was a very versatile cymbal that I would situations where I needed to jump genres, from straight-ahead
use often as a left-side crash/ride in conjunction with one of the swing to classic rock.
other Masters rides on the right side of my kit. The 15" hi-hats had a lot more growl and rumble, and they
produced a wider, deeper, trashier, and more
expansive sound—almost like what you get
when you use two crash cymbals as hi-hats,
only with a more full-bodied tone. These hats
paired well with the 20" crash for grooves
on a big, deep-tuned mahogany kit. They
threw out an awesomely dark, rich bark and
had a very commanding open sound for
playing fast 8th-note beats, like Tom Petty’s
“You Wreck Me.” Jazz players who prefer a
super-low, “crashy” hi-hat sound would also
dig these. Just be sure to have a second pair
of more general-use hi-hats (like the 14"
Masters Darks) in your cymbal bag in case
these are a bit too much for the gig.
Michael Dawson
•
Check out a video demo of these cymbals
at moderndrummer.com.

Vic Firth Barrel 5A and 5B Drumsticks, New Yaiba Bop
Split Brushes, and Tala Wand Bamboo Slats

Clarity, balance, and control are what’s up with these new implements.
A lways looking to fill voids in its catalog

with products that drummers need, if
not demand, Vic Firth has put out a handful
of new items that are destined to become
standards in many players’ stick bags. Let’s
take a look.
5A and 5B Barrel Drumsticks

Some of Vic Firth’s most popular sticks feature
round barrel tips instead of the company’s
standard teardrop tip. Yet the highest-selling
models, 5A and 5B, weren’t offered with
anything but teardrop or nylon tips until
earlier this year. I was skeptical that this design would actually create louder
To make the 5A and 5B Barrel models, Firth shaved off the top of sweeps, since it’s still the same number of wires brushing the head
the teardrop tip, rounded it, and added a bit of length to the butt end as with a regular model. But the difference was significant; the Split
so that the stick still measures 16" in length. (The 5A is .565" in diam- Brush sounded almost like two brushes sweeping at once. And I
eter; the 5B is .595".) The result is a very balanced, light-feeling stick didn’t have to adjust my playing technique to accommodate the
that has great rebound and more focused, clearer articulation. The unique design. The tiered wires also thinned out the tap sound a
5A is a great choice for fans of that size who often have to sacrifice bit, which helped to balance the volume between taps and sweeps.
comfort by dropping down to a smaller model, like a 7A, When striking the center of the drumhead with a firm wrist snap, I
when playing quieter gigs. I had no problem articulating felt myself missing a bit of the full-bodied shell tone that I get from
very soft ride cymbal patterns and super-delicate snare traditional wire brushes, but for situations where you’re dancing all
parts. Musical theater percussionists, jazz drummers, over the head with various combinations of sweeps, slides, taps, and
singer-songwriter supporters: Check these out! trills, the Split Brush provides a noticeable and effortless increase in
The 5B Barrel stick is as articulate and balanced as dynamic headroom.
the 5A, providing a bit more power without sacrificing
control or clarity. I’ve often switched between a 5A Tala Wand Bamboo Slats
and a 5B for different gigs, depending on the volume Rounding out fusion great Steve Smith’s signature low-volume Tala
and amount of articulation I need from my cymbals. A Wand lineup, which includes birch and bamboo models that feature
5B-diameter stick feels most comfortable in my slightly a foam center wrapped in dowels and PVC, are Bamboo Slats.
larger-than-average hands, but the bigger teardrop tips These are different from the other two in that they feature four flat
on standard versions often elicit a wider tone than I want, pieces of bamboo surrounding a rectangular foam core. (The birch
especially on the thinner ride cymbals I often employ. and bamboo Tala Wands have round foam cores and small, round
As a result, I end up grabbing a 5A. With the 5B Barrel, dowels like those used on other multirods.) Also, the tips of the Slats
I have another option that’s the same size as my ideal are covered in PVC to create a denser, deeper tone with less of the
stick, but with the added clarity and control I often need. wood-on-wood “slap” you get from regular rods. Firth and Smith’s
Big thumbs up! goal was to create a new model that performs closer to sticks, but at
a softer dynamic level that’s a bit louder than the other Tala Wands.
Split Brushes I preferred using the Slats to regular multirods. I was able to get
Tapping the expertise and specialized needs of German a wider variety of tones from them, including some nice mallet-like
brush master Florian Alexandru-Zorn, Vic Firth created cymbal accents by striking with the center PVC-covered section,
the Split Brush, which is a retractable model featuring and they didn’t have the thin, pervasive click sound of most regular
two rows of different-length medium-gauge wires and a rods. The Slats also produced a bigger sound on toms, and I could
crimped pull rod that allows for three playing positions play buzz rolls with them fairly easily. Again, for ultimate dynamic
with different spreads. The goal with the two tiers of control in situations where you might vacillate among thin drum-
wire lengths was to create a fuller, louder sweep sound sticks, rods, and brushes, consider adding the Tala Wand Slats. I wish
that’s more dynamically balanced with regular taps and these things would’ve existed back when I was doing a lot of local
accents. When you sweep the Split Brush, the tiers make musical theater productions. They would’ve made playing those
contact with the head at different places; the lower tier pianissimo two-beat shuffles a cinch!
sits about an inch below the longer wires. Michael Dawson
•

PRODUCT CLOSE-UP
SJC Maple/Brass Hybrid Snare

A powerhouse drum combining the spray and bite of hammered
brass with the warmth of maple.
W hen I first started playing, choices for snare drums were
a bit more limited than what you see in today’s market-
place. Over the past few decades, manufacturers have begun
looking outside the box with shell materials and have even
started combining different materials. Today, you can find drums
made of everything from wood and metal to fiberglass, acrylic,
and carbon fiber, with all kinds of things in between and many
of those materials mixed together.
Into the fray comes SJC, with a beastly 8x14 hybrid drum that
combines a 6.5x14 hammered beaded-brass center section and
12-ply, 1x14 maple edges with a bird’s-eye maple outer veneer.
The drum is a first of its kind for SJC, made in collaboration with
top Los Angeles drummer and tech Mike Fasano.
The snare came to me fitted with a Remo Coated Emperor
X double-ply batter, an Ambassador Snare Side head, die-cast
hoops, a Trick throw-off, a set of 20-strand snare wires, ten tube
lugs, and a huge badge that floats above the shell. Whoever
used the drum before me had set the top head quite loose, and and the drum immediately opened up. Fatter, brighter, more snare
right out of the box it had a fat, pleasant “boosh” sound with a lot of response, more…everything. Overall, this snare proved to be more
meat but still a bit of cut. This round tone would work very well with versatile with the single-ply batter head, and it had a powerful,
brushes or rods. commanding bark at all tensions. I’ve always been a fan of metal
The drum had plenty of bark and snap at higher tunings, but I felt shells that have a center bead, because of the pleasing distortion
that I was playing on a tabletop, due to the combination of the 2-ply that’s added to the tone. So to have that, plus a hammered shell to
head and die-cast hoops. But it loved a medium tension with the dry out the sound just a bit and maple edges to warm everything
2-ply head, offering a fuzzy, pingy growl that I enjoyed quite a bit. up? Great drum! The list price is $1,150.
I swapped out the Emperor X batter for a single-ply coated head, Nick Amoroso

ELECTRONIC INSIGHTS
Drum Miking 101

Part 5: Multi-Mic Setup
by John Emrich
O ver the past few months, we’ve

explored miking a drumset in a studio
environment by adding microphones one 1
at a time. This article takes all of those
concepts to the final stage, as we look at
how to handle a fully miked kit that
includes room mics. This is the setup most
often used for a typical recording session.
We’ll start with four channels. I always
begin with the stereo overheads, because
they’re the key to capturing a balanced
drumset sound. I use a Violet Flamingo
Stereo microphone. For the other two
channels, I added a Milab BDM-01 on the
bass drum and a Violet Flamingo Junior on
the snare. We listened to that combination
in the last article, and it’s a great four-mic
setup that always gives me good results.
Then we added microphones on the
toms. A lot of different models work well in
this position, but I chose a Violet Globe mic
for each tom (photos 1 and 2).
The next step is to place the room mics. I
position these about 10' in front of the set
to capture some of the ambient sound of
the drums reverberating in the room.
Experiment with the distance of the mics
from the drumset to achieve different
sounds. Measurement is crucial; you must
be exact. I prefer to use a long string to
make sure each mic is the same distance
from the center of the kit. I start by
attaching the string to the center of the
bass drum. In photo 3, Scotty, my friend and
engineer, is holding the string in place. Pull
the string tight and pinch it at the point
where it touches the capsule of the
microphone. Keeping that mark, go over to
the other room microphone and make sure
it’s placed at the exact same distance. This

punch and a fuller frequency response the sound even brighter and a bit more
3 from the toms. Next I add the stereo room aggressive. With that mic, in addition to the
microphones, which are Sony C-48s. You stereo room channels, you now have a lot
should immediately hear the difference of choices to work with when you mix the
when the room mics are added; the sound recording. Different combinations can be
gets a bit brighter and the stereo image is utilized with this setup to create different
very smooth. The room mics should be effects. As always, trust your ears.
blended into the mix to give you a more
natural sound. Check out a video demo of these mic
The PZM taped to the studio glass makes positions at moderndrummer.com.
measurement is key to having an accurate

stereo representation of the kit.
The last microphone I add is a Crown
PZM boundary model. I tape it to the studio
glass on the far wall, which extends the
range of the mic to the entire size of the
glass (photo 4). I record with this mic
because I may decide to use it for an effect
when I mix.
As you’re watching and listening to the
accompanying video, which is posted to
moderndrummer.com, note that we start
with just the four basic microphones
(overheads, kick, and snare). That estab-
lishes the baseline drum sound. I then bring
up the tom mics to provide a little more

ON STAGE
GEARING UP AND UP CLOSE
Interview by John Martinez
Photos by Alex Solca
Suicidal Tendencies’

Eric Moore II
Drums: DW Design series clear Heads: Aquarian Response
acrylic with RBG LED lights by 2 Coated Black snare
DrumLite batters and Classic Clear
A. 6.5x14 Collector’s bottoms, Response 2 Clear
series wrinkled coated tom batters and Classic
aluminum snare Clear Gloss Black bottoms,
B. 6.5x14 brushed aluminum and Super-Kick 10 Clear
snare by Battlefield Drum Co. bass drum batter with DW
C. 8x10 tom logo front head
D. 9x12 tom
E. 12x14 floor tom Hardware: DW 9000 series
F. 14x16 floor tom single bass drum pedal,
G. 16x18 floor tom Air Lift tractor-seat throne,
H. 18x22 Design series maple and hi-hat, tom, snare, and
bass drum cymbal stands
Cymbals: Zion Eric Moore II Sticks: Promark Eric Moore

Signature series (medium) II model (not available in
1. 14" FX hi-hats stores) and Mono stick bag
2. 17" crash
3. 19" crash Electronics: Roland SPD-SX
4. 16" China sampling pad, 10" Aquarian
5. 21" ride onHEAD PED with inBOX
6. 12" Air hi-hats nested in DW piccolo
7. 18" crash tom, Monster cables, 24k
8. 18" FX crash headphones
9. 19" Epic series crash
n this tour,” Moore tells MD at a Suicidal Tendencies show in Riverside, California, “I “I tune everything by ear and feel. I like to have a good balance—nice and warm.
“O wanted to bring out the maple bass drum. I have the acrylic bass drum, but I like The bottom heads will be a bit tighter. The top heads are tuned lower and not too
how this maple feels. I’ve always loved playing two up/three down. I’ve been playing this tight; I want my drums to sing. My left snare drum is tuned deeper for songs like
setup since 2007. I used to use 12", 13", 14", 16", and 18", but I like playing the 10" tom, ‘Institutionalized.’
and the 18" floor tom comes in handy with beefy tones—for this gig it really works. I’m “I went on a hiatus for a number of months and changed my lifestyle and my
able to get around the kit faster with two up. Maybe if I play R&B or something, I’ll play way of eating. I’m down 140 pounds and counting. It’s changed my drumming
an 8" or even have a 14" on the left, but with Suicidal Tendencies two up and three down tremendously. My foot strength and everything is stronger; I feel I can drum for hours.
feels comfortable. As far as acrylic drums, I’ve always liked their sound and look. I take out a new kit for
“I use the SPD-SX for song intros and samples that go into the set. Also, triggered every tour, and I wanted something that would represent who I am. Now you can see
all the way to my right is the onHEAD with an 808 bass drum sound instead of having the new me, and I’m not trying to hide behind the drums. Smaller drums, smaller me. I
a gong drum. beat the mess out of them every day, and they have not let me down.”
9
G
8
F
7
E
5
H
4
A
3
B
2
February 2015 Modern Drummer 29

!"#$%&%'()*)+,$-(.
BENNY
There are very real ghosts that haunt every drummer’s subconscious: Am I really grooving?
Do I sound confident enough at the kit? How well am I pushing or pulling the time?
One of modern drumming’s premier educators and performers thinks that, with a little research,
ingenuity, and good ’ol elbow grease, anyone can bust those dastardly thoughts permanently.
30 Modern
30 ModernDrummer
Drummer April
June
June2015
2015
!"#$%&&'"(&)*&!*+,*(-%.
N ot all basketball players are blessed with the freakish
physical abilities to sky through the air from the free-
throw line and slam a one-handed dunk like Michael Jordan
The hard work and thorough research certainly paid off,
as Greb leaves no stone unturned in his quest to reveal the
“secrets” to confident, consistent timekeeping. The drummer
did to win the 1988 NBA dunk contest. Likewise, not all divides his discussion of groove into five key elements:
drummers are born with the instincts necessary to throw time, feel, sound, body, and mind. Each chapter contains a
down a perfectly placed, spine-tingling backbeat like Steve detailed explanation of a given element, plus exercises,
Gadd, Bernard Purdie, or Steve Jordan. Or are they? practice suggestions, and very clear demonstrations,
If you ask German drummer/composer/educator Benny either by a drum machine automaton or by Benny playing
Greb, who’s spent the past seven years researching, testing, alone at the kit, with a click track, with bass-playing
and producing the ideas and exercises that comprise the counterpart Frank Itt, or with his new experimental
monumental educational DVD The Art and Science of Groove, electronic/jazz trio, Moving Parts. (The group’s self-titled
the answer is unequivocal: Yes, all drummers can learn to debut album, which was released in November 2014, is a
groove. The caveat, however, is that if you want to play with a great real-world demonstration of all of the elements of
great-feeling pocket, you have to practice. And, more groove at play.)
important, you have to know what to practice. The Art and Science of Groove is an impressive achievement
Using his drum camps and private lessons as the litmus test, for Greb and is one from which all of us “non-blessed”
Greb set out to bust the myth that some people can groove drummers can reap rewards. Just be sure to have your remote
while others cannot by applying concepts that he developed control handy, because you’ll undoubtedly want to pause the
to improve his own feel. This extended experiment was set player often and pick up your sticks to put the exercises into
into motion before he began working on his previous practice. (Spoiler alert: You will develop a stronger and more
award-winning educational book/DVD, The Language of confident groove by doing so. Myth busted!)
Drumming, which distills the essential vocabulary required in We caught up with Greb a few weeks before the official
all musical styles into chewy yet very digestible bite-size release of The Art and Science of Groove, as he was preparing
portions. “I didn’t feel ready back then,” Greb says in regards for a three-day Master Session drum camp at the Full Moon
to why it took nearly a decade to make The Art and Science of Resort in scenic Big Indian, New York, where he planned to
Groove. “These were ideas and exercises that helped me, but I continue putting his ideas into action with a fresh crop of able
hadn’t field-tested them with students, so I didn’t know and willing test subjects. Our conversation, which was
whether they worked for everyone or if I knew how to explain conducted between Germany and New Jersey via Skype,
Y GREB
them exactly.” begins and ends with—you guessed it—groove.
Story by Michael Dawson

Photos by Gerhard Kühne

MD: It’s a pretty bold challenge to take on to have the notation on the screen to MD: Many people have said that in terms of
the topic of groove. Did you have naysayers show the basic subdivision. It made it groove, you either have it or you don’t. But
who said it couldn’t be done? so simple to understand: It’s just triplets what is “it”?
Benny: Yeah, I had colleagues who said, “I and 16th notes. Benny: The gift! [laughs] As I say on the
wouldn’t do it,” or “I wouldn’t take the Benny: Right, and to be able to pinpoint DVD, if groove is a gift, then I didn’t have it.
magic out of it.” But I don’t see it that way. that is what’s important. The most I worked on it and improved over time. I
For me, knowledge is nothing that takes important thing with this DVD is to make don’t think groove is a gift; it’s a combina-
away from the magic—it enhances it. For people great at diagnosing problems, so tion of learnable skills. It’s true that some
us drummers, understanding the elements when you don’t like something, you know people have a great feel intuitively, through
of groove makes things reliable and not why and what you can do about it. That’s experience. But not everyone has the luck
a matter of luck. If it’s magical, then why I created practical exercises for some that their mother was a background singer
sometimes you’re lucky and sometimes of the phenomena that weren’t necessarily with James Brown, or they grew up in a
you’re not. You might play four bars in the put into exercises before. If you want to vibrant music scene or had parents who
first chorus that feel great, but you have no create that tampering-with-the-time effect, listened to great records. Those are things
idea how to do that consistently. For that, it which I call the hand brake, it’s a matter that can teach you groove intuitively,
takes knowing the inner workings. That’s of subdivision. But before that, I go into but you still have to work on other stuff.
the challenge I, and many drummers, faced. defining what subdivision really means I wanted to look at the full scale of
MD: One of the aha moments I had with and what it sounds like. I tried to look at phenomena within groove and what you
the DVD was in the time chapter, when all the aspects of groove that are hard to can do to develop them, so that it’s not a
you demonstrate how to elongate phrases describe in a book or are often left up to matter of upbringing or other things you
by changing the subdivision. It was great being a “gift.” can’t change. I mean…I was born in

Augsburg, Bavaria, so I had to come up give up on that, education-wise. Having a to have a good groove without having
with something to get those aesthetics great groove is more than just playing worked on all of these elements and being
going. [laughs] steady time to a quarter-note click; it’s super-aware of them, and that’s fine. But
MD: When did you discover that you about incorporating your body, your mind, the question I wanted to answer was: What
didn’t have your groove together? Was sound, and all that. There are different do I do if it’s not fine? You need to be able
it on a recording? elements that play together. to diagnose what you can improve on now.
Benny: Yeah, it was the first recording. MD: Let’s talk about how you present these Every drummer is at a different point, where
That’s when I figured out that things can elements in the DVD. You go from time to they’re intuitively doing some things right.
sound drastically different from how they feel to sound to the body to the mind. Was But there’s often something missing, or
feel while you’re playing, to the positive and that order deliberate? Do you have to have there’s something that can be improved on
to the negative. Sometimes you can beat your time together before you can move on if you think about it differently.
yourself up and then you realize it’s not that to feel? MD: I discovered that I needed to spend a
bad. But then there’s the other way around, Benny: It was the best order to teach it in, lot more time on subdivisions. I couldn’t
where you’re thinking, This is great! But but I wouldn’t say that it’s important to play a beat with the click on the “a” or
when you listen back to the recording it’s learn groove in that order. People should the “e.”
horrible. When that happens, you have to start with whatever they want to start with. Benny: The point of those exercises isn’t to
ask what’s horrible. Oh…the fills speed up. The time chapter has some definitions that I make things complicated or for you to be
Why do they speed up? Maybe, like I say in then use in other chapters to explain able to make deceiving displacements. You
the body chapter of the DVD, it’s because I something, so it just made sense to really start to feel subdivisions differently if
hold my breath or I stop the motion of my establish the theoretical stuff, like subdivi- you’re able to hear the click on the second
body. Those can cause things to sound off. sion and beat placement, in the beginning. 16th, for example. You become very aware
What’s comforting is that these are not Then we can look at how changing your of the space between the quarter notes,
things that take forever. Once you think feel, your mindset, or your body movement and you’re forced to establish your own
about them, you’ll sound different will automatically affect your groove. confident downbeats and backbeats
immediately. So I understand the respect MD: Is it possible to have a good groove without having the click tell you, “Good!
that you have in regards to tackling this without having all five of these categories Well done!”
subject, but is there anything really more under control? If we regard the quarter-note click as
important? It’s funny that we sometimes Benny: I don’t think so. I think it’s possible the cure for everything, then you’re just

> >
‹ ‹ ‹œ MD:
‹ The‹first‹exercise‹ involves
‹œ having
‹ ‹ the
÷ 44 œ œ . !œin a
1
shooting at it like a target. That’s why when
bands record with a quarter-note click and
seat, and you don’t have to ask permission
from the click. You can say, “This is where it œ
click drop out
( ) œ
for a measure every once
then you take the click away, it sometimes goes; I’m doing this.” That’s why some while. How do you get better at keeping
o > > the click comes back !in?

sounds weak. The flow doesn’t come from drummers sound a little bit weaker than that space even? What do you do if you’re
2 ‹ ‹ ‹Benny: >œ‹ how fast do‹ you realize ‹‹œ

arriving at the quarter notes; it comes from others. But it has nothing to do with always off when
>œ off? And

÷1 44 ‹ œ ‹ œ ‹ you’re ( ) ()
the space between them and from the dynamics. You can play very quietly with The first thing is, do you realize that
‹ œ‹goal‹ is notœto‹ play‹it œperfectly ‹ ‹

subdivision. And confidence comes when authority. That’s what those exercises are
4 œ right away. The ( œ) œ is toœcome

÷4 œ . closer !œ to
you’re certain that you know where the good for: to help you play simple grooves that? The
stroke belongs. It puts you in the driver’s with more accuracy and confidence.
œ exercise
> > >>
Greb’s Grooves 1 ‹o > ‹ ‹ ‹ ‹> ‹ ‹ ‹ !
÷2÷ 444 œ‹‹ ( œ) (‹œ‹) œ ‹œœ‹ ‹( œ) (‹œ) ‹ ‹ ((œœ)) œ‹ œ ‹‹œœ. (‹œ)‹ ‹ ‹( œœ)
÷ 44asdown œa œ ( œ) œ œ≈œ œœ !( œ)
œ œ
While The Art and Science of Groove isn’t about grooves per se, Benny Greb has laid
his fair share of tasty beats. Here are some highlights chosen from his four albums
o > >
leader/producer that put into action many of the concepts discussed on the DVD.
2 ‹‹ the tension >

‹œ‹) and‹‹ release‹œ in( œthis >‹‹Jamaican ‹ dancehall–inspired
‹ ‹œ ( œ)‹‹ ‹( œœ)
!
÷÷ 444outwhich ( œ ) ( ) ( œ )
Grebfruit “Outtasite”
œ
œ‹ œ ‹œ œœrhythm. ( œ ) œ ‹œœ œ ‹andœ( a)
‰‹œ ( œIt’s)>‹amazing
œ( œ) ‹≈ how ‹œ pattern
“Twist” Check
44 open/closed
( ) ( ) ( œ ) œsuch
÷ œ œ > ( change ) ()
The opening groove from Greb’s debut album showcases a masterful groove, alternates between a tight, jumpy hi-hat
command of subdivisions and dynamic interplay, especially between smooth
œ affect œthe feel. ≈
a subtle
> > > > > >

the hi-hat and snare. can drastically
1 ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹œ ‹ ‹
÷ 44 œ œ ( œ ) . œ ÷ 444 ‹‹ ( œ( œ)()œ‹()‹œ‹) ≈ ‹‹œ (œ‹œ) ‹ ‹( œ( œ) )(‹œ‹)( œ‹) ≈‹ ‹ œ‹ ‹œ ( œ) ‹‘( œ)
œ œ ! ÷ œ œ œ œ
÷ 444 ‹œœ ( œ) ( ‹œ) œœ ‹ ‹œ ( œ) ≈‹ ( œ) œ‹œ œ ‹œ ( œ) ‹ ( œ)
o > > >> o o >‰ >o ≈ o > >
44 ‹‹deceptive ‹‹ pattern ‹œ‹ ‹is simultaneously
‹ ‹‹ œ dense ‹ ‹and ‹œ spacious.
‹ ‹ ‹‹ œYou
!
“Dr. Schnitzel”
. ‹ ‹ œ‹ ‹‹ ‹ ‹‹ >‹ ‹‹ œ‹‹ ‹ ‹ ‹ ‹>‹‹ ‹
1
can÷ really
4 feelœthe tension andœrelease when œ ( ) the œ
2 slick,
÷ œ ( ) œ œ on beatœ3. Greb keeps ÷ 4œ4 ( œœ‹) ( ( œ) )‹œ( œ)‹ œ œ‹ ‹ œœ ‹((œœ))( ‹) œ( œ‹ ) œ ‹ œ‹œ ( œ) ‘( œ)
œ (
! ) ÷ 4
This
4 œ 1) and thenœ lands squarely

the snare juts to
÷ 4 œ ( œ)( œ) œ ≈ ‰ œ œ ( œ)(≈œ) œ ≈ œ
> ‘
off beat (the “e” of beat
o > > >

it anchored with a heavy quarter-note hi-hat.
> > >> !

> > >> > > o > >j >
12 4 ‹‹ œ ‹‹‹ ‹ ‹‹ ‹ œ ‹ ‹ ‹‹œ‹ ‹ ‹‹ ‹ ‹ ‹‹ ‹ œ “No.
Two Day Trio
÷÷ 444 œ ( œ) ( œ) œœ œ œ ((œ)) œ( œ) œ ((œœ)) œœ œ œœ. œ( œ) (!œ( ) ) took

For hiso third ‹‹ ‹album ‹œ‹ ‹‹aso a‹leader,
>‹‹ ‹‹Grebo‹‹ shelved ‹ ‹œ‹his ‹‹ >‰‹ œ‹pen‹œand‹
‹ ‹œocomposer’s
5”
÷÷ 444a‹group œ œ
œœœ ( œ‹preconceived (
)( œ‹) œ‹ ≈ J‹ ideas,œ .) œ
‹œ ‹ ( œ œ) (‹(
œ ) .)
‹ ‹
œ≈ œ ‹œ (‹ .) jams.
≈ Even 4
) œ and≈deep œ grooves. œ( œ)In( œthis œpattern,œthe ≈ Jreststoin‘
into the studio for forty-eight hours of spontaneous
> > ÷ œ ( ) (logical,

without
œ
the drummer
) œ
still manages
‘
create
> >
Brass Band
1 ‹oQuestion”
compelling, the
“Good
4 > solo ‹ album, ‹œ ‹Greb brought ‹ ‹>inœa trio‹ of horn ‹œ players
‹ ‹ and œ drum oand > deadly>accurate o > >backbeats. > o > o o > oj o
.
second and fourth bars are just as stirring as the gut-punching kick
÷
2 4songs ‹ ‹ ‹ ‹ ‹ ( ) ‹ ‹ ‹
!
that called on many of his early musical influences !
) ((‹œœ)) œNew‹œOrleans
÷ 4 ‹œœfilm((œœscores, ‹ ( œœpop).
((œœ))œfunk,
( œœ))‹œ jazz, ))œœ‹ Onœ‹ the (œœ)‹)‹ ‹((œ(œœcut,
‹œœ opening ‹ ‹ ‹ ‹>‹ ‹‹ >‹‹ ‹ ‹>‹ ‹ ‹ ‹> ‹ ‹‹ >‹‹ ‹ ‹ o ‰‹ ‹‹ >j‹ ‹>
For his second
÷ ) ( œ ( ( )))
œ swungœ 16ths with a ÷ œ4œ (‹œ) (œœ‹œ) ‹œ ‹ ‹œ œ‹œœ ‹ œ‹( œœ()œ(‹œ.)) ‹œœœ ‹ œ ‹ œ‰ œ ‹ œ‹‘œ‹
÷
wrote
4digsœ deep in theœ cracks œ ≈straight œand

(classical,
Benny
o > ‰ > >
between
≈ > ÷ 4 œ œœ ‰ J( Jœ .) œ œ( œ .) œœ œ ‰ (JJœ .) œ
≈ ≈ o
swampy second-line-inspired groove. Again, it’s the dynamic interplay !
2 ‹ ‹ ‹ > > >‹ ‹ > ‹ ‹ o > >
between the hi-hat and snare that brings it to life.
4
÷ 4 ‹‹ œ ‹ ‹ ‹ œ ‹‹ ( œ‹ ) ‹œ‹ ‹œ‹‹ ‹ œ‹‹ ‹ ‹‹œ ‹ ( œ) > > > > > o >j j >
> ‹ > ‹ >‹ >‹ ‹ > ‹ ‹ ‹ ‹ o o o
÷÷ 444 œœ ( œ((œœ)())œ((œ)œœ)) œœ≈ œ‰ (œ ) œ œ( (œœ()œ) )(≈œ)( œ(œœ) ) ≈œœ œ œœœ (( œœ)) ‘(( œœ)) ÷÷ 78‹4 œ‹‹ ‹‹ ‹œ‹ œ‹‹( œ‹)‹((œœ)‹.‹)œ‹œ‹œ‹ ‹ (‹œ(‹œ) ‹.œ)‹ ‹œ ‹ ‹œ‰‰( œ‹j‹œ.) ‹‹œ ‹‹
>> >≈ > ÷ œ4 œ œœ œ ≈œJ œœ œ ( œœ .) œœ œ œ œ ≈ Jœ œ œ
÷ 4 o ‹ œHill”
( ) (
‹œ o ‹œ> œ> ‹o œ ‹ œ ‹o >>‹œ œ ‹ œ
) ( ) ( ) ( ) ( ) ( ) > o >o ‰ J>o >o >o oo ‰ oJo o o
Greb4
‹‹ ( œthis
÷÷ 444‹ (œtime ‹on)( œ‹‹3-2
‹( œ) )‹‹clave–based
œbell≈ of‹‹‹ a œwashy
‹‹ ‹œgroove
‹ ‹ride ‹ ‹‹smooth
‹feel œ‹≈‹He‹œalso
‹œ‹‹œgets
‹airyœ aby‹lot œof “No.‹ 6”‹‹‹ ‹‹o‹ ‹‹ ‹ ‹‹‹ ‹‹‹ ‹‹‹ ‹‹‹ ‹ ‹>‹ ‹ ‹‹ ‹ ‹‹ ‹ ‹‹‹>‹‰‹ ‹‹‹j‹ ‹‹ o‹ ‹‹ ‹
“Nodding
œ œ œ œ( œ≈)(
œ
( ) ( ghostœ ) œ
) (œœ)notes œ ( ) ‘( ) This÷÷ 44groove ebbs œ‹œj
œ) ( )between œ œ the subtleœœsnare œand‹ flows œa gentle œ‹ œ toœthe
makes and
tonal4 œ œ œ and ringing‘ œ œ‹

œ œ ‹ œ ‹ ‹ ( œ
œ .) œ ‹ œ ‹ œ
. œ snare,œ.
keeping the cymbal.
contrast
‰ toward > the edge ≈ of the drum.> ÷ 78œ œtexture‰Greb ( œ œ( œcreates
) )œ œwithœ his( œpunchy
like wave,
) œ œkick,
thanks
œ ‰
fully
o ‹ > ‹ >o ‹>>> ‹ o> ‹ > o‹ o >>‹ > ‹ > and œ hi-hat. œ TheJ feelœis so natural thatœ it’s hard toJbelieve œ the
rimshots, which are played incorporated slinky
expressive
÷ 44‹ ‹œ (‹œ‹) ‹(‹œ)‹‹œ ‹ ‹‹‹ ‹‹‹œ‹‹( œ) ‹‹‹ (‹œ‹‹) ‹‹œ ‹ ‹‹œ‰ ‹( œ‹j) ‹ ( œ‹) o > > oj
track is in 7/8.
œ œ œ œ œ œ o o o
‹ ‹ œ œ‹ œ‹ ‹ œ ‹ œ ‹ ‹ ‹o o o o o
÷÷ 44œ (œ )((œ)()œœœ) œ ≈ (‰œJ .)œ œ>œœ(( œ))(œ(≈œ( œ)) .œœ) œœ≈ œ œ>( œ .) œ‘ ‘ 7
÷ ‹ ‹ ‹ ‹ ‹ ‹ ‹(‹ ‹) (‹ ‹) ‹ ‹ ‹ ‹ ‹ ‹( ‹)‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
J
≈ > >≈ ÷ 448 œœ. œ œ œ œ œœ œ œ œ œ œ œœ œ œ .
> ‹> ‹>oJune>‹>2015
o >‹Drummer >‹ >o‹> ‹> >‹ o o‹o >‹ o >j o>
34 Modern 4
÷ 4‹4‹ ‹œ‹ ( ‹‹‹)( ‹‹) œ‹‹ ≈‹‹ ‹ ‹‹œ‹ ‹‹ ‹œ‹ (‹œ)(‹‹œ‹) ‹œ‹‹ ≈‹‹ ‹ ‹ ‰‹œ‰‹‹j‹ ‹ ‹‘‹‹
œ œ o o o o o o o o
œ œ .
÷÷ 4 ( œœ) (œ ) œ (œJ œ) ( œ)((œœ(.) )œ œ œœ ( J ) œ ‘ œ œ . œ œ . œ
4 ‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹
œ œ œ œ
o o > o o >
‹ ‹ ‹‹ ‹ ‹ ‹ ‹ ‹‹ ‹ ‹
÷ œ ( œ) ( œ) œ œ œ ( œ) ( œ) œ œ ‘
the click each time. That will sharpen your your adjustment will be too big, so the last speeding up or slowing down.
> > > > > o >j >

alarm system, because you hadn’t realized step is to make the adjustment a bit smaller MD: One of the other mystical topics you
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‰ ‹ ‹ ‹
that you were changing the tempo before. than before so you land spot-on. cover is defining what it means to play
÷ 44 œ œœ ( œJ .) œ œ( œ .) œœ œ ( œ .) œ
The second step is to listen for how much I have taught players at my drum camps ahead of and behind the beat. You use a
≈J
you’re off. Are you getting faster or slower who think this exercise is impossible, but drum machine to demonstrate those ideas,
≈
in that space? If you have that information,
you’re almost there. The next step is to
after five or ten minutes they can do it. And
they sound so different when they play a
and you make the demonstrations a bit
extreme so that they’re easier to hear.
> > > > > o oj o

make an adjustment so that you’re not simple groove afterwards. It takes the Have you explored how far you can push
‹ ‹ ‹ ‹ ‹ ‹ ‹œ ‹ ‹ œ ‹ ‹œ ‹ ‰ ‹ ‹œ ‹
thrown off at the second click. Chances are trauma away from not knowing if you’re these concepts or examined how many
÷ œ œœ œ œ œ( .) œ œ œ œ
‰ J ‰ J Benny’s Moving Parts Setup
“Stabila” o
Moving Parts
> > oj Drums: Sonor SQ2 Vintage Beech in white pearl finish
‹ œ‹ of theœ‹ subdivisions
The first set of‹exercises ‹ œ of‹ a œquarter ‹ ‹note.‹ways
to get7comfortable withœeach
A. 5.75x13 Benny Greb signature snare
÷ œ have those œ ( under

) ( ) control, ( ) going
in The Art and Science of Groove explores
If you8don’t
B. 8x10 tom
œ you’re œ to have a œhard

C. 16x16 floor tom
D. 17x20 bass drum
time making this pattern, which emphasizes the “e,” feel confident
o o o o o o o o
and comfortable. Cymbals: Meinl
1. 8" Classics Bell (bottom) and 8" Byzance Dark splash (top)
‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹

2. 14" Byzance Vintage Sand hi-hats over Generation X Filter China
÷ 44 œ . œ œ œ œ œ œ œ œ œ œ œ .
3. 18" Byzance Vintage Sand Thin crash over 14" Generation X
Trash Hat bottom
4. 8" Classics Bell (bottom) and 8" Byzance Dark splash (inverted on top)
5. 20" Byzance Vintage Sand ride
o o o o o o o o
6. 16" Byzance Vintage Trash crashes used as hi-hats
(with hi-hat tambourine resting on top)
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹œ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹œ ‹ ‹ ‹
7. 22" Byzance Vintage Sand crash/ride (with rivets)
÷ œ œ œ œ. œ œ œ œ œ.
Heads: Remo Coated Ambassador snare batters, Coated Emperor
tom batters and Coated Ambassador bottoms, and Renaissance
Powerstroke 3 bass drum batter and Fiberskyn P3 Drumsigns.com
custom logo front head
j
o ‹ ‹o ‹ ‰
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Hardware: Sonor 600 series stands and Giant Step pedals
6 themselves.
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es how
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‹ œ‹œbackbeats)
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‹ œ‹ ‹by‹œ‹
Sticks: Promark 5BG Benny Greb signature model
÷ œ The soft finger

in the snare part
œ œ strokes
. help keep œ the momentum œ œmoving œ.
playing Percussion: Meinl shekere, shakers, and tambourine
> > > o >

rimclicks.
forward, but in a more subconscious way.
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Greb’s take on that approach during the
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Œ conversation going provide
> o > o > >> > > o >

relief from the tight, complicated
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Benny Greb
milliseconds it takes to go from being on to other instruments. But once you understand
behind the beat? the concept, it’s just a matter of aesthetics
Benny: I tried to stay away from making and taste. It’s not for me to judge how you
those types of aesthetical judgments. I use it. I leave that to the player.
wanted to give a clear reference for what The other thing I wanted to do was play
these things are and how they feel. Many with my friend Frank on bass and show what
confuse playing ahead of or behind the beat happens when we change our beat
with changing the tempo. So for me it was placement so that we’re not perfectly on the
very important that drummers could hear click but it still works. That showcases that
the differences. Maybe I overdid the sometimes groove is a matter of democracy.
examples a bit, but you can find even more Then we had fun showing what happens
extreme examples in electronic music, when we’re not playing together. [laughs]
where the snare is really flamming with the MD: I liked that illustration. It shows how even when two people are playing the
same rhythms, it can still sound off when
they’re not being interpreted the same way.
Benny: Exactly. Everyone has different
ways of phrasing triplets and 16ths. Again,
if everything works, fine. But if you
hear something where things aren’t
aligning correctly, you need to know
where the problem is so you can make
the necessary adjustments.
MD: Is that something you would stop and
discuss or just adjust on the fly?
Benny: On the bandstand, you just have to
adjust. But I’ve had rehearsals where we’ve
talked about being more relaxed or more
up-front on certain accents. Both can
happen, but it’s not something that has to
be discussed. It’s just something you have
to realize can happen.
MD: The next chapter discusses feel. The
big lesson there is to record yourself so you
can hear how your own playing makes you
feel. In terms of understanding what a good
groove is, I’ve heard some people say, “If
you can’t feel it, then you never will.” But
how do you discover what feels good and
what doesn’t?
Benny: I don’t think you have to discover
that. Everyone has it. But it’s not for me to
say it’s blasphemy if someone doesn’t like
James Brown, for example. Trust your own
aesthetics. Focus on the stuff that you like,
and get your playing to that level. Then
maybe from there you’ll get to somewhere
else. But this is the source of most of our
• Hands Free Tuning • Tune to Notes frustration: when our expectation—how
• Match Lug Pitches • Save Your Tunings we want something to sound—doesn’t
match up with how we actually sound.
But I’ve never said to someone, “Well,
you just don’t feel it.” Sometimes it’s
overshadowed when someone is only
focused on getting their hands to play the
right notes. But none of the concepts on
the DVD are about what you play. It’s not
“This... Is Simply Amazing.” about grooves; it’s about groove as a
Will Hunt of Evanescence/Device quality that you can have in everything. A
See Will’s Settings Here - fill can groove, and even rests can have that
pearltunebot.com same flow. That’s why I included the section
Distributed by Pearl Corporation on the heartbeat in the feel chapter. If you
have those ideas in your mind as reference
TUNEBOT ADS.indd 5 3/26/15 5:22 PM
range, from subtle jazzy stuff to nastier
sounds. I needed sharper hi-hat sounds with
different tone heights to get an electronic
aesthetic, and I wanted a different trash
sound. I realized I didn’t need three toms
anymore, so I only use two. And I wanted to
have a 20" bass drum, because it allows me
to travel back and forth between jazz and
the heavier stuff.
MD: What about the deep side snare?
Benny: I always mess around with my snare.
I like it tuned very low, and I can take it way
points, you’ll start to produce something up. I wanted to have both sounds, so I use
that breathes in and out, has tension and two of my signature snares and tune them
release, and is lifelike. completely differently. The main snare is
MD: At what stage of a drummer’s develop- quite high, and the second drum is deeper
ment does this stuff come into play? The for a more electronic sound.
drums are such a difficult instrument to play, MD: What was the concept behind
physically, that it can be hard to get past Moving Parts?
simply playing the right notes. Benny: The concept was to have a band
Benny: Is it difficult? Compared to a that can evolve together, play live, and go
trumpet, it’s much easier. Trumpet students on tour. I’ve always played with other
make fart noises for weeks before a tone people, but my solo stuff was more like side
comes out that you can regard as music. But projects, and they ended up staying mostly
in the first drum lesson, you can have a in the studio. Grebfruit is an example of that,
student play a groove or clap a backbeat. So where I sang and played everything on it.
I think these things come in at the very My second album, Brass Band, was with a
beginning. We just always think that you band that played a couple gigs, but we
have to start with Stick Control, but I’m not never went on tour.
sure everyone has to do that. These I produced the next album, Two Day Trio,
elements are always at play, whether you
know it or not.
MD: In the sound section, you talk a lot
about inner dynamics and exploring
FIRST TIME
the sounds of your kit. How does sound
affect groove?
Benny: Although all of these elements work
together, your groove will only be as good
as the weakest link. Sound is one of those USING THE
NEW EVANS
links. If something is nice, timing-wise, and
you have the feel there, you still need sound
differences to convey a phrase and that
heartbeat feeling. And that has to do with
tone length and other things. Tone length is DRUMHEADS
WITH
time-relevant, and tone height—high
versus low—causes your brain to organize
sounds in predictable ways. So sound is
#LEVEL360.
ultimately how we transmit the groove.
MD: Is touch synonymous with sound?
EASIEST
Benny: Touch produces sound, but sound
is where it all comes into action. You can
think about something and feel it, but it has
TUNING EVER!
to be transmitted into sound, or else it isn’t
music. That’s the difference between noise
and music. Music has a certain organization
and intent of sound. Otherwise, we hear it
as noise.
@BASSMANATUM
MD: You’ve changed your sound a bit.
What’s the new aesthetic?
Benny: The band Moving Parts changed my
setup. We moved into more electronic
soundscapes, and we have a huge dynamic

Benny Greb
very differently. Instead of me being totally there’s a level of understanding.” I found us would have come up with by ourselves.
German about everything—controlling, those guys in England, Kit Downes and MD: How was the album recorded? Was
planning, and writing every note—we went Chris Montague, and the synergy was great. it live?
into the studio for two days with no I didn’t want to do a jazz trio. I wanted Benny: Everything was done live in a small
preparation. We improvised and recorded, improvisation in there, but I wanted to use room with a lot of bleed and no editing.
so whatever came out came out. I was more electronic vocabulary. There’s one song that has a backwards
happy with the result, and I played MD: How are you writing the material? guitar part that’s done with a loop pedal,
differently because of it. I could just be the Benny: I do demos and send them to the but it’s created on the spot.
drummer again, because I didn’t have to guys, or I write the main parts and themes MD: Were you influenced by groups like the
focus on the writing. and we arrange things together. There are a Wayne Krantz Trio to create this band?
Then I was like, “I need a band that I write couple songs on the album that developed Benny: Yeah. I’m very impressed with what
for but with guys that are great composers, during a jam, which was very rewarding. We the New York jazz scene has done in the last
arrangers, and bandleaders themselves, so came up with ideas as a group that none of couple of years with the electronic
aesthetic. What I love about what they’re
doing is that they not only attack form,
melody, and chords, but they also make
tempo and subdivision a subject to explore
in improvisation. That idea was demon-
strated first in the electronic scene, but for
drummers to incorporate those things is
something I find super-interesting. That can
be seen with guys like Mark Guiliana, Jojo
Mayer, and Zach Danziger.
MD: Who are some of your other
influences?
Benny: I like the band Troika a lot, which is
a bit avant-garde. Their music makes you
think differently and breathes freedom, in a
sense. But I also love improvised piano
music. Especially when I play a lot, I like to
listen to stuff without drums.
MD: Bringing it back to the DVD, the next
chapter is on the body. Do you find that
the ideas discussed in this section, like
posture and tension, are the easiest for
people to understand?
Benny: I can’t say that one thing is easier
than the others. But the ideas in the body
chapter are the easiest to discard, because
sometimes people think they’re so basic.
But if you really keep your breathing in a
loop through a fill, the fill will automatically
be in the same flow as the groove. It’s
miraculous. A lot of it is common sense,
but if you put them into context with all
the other concepts it can have a great
effect on your groove.
MD: So it’s important to combine the
exercises from all the chapters in the DVD.
Benny: Right. These are all things you can
do with your own repertoire. It’s not
restricted to specific exercises, like the
paradiddle. You’ll find yourself on the
drumset doing what you always do and
then thinking, Maybe I should put my
shoulders back, or Where is the subdivision?
These things will come to mind after you’re
alerted to them, and they’ll inevitably
change what you’re doing. But it does work
best to focus on one element at a time and
then combine them.
MD: The most deceptively difficult exercises

Benny Greb
in the DVD are in the mind chapter, where people think they can do that, but then the Ask someone to play the beat to the Toto
you talk about pressing an imaginary mute snare changes a little bit and the groove song “Rosanna,” but have them leave out
or solo button to isolate what each limb is isn’t sounding exactly how you want. So it’s every second ghost note. There are fewer
playing. How do those exercises improve important to have the ability to do that. notes, so it should be easier, right? It’s not,
your groove? But when talking about the mind aspect because your muscle memory has the entire
Benny: First off, it’s a very practical of groove, because we deal with muscle thing saved as one piece of information.
independence exercise. It’s important to memory, we often do things on autopilot. When you try to change it, it suddenly
remember that independence exercises Sometimes that’s great, but if something becomes a whole new thing. So to really
don’t have to sound like you’re throwing the about the groove isn’t right, you need the become flexible with what you’re playing is
drumset down the stairs. [laughs] ability to put yourself back in the driver’s very handy, and the first step to get that is
Independence is also being able to change seat and listen to how the ghost notes are to be able to listen to and isolate the parts
the dynamic of the hi-hat pattern without interacting with the hi-hat, for example, so one at a time.
affecting the rest of the groove. Many you can make adjustments. MD: You conclude the mind chapter by
talking about being able to run through an
entire song mentally. How does that
improve your groove?
Benny: Your musicianship and your groove
happen in the now. But most of us think
about things that are coming up in a few
bars, or we get distracted by something we
messed up that’s already passed. So who’s
really playing at that moment? You’re not
able to put everything you have into it,
because you’re worried about the form,
which takes a lot away from your psycholog-
ical bandwidth to be able to groove and
to be emotionally present in the moment.
If you’re able to sing through the entire
set list of your band, your psychological
bandwidth opens up so you can play to
your fullest potential.
That’s why some people sound great in
the practice room but don’t sound so great
on the bandstand. That happens because
different things grab your attention. Maybe
the bass player is looking at you weird, or
there’s a water bottle falling over, or the
monitor sound is bad…. You have all of
these other things taking over your focus, so
you don’t have all of your capabilities
available to do what you could do in the
practice room. It’s important to pay
attention to everything else on the
bandstand, but you need preparation for
that. One way is to really know the form of
what you’re playing.
MD: It comes down to knowing the
repertoire on an instinctual level.
Benny: It’s a matter of: What do you need
your capabilities for most in that moment? If
you’re unsure of the form, your resources
will go down and your groove will suffer.
Also, it sets you up for a more musical way
of playing, rather than thinking about
slipping in more ghost notes or whatever.
You get out of the drummer mentality and
into the musician state because you’re
focused on arranging the song and pacing
yourself to convey the right emotions,
which is basically our job.

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Dirk
Verbeuren
He describes himself as meticulous.
Anyone who’s a fan of his
remarkably detailed drumming with
Story by David Ciauro
Photos by Hannah Verbeuren
Soilwork or the Devin Townsend

Project—and there are many of
you—will find no surprise there.
But what you might not know is
how happily he courts imperfection.
Could this be the secret to the metal
master’s success? Turns out it’s only
one of them.
!"#$%&%'()*)+,$-(.
I n the ’90s, as heavy metal splintered into dozens of

subgenres, a need was established for players who
could come into any setting, from thrash to extreme tech
Swedish melodic death metal outfit Soilwork, with
which he can be heard and seen on the brand-new
Live in the Heart of Helsinki audio/video package. And
metal, and nail the session with power, efficiency, and when he’s not on tour, he can generally be found at
authenticity. Enter Dirk Verbeuren. his own Die Crawling studio, recording drum tracks
The Belgian-born drummer’s pro credits were estab- for freelance projects.
lished in 1994 with Scarve, a highly advanced “new-age Verbeuren’s work extends beyond performance;
death metal” band that was among the first to employ a in addition to offering private lessons as well as a series
dirty/clean tandem-lead-singer lineup. From there of subscription educational videos, the drummer
Verbeuren parlayed his abundant skills into a busy career has collaborated with Toontrack on a handful of popular
as a session musician, appearing on notable releases by metal software sample libraries. Taken together, these
Mortuary, Aborted, Sybreed, and the Devin Townsend projects make him the very picture of the modern
Project, among others. In 2005 Dirk officially joined the metal musician.
42 Modern
42 ModernDrummer
Drummer April
June
June2015
2015
!"#$%&&'"(&)*&!*+,*(-%.

MD: You’ve managed to make yourself a
viable brand. What propelled you to
examine drumming as a business model?
Dirk: Declining record sales probably had
something to do with it at the start. But
over the years I’ve learned that the more
entrepreneurial you are with your craft, the
more you’ll work. I like going on tour and
having the flexibility to do so, but at the
same time it’s not enough for me to survive.
Technology is the other component. I
have my own studio, which is a very
minimal setup in a small room—just an
electronic kit and a computer—but it allows
me to work a lot. It also allows me to work
with people that maybe don’t have budgets
to record in the traditional setting of an
acoustic studio.
MD: And these days geography is no longer
a deal-breaker.
Dirk: Exactly. It’s really amazing. In the past
few years I’ve worked with people from all
over the world, which is fun because you
get to enjoy discovering different musical
styles. With Soilwork too—although we
love jamming together, we’re spread across
the globe. So in recent years we’ve been
mostly emailing songs in preparation for
recording. Then we’ll get together a few
weeks before heading into the studio to
flesh out ideas or come up with some new
ideas. It’s limiting to just do email with the
bands you’re a permanent member in,
because nothing replaces being in the
same room together.
MD: Your website, dirkverbeuren.com,
is very well designed. It comes across
as professional, as opposed to self-
important. Do you feel that self-promotion
is a difficult area to navigate in terms of
standing out from the crowd without
seeming obnoxious? proud of it. The website, I think, reflects the
Dirk: I have to give a lot of credit here to my professionalism I want to project.
wife, Hannah. I used to think it would be MD: Do your online lessons discuss the
cocky to have my name as a website, but importance of knowing the business as well
she convinced me that it was important to as you know your craft?
open my mind to that side of the business. Dirk: Definitely. It’s important to find the
Now it’s come to the point where if you balance, especially for upcoming musicians.
want to work, you have to make yourself There are still a few bands that are breaking
into a brand and operate as a company. I’m through, but it’s becoming more and more
a very meticulous person. What I put out difficult to stand out. I tell my students
needs to be appealing. It needs to look that they have amazing tools at their
good and sound good, and it should reflect fingertips—YouTube and SoundCloud, for
the professionalism that I put into every example—that allow you the opportunity
recording I do. to show the world something you did. In
I record everything on an electronic kit, the early ’90s, when I started doing music
and although it’s easy to “cheat” with professionally, these tools didn’t exist. We
editing, for me it’s a question of honor to sent cassette tapes to fanzines in Indonesia;
know I can play everything I record. I don’t everything was traditional mail. You have
play for five minutes and then spend time to find the right edge between selling
editing the rest until it sounds good. That yourself too overtly and keeping true to
would make it impossible for me to be yourself. This is something that can shine

6
through with how you go about producing 5
your videos.
MD: Let’s talk a little about the online 8
lessons you’re offering through your F
website. Describe some of the content 3
that’s available and how it works. C D 7
Dirk: People can subscribe for a year. You 9
get two videos each month with PDFs, as 4
well as access to my private Facebook page,
which is just for my students, where they A 10
can comment on the lessons, make E
suggestions, ask questions, etc. I cover 2 11
1
everything from technique and exercises
to working with e-drums—learning how to
set them up, recording with them, and
using the software. I also cover how to
write sheet music and charts, and I offer
B
Dirk’s Setup
advice on the business side: marketing,
self-promotion, professionalism, etc. It
covers a broad spectrum.
MD: Can you give an example of how one
Drums: Tama Starclassic Maple in silver

snow racing-stripe finish (in Sweden;
uses Starclassic Performer Bubinga/Birch
“You have to be prepared in the U.S.)
A. 5.5x14 Starphonic Maple snare (for the
to practice daily and

studio; uses 4x14 Artwood live)
B. 14x16 floor tom
C. 8x10 tom
accept the fact that at D. 9x12 tom

E. 12x14 floor tom
F. 18x22 bass drum
times you may not see Cymbals: Meinl

1. 8" Classics Low Bell
much progress at all. 2. 14" Mb20 Heavy Soundwave hi-hats
3. 14" Generation X Trash Hat (used
as China)
That’s just how it is.” 4. 12" Mb20 Rock splash
5. 17" Heavy crash
6. 19" Heavy crash
7. 10" Mb20 Rock splash
8. 20" Heavy crash
9. 14" Byzance Dark hi-hats
10. 22" Mb20 Heavy Bell ride
11. 18" Classics Custom Extreme
Metal China
Heads: Evans, including G2 Coated snare

and tom batters (in the studio; uses Hybrid
and EC2 SST models live) and GMAD bass
drum batter
Hardware: Tama, including Speed Cobra

Midnight Special double pedal
Sticks: Tama Dirk Verbeuren

Signature model
Accessories: dB Groove shoes, Tama

gloves, Alien Ears in-ear monitors
Die Crawling
Studio Setup
Roland V-Drums TD-10, Rain Ion computer,
Steinberg Cubase/Nuendo DAW, Toontrack
Superior Drummer 2 software with
Toontrack EZX expansion packs

year and a half, shell-shocked. [laughs] My body isn’t used
learning all different to [playing so hard], and two songs into the
genres and styles. set my fingers are cramping up and my
Education has been shoulders are hurting. I tend to have that
a huge part of making issue. I do get a little bit lazy behind the
me who I am as a e-drums, because I don’t have to attack the
drummer. Before this drums in the same way I do my acoustic kit.
experience, I had only MD: How much of an impact has the
been playing for a few Toontrack software had on your career?
years, and I already Dirk: It’s definitely been a huge blessing. I
“There’s no point in trying to get felt stuck as a
drummer. Studying
haven’t had the chance to live in a place
where I could easily set up acoustic drums,
everything perfect, because it will with people from let alone have a studio. I also don’t know
sound stale. Getting students to different backgrounds anything about different microphones and
understand this is something that opened me up to compressors, etc. The Toontrack software is
really matters to me.” unfamiliar styles and
techniques.
real easy to use and sounds great from the
get-go. It’s allowed me to make a living off
MD: What’s your of drumming; without it, I wouldn’t be
of your videos covers that span of content? main teaching point in terms of improving doing a bunch of the sessions I’m doing. I’m
Dirk: For example, if a video is about players’ technique? very happy I spent the time to learn it. It’s
recording, I remind my students that we’re Dirk: One of the biggest things to under- amazing software.
human—we’re not perfect. Sometimes little stand is that it’s going to take a lot of time to MD: When you complete a track, do you EQ
mistakes can make for the perfect take master certain things. Some recurring it at all, or do you send raw files?
when it comes to recording. There’s no questions I get are “How can I get my double Dirk: I send everyone raw files, just the
point in trying to get everything perfect, bass faster?” and “How do I master blast same as it would be if it were done on
because it will sound stale. If that’s what beats?” When I started, it was the early years acoustic drums. I make sure everything is
you’re going for, you might as well just of blast beats, and the bpms were slower. It good as far as the velocities go, because
program the drums. Getting the students seemed fast at that time, but now drummers that’s one of the hardest things to get right
to understand this is something that are playing so fast, it’s almost ridiculous. when playing e-drums. I always talk with
really matters to me. There are so many You can’t just wake up one morning and the artist about who’s producing it to find
productions right now that are so polished play like Derek Roddy or George Kollias. That out if they’re familiar with e-drum record-
that kids growing up listening to these takes an immense amount of time, work, ings, and I try to find out any particulars the
records think drums aren’t dynamic. Kids patience, perseverance, and talent. producer would want from me. Sometimes
need to remember that the production “Patience, practice, perseverance” is a I’ll add some EQ, but usually it’s a raw file.
value doesn’t necessarily represent mantra that I use to help me through MD: How long does it typically take you to
what you actually sound like when frustrating periods. When I was studying track a song once you receive it?
you’re playing drums. jazz, some of that stuff took me a lot of time Dirk: Of course it depends on the style of
Also, if you don’t want to get screwed just to master the basics, and it was very music. Some songs are a lot more work than
over in this business and want to make frustrating at times. But it paid off, because others, but it can be anywhere from a
smart decisions in your career, you have to now I incorporate what I learned into my couple hours to an afternoon or evening.
be well versed in all aspects of the music playing to spice it up and make it sound The next day I’ll go through it and make
business. With Soilwork, I’m very involved in different. You have to be prepared to sure all the velocities are okay, and I’ll
the business end of the band. I know how a practice daily and accept the fact that at remove any double triggers or pollution
tour works, what a tour manager does, what times you may not see much progress at that comes naturally with e-drums. Over
a booking agent does, and how to deal with all. That’s just how it is. time I’ve developed a good sensibility for
those people. Truth is, if you’re not aware of MD: You obviously have a lot of
!"#$%&#'(#)*
how these things work, you’ll get thrown experience now with e-drums.
around. You can’t rely on being lucky Were you already familiar with
enough to fall into the hands of the right them before you began working
people that will treat you well. It’s not just with Toontrack?
about being a drummer anymore; you need Dirk: Before I started working with
to really get involved in everything else. Toontrack I had never played
That takes a lot of personal initiative, which electronic drums in my life, so it
is not something everybody has. was a big adjustment. It feels very
MD: How did you get started on the drums? different, and you have to get all
Dirk: I started out basically playing along to the parameters set where the
records and jamming with friends. But when drums respond in a manner that
I finished high school I told my parents that I represents how you play on an
wasn’t really interested in anything other acoustic kit. I spent a lot of time This past February, Verbeuren recorded drum tracks for the
than music. So they sent me to a school in getting my settings right. Since I next Soilwork album at Ghost Ward Studio in Stockholm,
Sweden. “I proceeded a little differently than usual,” he
the northeast of France called Music only play e-drums in my studio, tells MD. “I used two kick drums for the first time since my
Academy International, which is similar to when I go on the road with early years as a drummer. And I did only full takes on this
Musicians Institute. I studied nonstop for a Soilwork on my acoustic kit, I get recording, something I hadn’t done in a while.” The album,
untitled as of press time, is due in September.

Dirk Verbeuren
connecting with the groove of the song. of which are seven or eight minutes long. It
Some people send me programmed drum would have been impossible for me to do
tracks and want very specific things, while those shows without having charts. This is
other people send me raw drum tracks or another big thing I put in my drum lessons. I
just guitar and tell me to play whatever I learned how to write charts while at music
want. It varies, but I think it’s helped me school, and it’s something I work on with
grow as a drummer. my students. Knowing how to write charts
MD: You’ve also done some touring work can be the difference between getting a gig
as a hired gun. You played some shows and not getting a gig.
with the Norwegian black metal band MD: What information do you include on
Satyricon on pretty short notice. That your charts?
seems like a difficult task to pull off. How Dirk: I do an outline of the song’s structure
did you prepare? on the left side of the page, and on the
Dirk: Yeah, that was very interesting. It was right side I’ll write out any beats, cues, or
very short notice, and also very specific, stuff that’s important for me to remember.
because [vocalist/multi-instrumentalist] I try to keep them as clear and condensed
Satyr wanted the drum parts to be very as possible, because I don’t want to be
close to how Frost plays. Luckily I’m familiar reading a book on stage. I try to find a
with the band. I’ve listened to them for a balance that works.
long time, and I know how Frost sounds. He MD: What other projects do you have in
has his own style, and I tried to emulate it. the pipeline?
I had two days from when I got the call to Dirk: Soilwork is recording a new album
when I had to leave to go join them for the now. We just got a new management deal
shows. I basically played drums for two days that we’re real happy about. It’s going to be
straight, studying the parts as much as I good for us moving ahead, and we want to
could. And I made sheet music for each come out big with the next record. There
song. That was the only way I could have was a good response to our last album, The
done it, with all the cues and little changes Living Infinite, so it’s time to step up our
between live versions and studio versions. profile. This lineup has been together for a
It was something like sixteen songs, some number of years now, we get along very
Recommended for rehearsal, recording, well, and we’re all on the same page
live and lesson situations, the new creatively. We also have a new live DVD out,
Moderator “Super Set” features two each which we shot at a show in Helsinki with an
of our popular, sound-controlling 50, 60, extra-long set list.
Ií VE NEVER
70, 80 and 90 millimeter cellular foam Then there’s Tronos, which is a project
cymbal washers in a clear, reusable, that’s been in the works for a while. It was
clamshell package. Convenient 2-Packs of
started by [Napalm Death bass player]
BEEN THIS
the 50, 60, 70, 80 and 90mm Moderators
are also available. Special 100mm model Shane Embury and producer Russ Russell.
sold separately. They sent me some songs and asked me to
EXCITED
play drums on them, and they were stoked
with what I played. They also invited a
bunch of other people to play on it, like
FOR A
bassists Billy Gould [Faith No More] and
Troy Sanders [Mastodon]. It’s not at all
NEW SET OF
grindcore. It’s very dark, atmospheric
music, but it’s one of those projects that
takes time to get off the ground because
DRUM HEADS.
of everyone’s schedules.
MD: Your approach to doing fill-in dates
#LEVEL360
and how you go about managing your
session work must lead to getting referrals.
New Crimson, Yellow and White join Dirk: Yes. For example, all the guys in
our existing Orange, Blue, Red, Purple Satyricon have tons of other projects going
and Green Chromatics models. Cympad on, and as soon as I got home, I got a gig
Chromatics and Optimizer cymbal washers with a band that’s related to one of the
@TOM_VDC
customize and improve the look, sound
guys. I’m also working on a project with
and feel of any drumkit.
one of the guys in Satyricon that’s just
getting underway.
Available at your favorite drumshop. When you’re prepared and things
go well, the result is often more gigs
and opportunities.

AARON
STERLING
Story by Robin Tolleson
Photos by Alex Solca
!"#$%&'(#)*+,-./
In an era when the concept of the studio
drummer is constantly being redefined—
and even questioned—the player who’s
tracked for artists including Taylor
Swift, Sara Bareilles, the Civil Wars, and
John Mayer has made no bones about
embracing the role one hundred percent.
(Okay, maybe with the rare exception…)
0(1)2+3'(4%
M arketing. Branding. Setting goals and seeing things through. These are skills that don’t
always come naturally, but honing them can make all the difference to the career
of a musician with burning aspirations—like Aaron Sterling. “I’m talking about training
people to perceive you in a certain way,” Sterling says. “I tried to train my focus on a specific
thing that I really wanted to do. I took [some] gigs just to meet a producer or a bass player
who was a little bit busier than me and try to get on some session with him. That was
always the goal.”
Sterling grew up in Nashville, the son of arranger/producer Robert Sterling and session
singer Cindy Sterling. He started playing drums at twelve years old in middle-school
band, for no particular reason, but within weeks he was hooked. “It was over,” he recalls.
“I couldn’t stop.”
After studying privately in Nashville with JD Shuff (First Avenue Sound) and Dale
Armstrong (Crystal Gayle, Marian McPartland, Kenny Burrell) and getting a glimpse of Music
City’s studio scene, Sterling attended the Berklee College of Music for a year, decided that
live performing wasn’t for him, and chose to become a session drummer in Los Angeles.
Hundreds of sessions later, he’s able to pick his projects more and more carefully. Recently
Sterling recorded tracks for John Mayer’s upcoming album—spending five days in the
studio side by side with the legendary Jim Keltner—and even broke character, going on his
first world tour with the guitarist. “I’m kind of expanding things a little bit,” Aaron says.
Most of the time, however, he can still be found working simultaneously on a handful of
projects at his home studio in Los Angeles, Sound of Sterloid. “A song for this guy, three
songs for this girl—there’s always things going on,” Sterling says. “I’m doing a lot of drum
tracks at my studio, a lot of writing and producing….” You know, the usual: making things
happen. It’s a mindset, it turns out, that the drummer learned early on.

Aaron: I was definitely raised in a musical household,
specifically one where they make money doing music. It’s not
as daunting to figure out how to make a living doing it when
you grow up seeing two people already doing that.
MD: So you were used to seeing sheet music spread all over
the piano at home, for instance.
Aaron: There would definitely be music on the piano, and
then, as I got a little older, my father started getting Digital
Performer and programs like that. He produced records and
did a lot of arranging and orchestrating, and he would work at
home too.
MD: Do you believe that exposure influenced your thinking in
terms of arrangements?
Aaron: Oh, yeah. You know, I think one strong suit I have—I
have plenty of weaknesses, so I might as well talk about things
I’m good at—is arranging and understanding concepts of
arrangements. You could argue that it’s a genetic thing, or you
could say what you’re kind of getting at, that it could have just
been drummed into my brain, no pun intended. Saturday
morning I’d be watching cartoons, hanging around the house
like kids sometimes do, and hear the same figures over and
over again for hours—hearing a person working on just one
line or trying to figure out what to do with those four bars of
music. I’d hear this progression in a person’s mind, moving on
to another part of the music.
Sometimes my father would do full-on orchestral things—
strings and horns—and you would hear the progression of
that. And yeah, maybe that helped me get used to the idea of
form and what that is, and different shapes that song forms
can take.
MD: What kind of music did you like to listen to growing up?
Aaron: I got obsessed with a lot of ’60s and ’70s jazz-fusion,
that whole movement, all the typical guys. But I eventually
discovered a lot of music that was definitely not about the
amount of notes, like albums on the ECM label. Elvin Jones and
Tony Williams and the Mahavishnu Orchestra all led me to this
or that weird ECM record. I ended up basically listening to
Keith Jarrett solo piano records for two or three years. I was
hardcore into the ECM thing at that age, after three years of
being obsessed with all the typical drummers that you’d
imagine a person would be obsessed with.
I also listened to all the pop radio of the ’80s and ’90s,
buying CDs, studying everything, actively trying to prepare for
a studio career. I knew I needed to know everything, so that’s
how I spent my high school career.
MD: The idea of moving to L.A. to break into the studio scene
can be daunting. What was your formula?
Aaron: The one thing I try to tell people is that, whatever your
focus is, maybe tighten up that focus even more. I don’t mean
that you should close off other options in the world, but if
you’re too open to everything, sometimes nothing happens.
I know this can be misconstrued—I’m not talking about
positivity. What I mean is, a lot of guys move to this town and
say, “I want to do sessions, and I want to tour, and I want to do
local gigs….” It’s like, man, I’m already overwhelmed by all the
things you want to do, just hearing that.
People need to define you. I don’t know if that’s human
nature or if that’s just the music business, but whether you like
it or not, people are going to pigeonhole you, and you need to
take full advantage of that instead of trying to fight it. And if
you come out here and say, “I really want to get a tour” and

stop there, you might end
up getting something that’s
not a tour—but at least
you’ve planted a seed in “People need to define
somebody’s brain, which is,
“This guy wants a tour.”
you, whether you like it or
When I moved out here, I not. You need to take full
was nineteen, and I made it
clear to people that what I
advantage of that instead
wanted to do was sessions. of trying to fight it.”
That’s what I came here for,
that’s what I want to do, and
that’s what I think I’m best at.
I knew I had a ton to learn,
but I also knew that’s what
I’m good at. I was better at
that than getting on stage,
because I had a lot of social
anxiety. I’ve never been in
a band for even a day. It’s
just not my thing. I think
that helped me get to
where I’ve gotten, because
I was hyper-focused on this
one thing.
I didn’t close myself off; I
just helped focus other
people, potential clients,
that this is what I’m good at.
And that makes people say,
“Maybe this guy is good at
that. That’s all he wants to
do, and that’s all he does do.
Okay, he’s clearly the guy to
hire.” That’s how it worked
for me. It’s not like I only did
sessions, but I just drilled it
into people’s heads: “I’m
going to be a session player.
Hire me for sessions. Trust
me, you’ll love it.”
MD: Were there particular
sessions that opened things
up for you?
Aaron: Yeah, there were.
One was a Korean pop thing.
I had been doing this church
gig every Sunday for a
couple years, all in Korean—
nobody spoke English. This
guy comes up to me and says he would love to have me play on a cohabitating, and you find that this guitar player who was on the
session. I thought, Fantastic, I’m in. And then he explained to me, hipster session is doing the jingle session over in Santa Monica, and
“The usual drummer, Vinnie Colaiuta, can’t make it.” I’m about you think, Oh, I didn’t realize he did that too. There were a bunch of
twenty-two and thinking, Oh, crap, this is a whole other thing. It was different sessions like that that helped me meet a lot of people.
the guys, the session musicians that I grew up listening to—Mike MD: When you’re starting out, can you name your price? Or do you
Landau on guitar, Greg Mathieson on keys, Luis Conte on percus- pretty much have to just get your foot in the door?
sion, this whole team that he used—and Vinnie couldn’t do it, so Aaron: Sometimes I wonder if half of my career has been spent
he threw me a bone. That was a cool session because I got to meet thinking about that question. Man, that’s the biggest thing you’re
[bassist] Abe Laboriel and all these guys, and they were really cool going to have to navigate: what you’re worth versus what people
to me. That helped me get into that circle. are willing to pay—or what you think they’re willing to pay. Are you
There’s all these different little circles of people out here, and the person who says, “I’m X amount of dollars—take it or leave it”?
I try to get into as many as possible. Those circles kind of start Or are you the guy who’s going to be the whole other extreme, like,

love. I love that there’s this kid inside that’s just
dying to do all this crazy stuff, but he knows he
“The biggest thing can’t do it all the time.
you’re going to have to I just like the idea of somebody saying, “Hi,
navigate is what you’re you’ll be working for me today. This is a song I

wrote, and I really want it to be as good as it
worth versus what could be. Is there something you can do to help
people are willing to me with that?” That’s my thing.
MD: You play with a lot of vocalists. Do you
pay—or what you think enjoy it when you’re there with them on a
they’re willing to pay.” session and hearing the vocal tracks? There must
also be times when you don’t even know what
the vocal might be.
Aaron: Man, I try to listen to the vocal more than
anything in a song. I just love it. And anything I
do, I want to support that. When they’re singing
with me, it’s an amazing feeling, very different
from just playing to a track. So yeah, the energy
of a singer is an awesome thing.
Now, I can’t always do this, because I’ve got to
make money, but I try my best to tell people, “I
don’t want to play on your song if you don’t
send me a vocal.” If they haven’t finished writing
the song and they’re just looking to experiment
and have me play on something and try to
create the song around that, that’s a little
different. That’s a cool approach, and I’m open
“Whatever you’ve got, bro, I’ll do it”? And I’ve worn all of those hats to that. But sometimes people send me finished songs and they
and every hat in between. The problem in the business and the don’t send me the vocal, because the scratch vocal wasn’t good
thing that you have to navigate is that you mean something enough or something. I just say, “Listen, I don’t want to play on a
different to everybody. song if I don’t even know what the most important element is.”
MD: In terms of session drumming, are there certain players that MD: You’ve now become a touring drummer as well, having gone
you listen to for inspiration? out with John Mayer.
Aaron: There are so many people. All those usual suspects—Jeff Aaron: A bassist I play with, Sean Hurley, got the gig playing live
Porcaro, Vinnie Colaiuta, JR Robinson, those L.A. guys. I loved how with John. John was planning to make another record, and he asked
those guys had their own sound, but you could hear that they were Sean to be a part of it. John had tried some drummers out, and Sean
also trying to serve the song. The thing I’ve always loved about brought up my name and told him he should call me, and he did. So
Vinnie is this constant compromise—the healthy compromise—of I went to New York, where we had three days booked at Electric
figuring out how to be yourself but serve somebody else’s song. It’s Lady. The idea was that I work for three days, and if he hates me,
not your song; you didn’t write it. Help this person. Do what’s right then he pays me for three days and that’s that. But we really got
for that person, but also have your personality there. Clearly Vinnie along well.
does things that I’ll never be able to do, but that’s not really what I MD: Mayer’s combination of sophisticated jazz harmonies and
AARON’S KIT
“A
s a session player who’s constantly doing all sorts of different
projects,” Sterling explains, “my kit is always dependent upon
the song and the artist. I’ve been using the kit shown here a
lot in my studio, and I’ll potentially be using it live in the future. It gives
me the super-dead tom sound and the big, bright craziness that I get
from the Rototom.”
The kit here is a U.S. Mercury set featuring an 8x12 tom, a 14x14 floor
tom, and a 12x20 bass drum, with a 16" Rototom. Like all studio drum-
mers, Sterling uses various snares; the one in our photos is a 5x14
Ludwig Acrolite.
Sterling plays Istanbul Agop cymbals “of all kinds, mostly 20"
crashes and cymbals all over the kit. And all sorts of hats—lots of 15s.”
Shown here are 14" 30th Anniversary hi-hats, a 20" Signature crash, a
22" Vezir ride, and a 19" Signature crash. Aaron’s heads of choice are
Remo, and he uses Regal Tip sticks and DW hardware.
The electronics shown include a Synsonics drum machine, a
Yamaha DD-5 drum machine, a Nord Drum module, and a Line 6 M9
multi-effects unit.

soulful, funky grooves is deep. tracks that you recorded with John?
Aaron: As a drummer it’s great—he Aaron: I like the groove on “Queen of
has all of the same information that California,” the first song on the record Born
those top session guys have: a and Raised. It’s a very simple groove—
combination of skill level and anybody can do it—but I like how it fits with
knowledge. He’s not a session the guitar part. And maybe I have an
musician—he’s in the category of pop emotional attachment to it, because we had
star or rock star—but he is a session just met and I like that we had this sort of
musician. I’m telling you, at his core interplay immediately. There’s a lot of
that’s what the dude really is. But what subtleties on the snare drum on that track
I love about him is that he’s also an that I like.
artist and has something to say. That’s The first day was great, and we started on
what makes it such an amazing gig. that song within, like, my first hour of
MD: What are some of your favorite meeting him. We just started playing, and
that was some riff he started coming up
with, and I started playing to that. I think
most of the take of that song that’s on the
record is what we did three or four hours
after meeting each other, and that’s really
cool. We tried to recut the song over the
course of a year and a half, and just kept
going back to that version. It wasn’t to a click
track, and I think he was wanting to do it to a
click for some specific reasons—there were
some things he was hoping to add—but we
just kept that first thing we did. I ended up
staying in New York on and off for four or
five months, just going back and working on
that record.
“Paper Doll” is on the second record that I
did with John, Paradise Valley. That’s a really
cool song too, one that he and I did
together. I like collaborating with him, and
I’m the drummer on the track, but he’s
doing some other stuff on there that’s really
cool. He’ll put a snare drum on his knees
and play it like a banjo. He’ll turn it around
so that the snares are turning away from
him and strum the snares with a pick. It’s a
really loud, annoying sound in the room,
but if you mike it up appropriately and put it
really low in the mix, it’s a cool sound.
People think it’s an aggressive shaker or
brushes. We created “Paper Doll” around
that little pattern that he’s doing.
And I really love the song “Who You
Love,” which is also off Paradise Valley. That’s
a really simple groove, but I’m a sounds guy
too, and a lot of why I like that one is that I
love the sound of those drums. We added a
little delay on there, to kind of give it an
extra vibe.
I like all the songs I’ve recorded with
John, but in terms of drum parts, I don’t
know…. I guess I’m proud of all the songs as
a whole. It’s hard for me to talk about
certain tracks like that in a “drummery” way,
because it’s hard for me to separate the two,
the song from the drum part. I don’t know if
any of that stuff exists well on its own. But it
certainly works well for the song—I hope.

WHAT DO YOU KNOW ABOUT...?
Barry de Souza
He was ubiquitous in British studios during the ’70s, a favorite
of producers and artists for his elegance and efficiency—and
occasionally for his ability to navigate some weird and wonderfully
ambitious art-rock tracks. Will Romano investigates the life and work
of a quiet giant of classic rock.
De Souza circa 1980
T o paraphrase C.S. Lewis, humility

isn’t thinking less of yourself
and your character, it’s thinking of
drummers have made a name for
themselves by consciously playing
supporting roles. Few drummers,
performances speak for themselves.
Producers, artists, and session “fixers”
alike swore by de Souza’s musical
yourself less. however, have embodied Lewis’s sensitivity, effortless grooves, and
Sacrificing a bit of ego to help bolster statement—and its musical corollary, personal generosity, humility, and wit. A
various aspects of the music isn’t bad “serving the song”—more than Barry de first-call session musician living in and
career advice, and, ironically, some Souza, an introverted man who let his around London, de Souza, who died in

De Souza in the mid-
’90s, when he held
the drum chair in the
London production
of Cats
2009, recorded and performed with Jeff he held until the show went dark in and triplets on the toms, Essex’s 1973
Beck, Shawn Phillips, Rick Wakeman, 2002. “My mom described Dad’s style smash hit, “Rock On,” is a wonderfully
Lou Reed, Kate Bush, and David Essex, as ‘economical but sophisticated,’” quirky homage to ’50s American
among many others. Valued for his de Souza’s daughter, Danielle popular music, featuring multitracked
sharp musical instincts and up-for- McDowell, says. “You could hear in vocals and Herbie Flowers’ bubbling
anything nature, he could be found his playing that he was listening,” bass line. “Barry’s drumming style was
in unlikely places like Jeff Wayne’s adds percussionist Nigel Shipway, a an important part of the early Essex
concept-album extravaganza The War friend who worked with de Souza on sound,” the singer tells us via email.
of the Worlds, or backing Phil Collins for Cats for nearly twenty years. “He was a “Barry was a determined professional
a television appearance in support of drummer who was completely unafraid who became more outgoing and
Collins’ 1982 single “I Don’t Care to accompany a singer or soloist. If it confident as we worked together.”
Anymore.” Whatever the setting, de needed it, he would adjust the time De Souza may have been best known
Souza could be relied on to bring the to make the singer more comfortable for his efficiency, but he wasn’t averse
music to life in any number of ways. with what was going on.” to flashing his chops on occasion.
“Some criticize session drummers for Notable restraint and an instinctual Opening a virtual can of whup-ass,
not having any feel,” says conductor/ knack for weaving around a vocal line courtesy of roaring single-stroke rolls,
arranger Martyn Ford, a friend of de were encapsulated in what could be de intermittent tom strikes, and punctu-
Souza’s who coordinated various Souza’s most famous recorded perfor- ating accents, he builds tension
sessions around London. “But once mance, Marvin Hamlisch and Carole throughout the mercurial “Catherine
the ’70s arrived, you had drummers Bayer Sager’s “Nobody Does It Better,” Howard,” from keyboard wizard Rick
like Barry, Bill Bruford, Stewart sung by Carly Simon for the 1977 James Wakeman’s 1973 album, The Six Wives
Copeland, Mike Giles, and Simon Bond thriller, The Spy Who Loved Me. of Henry VIII.
Phillips in the U.K. These guys were “Some people say that Barry’s time By the same token, de Souza
brilliant and quick.” wasn’t solid,” Shipway says. “But he was seemingly had no qualms pushing the
“Barry kept time and grooved,” listening and letting the singer stretch pedal to the metal for Shawn Phillips’
renowned session guitarist and leader out. Elkie Brooks, Elaine Paige, Barbara 1974 symphonic folk-/jazz-rock release,
Ray Russell adds. “He made everyone Dickson—that generation of English Furthermore…. On tracks such as the
feel very relaxed. He was selfless in singers adored Barry, because he gave funky and boisterous “January First,”
that respect.” them elbow room.” the political “Ninety Two Years,” and the
De Souza was a reliable and steady- Pop star and matinee idol David instrumental “Planscape,” de Souza
handed player who in 1983, at the top Essex detected these characteristics locks in with John Gustafson’s driving
of his game, won the drum chair for the early on. Scantly framed by little more bass notes and lets his hi-hat-centric
West End production of Cats, a position than a kick drum, spare hi-hat patterns, grooves alternately simmer under and

propel Phillips’ cross-genre ideas details of his life are sparse and not of seeing what was needed, and it
and four-octave voice. “Barry knew widely known. Only upon further sounded absolutely right.”
about deep pockets before most of investigation does a skeletal biograph- “Apart from having every single style
us got around to buying the pants,” ical structure emerge. under his fingertips, Barry could read,”
Shipway says. De Souza was born in central London Martyn Ford adds.
While much of de Souza’s work has on March 29, 1946, was brought up in Over time de Souza gained a
been well documented, some of it Camden, and eventually moved to reputation for both his rhythmic
remains unrecognized or even in Haringey, North London. The drum- versatility and his personality. “Barry
dispute. For example, there’s some mer’s father, Yorke de Souza, a jazz had a very expressive face,” Shipway
debate over whether the drummer pianist who arrived in the U.K. from says. “He could say a million words
performed on two iconic cuts from Jamaica between World Wars, with just lifting his left eyebrow. If
Lou Reed’s 1972 album Transformer. performed, most notably, with Fats something didn’t sound quite right,
(De Souza, John Halsey, and Ritchie Waller and Ken “Snakehips” Johnson. he would give you the look. The next
Dharma are credited with drumming in Barry played with his father on thing you knew, you were rolling
the album’s liner notes, but who played occasion and was even a member of a around with laughter, because you
on which cuts is not specified.) “There house band in a London casino before, knew exactly what he was thinking.”
are a few things on the album that he the story goes, he broke into session “He really did have a wry, dry sense
said to me he had played on,” daughter work with the help of Martyn Ford and of humor,” Paul Buckmaster says.
Danielle recalls. “He always said it Rick Wakeman, the latter his bandmate It seems de Souza was also a bit of a
was he on tracks like ‘Walk on the Wild in a group called the Spinning Wheel in prankster. In one memorable incident
Side’ and ‘Perfect Day.’ I mean, we the late ’60s. at a label event, he stealthily perpe-
haven’t got the proof, but with me “Yorke was one of the Caribbean trated a hilarious practical joke. “It was
he was pretty adamant.” musicians who came over to England, I a record-release reception for the band
Along the same lines, some of de think, in the 1930s,” Danielle says. “The Sailor,” Ray Russell recalls. “They were
Souza’s work remains obscure. The jazz element of Dad’s playing came running short of knives and forks, and
post–Jesus Christ Superstar concept from Yorke.” we couldn’t work out why. We realized
album The Bible: A Rock Testament, The mid and late ’70s were de Souza’s that Barry was going around putting
recorded by the controversial Family of heyday as a session musician. He was them in people’s pockets. Everyone
Love (aka the Family International) and receiving steady work, performing on was walking around with these utensils
coproduced by Martyn Ford and Paul film soundtracks and with artists on them.”
Buckmaster, was released through ranging from David Essex to Justin In 1983, after more than a decade of
Polydor and distributed by Polygram, Hayward of the Moody Blues, Kate consistent studio calls, sometimes
but it generated barely a blip on radars Bush, and Kevin Ayers. involving multiple sessions per day, de
in the U.S. and the U.K. Sharing drum De Souza was inspired by many Souza won the drum chair for the
duties with boy wonder Simon Phillips, players, from Ed Thigpen to Steve Gadd London production of Andrew Lloyd
de Souza stresses economy of beats. and, later in the ’80s and ’90s, Dave Webber’s exceedingly popular musical
“Dad was a very composed drummer Weckl. Nigel Shipway compares de Cats, a seat previously held by Jon
who could make these enormous Souza to late Sinatra drummer Irv Hiseman (Colosseum) and Graham
sounds just by moving his wrists,” Cottler, who, he says, “made a very good Ward (Paul McCartney, Tom Jones).
Danielle says. living leaving out the stuff that every- For years de Souza divided his time
A man of few words whose drum- body else played. When we did jingles, between the T.S. Eliot–inspired musical,
ming was often minimalistic, de Souza Barry would take a snare drum and a session work, and performing in his
simply got on with the job at hand and cymbal. Every other drummer in the home studio in Enfield, playing host
didn’t open up about himself very world would have taken the entire to musicians such as Ray Russell
often. It comes as no surprise that drumset. Barry had this unique way and Danielle’s godfather, the late

percussionist Morris Pert (Brand X, Mike time when “all losses are restor’d and As it so happens, Herbie Flowers
Oldfield, Peter Gabriel). sorrows end,” speaks volumes. recounted anecdotes involving the
“There are a lot of tapes around with “The last two lines summed up drummer’s life, Ford performed a
Morris’s name on them,” Danielle says, everything I felt about Barry,” Shipway, pastoral piece on the French horn,
“but they are in such bad condition that who shares a birthday with de Souza, and “Nobody Does It Better” was
I couldn’t rescue them. Lots of people says. “When you think of him you think handpicked by Danielle to be played
went through that studio.” of laughter and the raised eyebrows and at the ceremony.
As time passed, advancements in never saying anything. Barry’s commu- “The place was packed,” Danielle
recording technology and massive shifts nication was beyond words, and it was remembers. “I knew Dad was successful
in popular tastes changed the London true musically and verbally.” and well regarded, but I almost didn’t
professional recording landscape Danielle asked close friends Martyn expect this. Dad was modest. To see all
forever, drying up de Souza’s prospects Ford and Ray Russell to speak at her these things happening because of the
for session work. Trouble brewed at dad’s funeral, but both felt they were too work he did really opened my eyes.”
home as well, as the drummer and devastated to deliver a coherent eulogy.
his wife, painter/composer/recording
artist Zoë Kronberger, divorced in the
early ’90s. Kronberger started a new
life in France, and de Souza moved
to the outskirts of London, where he
raised Danielle.
“It’s difficult for me to gauge exactly
how [the split] impacted Dad, because I
was so young,” Danielle explains. “He
never remarried, and there was never
really anyone serious after my mom. He
had a regular job [with Cats] at the time,
so I think that helped to keep his mind
off of it.”
The spring of 2002 was a turning
point: Cats closed, having been seen
by more than 8 million people in the
West End alone, according to Billboard
magazine, leaving de Souza to reevaluate
his life. “After Cats, I think he felt as if
the parade had passed him by,” Shipway
says. “Barry was never one to push
himself to the front of the queue,
which, to be honest with you, he
should have done.”
“A part of him really missed [session
work],” Danielle says. “But I think he was
quite happy to have it slow down.”
De Souza had fairly quiet final years,
spending them with his loved ones. “He
got to meet his grandson—they had six
months together,” Danielle says. “I know
that made him really happy. Dad even let
my son have a go on his drumset.”
On March 11, 2009, less than three
weeks shy of his sixty-third birthday, de
Souza succumbed to cancer. Years on,
shockwaves emanating from his passing
are still being felt. When MD spoke with
Martyn Ford, he was so upset that he
needed to pause during the interview
to collect himself. In addition, Shipway
keeps in his pocket Shakespeare’s
Sonnet 30, which was reprinted in
London’s Daily Telegraph just after
de Souza’s passing. The sonnet,
Shipway says, which focuses on
friendship, silent thoughts, and the

Jamie Miller
!"#$%&'(#)*+,-./
by Stephen Bidwell
…And You Will Know Us by the Trail of Dead is a

drummer’s dream gig, largely defined by tribal tom
pounding, unexpected rhythmic devices, and a sense of
drama unrivaled in modern rock. Judging from his previous
recordings, the band’s recent main man at the kit has been
working up to the job for a couple decades.
A journeyman of heavy music since his

migration from Baltimore to Santa
Barbara in the early ’90s, Jamie Miller has
hiring.] They were looking around for
someone who could play drums and
guitar, and I guess my name was the first
room with the amps on 10. It was more like,
“Oh, we’ve got this chord progression—
wow, it sounds cool on the piano.”
kept a full schedule with a variety of one that popped up on their radar. MD: You worked with Austin-based
projects, not only as a drummer but as a MD: You’re playing guitar live as well? producer Chris “Frenchie” Smith [the
producer and guitarist as well. You may Jamie: I’m playing about 90 percent of the Darkness, Jet] on the Trail of Dead albums.
know him from his early work in the ’90s drums and adding guitar here and there. Jamie: Frenchie did some really neat stuff.
metal band Souls at Zero and the recently MD: What’s the recording process, since We tracked drums in an enormous live
re-formed SoCal hardcore faves Snot, but you’re spread out so far geographically? room, and he miked up the drums with the
if you haven’t heard his current work with Jamie: We did the last album at a place same models and techniques they used on
…And You Will Know Us by the Trail of called Sonic Ranch in El Paso. I live in Long David Bowie’s Ziggy Stardust album. That
Dead or Vanishing Life, you’ve got some Beach, Jason and bassist Autry Fulbright
catching up to do. live in Austin, and Conrad lives in Tools of the Trade
Cambodia. We’ll demo at home any way Miller plays a Q Drum Co. set in the
MD: How did you connect with Trail we can, and then we get together in United States and a Kirchhoff kit in
of Dead? Austin for a few weeks and jam as a band. Europe, each featuring a 16x26 bass
Jamie: I’ve been with the band for about MD: Live, Trail of Dead hits you like a drum, a 10x14 tom, a 16x18 floor tom,
five years now. We’ve done two records train. On record, though—especially on and, on his left, a 16x16 concert floor
together, IX and Lost Songs. They’d the latest album, IX—a lot of subtleties tom. His snare is a 6.5x14 Ludwig
expanded to a six-piece, but the original come out. Supraphonic. Miller’s Sabian cymbals
lineup was four guys who switched Jamie: The idea was for the four of us to include 14" Paragon hi-hats, a 22" AA
instruments, and I think [leader/multi- go into a studio, à la the Beatles’ Let It Be Medium ride, a 19" HHX X-Plosion crash,
instrumentalists] Jason Reece and Conrad movie, play together, and see what and a 20" HHX Evolution crash. His DW
Keely missed doing that. [Several other happens. The songs were born out of hardware includes a 5000 series single
band members departed prior to Miller’s jams, but it wasn’t like we were in a tiny pedal that’s been in use since 1997.

was sort of his touchstone for the record.
Oddly, even though we were recording in Tough to Pin Down
this airplane hangar of a room, the drums Jamie Miller’s drumming can be heard on a diverse selection
are the driest they’ve ever been on a Trail of of recordings. Though Miller’s an ace at fitting like a glove in
Dead record. each setting, consistent qualities come across after repeated
MD: The group has almost twenty years’ listening: a muscular but unstrained feel, a penchant for slyly
worth of material at this point. What was the slipping in offbeats that keep the more basic patterns from
process of learning the catalog? becoming stagnant, precise but not overused hand/foot
Jamie: When I joined the band, Conrad sent combinations, and uncommon but still pummeling tom
me a list of about thirty songs to learn, not rhythms. And Miller is happy to whip out a 32nd-note blitzkrieg
specifying whether to learn them on drums when the spirit calls.
or guitar. So I listened to each of them, and To hear an early example of the type of cool tom-based
knowing how Jason plays the drums, I could patterns that Miller would later explore on powerful Trail of
recognize who played drums on which Dead tracks like “Lost Songs,” “Heart of Wires,” and “A Million
songs. I went through and guessed which Random Digits,” listen to “My Fault?” from Souls at Zero’s 1995
songs I would play drums or guitar on, and I album, A Taste for the Perverse. Following that band’s dissolu-
was pretty much right. tion, Miller joined the Santa Barbara act Snot. Though usually
MD: That’s one way to do the homework. thought of as a hardcore act, Snot had a rare ease with shifting
Jamie: It was really fun, as it made me listen dynamics, giving the remarkable vocalist Lynn Strait tons of
to the music even deeper, because I had to structural and emotional support. Miller provides rock-hard
say to myself, I think this is going to be me on punk-funk grooves throughout the group’s classic, but
drums. When you’re trying to listen to a unfortunately only, full-length album, Get Some (Strait was
specific instrument, it makes you listen killed in a car crash as they were working on new material),
a lot closer. spewing out blistering fills and rubbery post–Chili Peppers
MD: How did you come to the drums in the grooviness all over the LP.
first place? For further examples of Miller’s flexibility, check out
Jamie: My father’s side of the family is all theStart’s 2007 album, Ciao, Baby, which is closer in vibe to
musicians, and he and my uncle had a band. electro-pop architects like Missing Persons and Garbage than
Apparently I jumped on their drummer’s kit to any thrash or punk recording. Miller works the hi-hats and
at three years old. They thought it was their four-on-the-floor bass drum like a West Coast Clem Burke and
own drummer playing, turned around, and squeezes lots of life out of the drum-machine-ish tones. Still
it was my dad’s three-year-old son playing. another side of his playing personality can be heard on
I just joined bands and played all the Perdition Hymns by the contemporary stoner-blues-rock group
time, and I did school band in middle Night Horse, which runs the gamut from the Queens of the
school, but other than that I’ve had Stone Age–style desert riffage of “Rollin’ On” and “Blizzard
no formal training. I can read music of Oblivion” to classic Allmans/Black Crowes territory on the
just from the little bit of training I got, 12/8 throwback “Same Old Blues” and the slightly shuffled
though, so when I go to sessions I’m steamer “Black Clouds.” Adam Budofsky
not completely lost.
MD: And what led you from Baltimore
to L.A.? Copeland and John Bonham and Buddy band are like, “How are you able to play all
Jamie: Sometime after high school we had Rich. People think that’s weird, but I’m a that and not even break a sweat?” It’s just
a huge snowstorm, and I said, “I’m moving huge Buddy Rich fan. from really warming up, I suppose. My wife
somewhere!” An old drummer friend of MD: How did Vanishing Life come together? runs a yoga studio and taught me a few
mine, Shannon Larkin, had moved out to Jamie: Autry from Trail of Dead was like, stretches, and then I use those gigantic Vic
California to join Ugly Kid Joe, and he “Hey, man, we should start a punk band!” I Firth Chop-Out sticks, and I’ll just bang on
suggested I come out and join another think we had just seen Off! at a festival. Then ’em all day long, keeping the wrists limber.
band, which ended up being Snot. So as we ran into Walter Schreifels [Quicksand, MD: Can you name everyone you’ve toured
soon as the snow melted, I jumped in my Rival Schools] and told him about this idea, or recorded with in the past year?
car, drove to Santa Barbara, and met the and he was like, “I want to sing on that.” Jamie: Trail of Dead, Snot, Vanishing Life… I
guys in Snot, and I’ve been here ever since. Eventually I recorded two demos, playing all did some guitar work with Billy Ray Cyrus,
MD: Who are some of your drumming the instruments, and sent them to Walter. and I’ve done a few sessions that I think
influences? Within a day he sent it back with vocals, ended up being incidental music for a TV
Jamie: My favorite drummer is probably and those two songs [“People Running” show or movie. Every once in a while I’ll get
Budgie from Siouxsie and the Banshees. and “Vanishing Life,” available from a call to come out to L.A. for a session and
That’s sort of my favorite band, and he’s collectrecords.org] are the ones that we have no idea what it’s going to be for. Those
always been my favorite drummer. just put out. Then we ran into Zach Blair are always fun. Every once in a while I’ll fill in
Whenever I hear one of their songs, I can from Rise Against, and he was like, “Can I be on drums for Chris Olivas in the band Berlin.
hear his drumming and know that it’s him. I the guitar player?” And the band was born. That always brings me back to hearing “Take
love drummers like that. It’s not necessarily MD: Do you do anything to stay in shape to My Breath Away” at my junior prom—now I
that they have a signature sound, but rather play all this heavy music? get to play it once in a while.
a signature feel. Of course I love Stewart Jamie: Not really. The other guys in the

STRICTLY TECHNIQUE
Dynamics Mechanics
Loud, Soft, and Everything in Between
by Bill Bachman
I believe that a drummer should be able to pick up sticks and make music on any sound source. The two
biggest keys to doing this are having an extended rhythmic vocabulary and employing excellent dynamic
control. The more expressively you can play on one drum or cymbal, the more you’ll be able to say when you
add drums and cymbals. This month we’re going to explore dynamic changes and the mechanics necessary to
modulate from one dynamic level to the next using crescendos and decrescendos. A crescendo is where we
gradually increase in volume, and a decrescendo is the opposite. The exercises are pretty simple, but maxi-
mizing your dynamic expression within them will be a challenge and will require finesse and chops. The
quieter you can keep your lower dynamics, the louder the loud dynamics will seem (and vice versa), so be sure
to exaggerate the extremes.
The first exercise is an eight-on-a-hand variation called 8-8-16. Start low, at pianissimo (very soft), with the
beads of the sticks lifting just an inch off the drum. Then crescendo over one bar to forte (loud), until the sticks
are turning as high as is comfortable relative to the tempo being played. (Don’t overdo the heights at the louder
dynamics.) The next bar will decrescendo in opposite fashion. The crescendo is the easier part, since you
gradually interact with the stick less and let your fingers open up more in correlation with the increased wrist
turn. The decrescendo is more difficult, since it requires more interaction with the sticks as the fingers close
down in correlation with the reducing wrist turn. Be sure to watch your stick heights as they incrementally go
up or down in correlation with the dynamics, and make sure that every stroke is a loose and rebounding free
stroke. (Never tighten down on the sticks, regardless of the dynamic level.)
1
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R R R R R R R R L L L L L L L L R R R R R R R R R R R R R R R R
π f π f π
! L L L L L L L L R R R R R R R R L L L L L L L L L L L L L L L L
Now do the same exercise with the dynamics going down and up.
2
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R R R R R R R R L L L L L L L L R R R R R R R R R R R R R R R R
f π f π f
2! ! ! ! L! L L L L L L L R R R R R R R R L L L L L L L L L L L L L L L L
For more variation, try making the crescendos and decrescendos occur over only two counts and then over
one count without changing the exercise. A lot of control is needed, as these dynamic changes will start coming
at you very quickly.
Now apply the same concepts/techniques to a single-stroke-roll exercise using 8th and 16th notes. Here’s
what it looks like with the dynamics going up and then down.
3
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
RRRRRRRR RL RL RL RL RL RL RL RL RRRRRRRR L RL RL RL R L RL RL RL R
π f π f π
! ! ! ! L
! !L L L L L L L L R L R L R L R L R L R L R L R L L L L L L L L R L R L R L R L R L R L R L R L

Here’s the reverse, with the dynamics going down and then up.
4
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
RRRRRRRR RL RL RL RL RL RL RL RL RRRRRRRR L RL RL RL R L RL RL RL R
f π f π f
! ! ! ! L
! !L L L L L L L L R L R L R L R L R L R L R L R L L L L L L L L R L R L R L R L R L R L R L R L
Once you have those down, try making the crescendos and decrescendos occur over two counts and then
over one count without changing the exercise.
Now it’s time to add dynamics to rolls. These exercises will feel quite different from the previous ones, since
rolls require downward pressure into the drum. The higher the dynamic, the more you’ll have to dig in and use
the fingers on the second stroke of each diddle. The lower dynamics require a lighter touch so that the rolls
don’t sound crushed. As you crescendo and decrescendo, your touch will have to gradually change in correla-
tion with the stick height and dynamic level. Again, avoid playing too high or hard at the top dynamic levels,
and make sure the dynamic of the second stroke of the diddle matches that of the first.
The exercise goes up and down in incrementally smaller phrases, from four bars to two bars, one bar, two
counts, and then one count. Pace the rate of crescendos and decrescendos evenly over the entire phrase, watch
the stick heights, and listen carefully. The check patterns are used to establish the hand motion and timing
between rolls. Play the check patterns with a technique as similar to the roll as possible, with the exception of
the forearm pump required to play rolls at faster tempos. The fingers should stay lightly wrapped around the
stick while you play the check patterns, since at most tempos they don’t open up very far for the diddles. Do
this exercise in a straight-8th-note context, and then repeat it using triplets. For extra variation, try also playing
these with buzz rolls.
5
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘ ‘ ‘
π
R L R L R L R L R L R L R L R L
÷ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! ‘ ‘ ‘
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘ ‘ ‘
f
÷ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! ‘ ‘ ‘
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! ‘
π
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
f
÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ!
INRTHEL R POCKET
f Technique
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
Strictly
MUSIC KEY
π
f
÷ œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ!
π f
÷ œ œ œ œ œ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ!
π f π f
Bill Bachman is an international drum clinician, the author of Stick Technique (Modern Drummer Publications), and the
founder of drumworkout.com. For more information, including how to sign up for online lessons, visit billbachman.net.

ROCK ’N’ JAZZ CLINIC
The Drumset Drag MUSIC KEY
‹œœ
œœ
H.H.
Orchestration Options for Powerful and Melodic Textures

T.T.
S.D.
FT
B.D.
by Powell Randolph
I n this lesson we’re focusing on orchestrating the drag rudiment, which is traditionally played on
the snare, by moving the two grace notes to the bass drum and tom. This gives it a much more
powerful sound and creates melodic movement.
Here’s the drag played on the snare and then orchestrated two ways on the kit.
÷ 42
!
÷ 42
2
œ œ œ œ œ œ .. œ œ œ ..
œ œœ
" "# $ $% lR rL
Here are examples of fills using the drag in different places. When you get comfortable with them
as written, play them in cut time (twice as fast) to get more of a closed-drag sound.
÷ 44 œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ ..
3
÷ 44 œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ ..
4
Here are some variations played as 16th and 32nd notes that use different groupings to displace
the pulse. Try playing them as fills at the end of four- or eight-bar phrases.
6 6 4 3 3 3 3 4
5
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R L R L R L R L R L R L R L R L R L R R L R R L R R L R R L R L
6 6 4 3 3 3 3 4
÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R L R L R L R L R L R L R L R L R L R L L R L L R L L R L L R L
3 3 3 3 4 4 2 6
÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
4
4 4 3 3 2
÷ .. œ œ œ œ œ œ œ œ œ œ œ œ ..
œ œ œ œ œ œ œ œ
R L R L R L R L R L R L L R L R

Now let’s try phrasing the drag in 8th-note triplets and sextuplets. In these examples the drag is
placed in different parts of the triplet.
! !
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
10 ! ! ! ! ! ! ! ! ! !
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
! ! ! !
÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
! ! ! ! ! ! ! !
! ! ! ! ! !
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
11 ! ! ! ! ! !
! ! ! ! ! !
÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
! ! ! ! ! !
These examples incorporate right- and left-hand drags in each measure.
! ! ! ! ! !
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
12 ! ! ! ! ! !
R LR LR L R LR LR L R LR L R LR LR L R L R L R LR LR L R LR L
These examples incorporate the drag into four-note groupings. Try playing all of the ideas as fills
at the end of a four- or eight-bar phrase. Have fun!
4 4 4 4 4 4 4 4 4
! ! ! ! ! !
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
13 ! ! ! ! ! !
For a video demo of some of these exercises, visit moderndrummer.com.
Powell Randolph is a teacher at Alpha Music in Virginia Beach. He tours with Windborne Music Productions, which puts on
rock shows with major orchestras around the world. He can be reached through powellrandolph.com.

JAZZ DRUMMER’S WORKSHOP
Elvin Jones–Style Triplet Fills MUSIC KEY
œœ ‹
œœ‹
+","
-"-"
Part 2: Orchestrating Accent Patterns

!"#"
."-"
*"#"
$"$"
%&'(()
by John Xepoleas
EX
3≠
(PP
HA
W elcome to our second lesson covering triplet fills based This is the same as the previous example, except the right SEL
> ! > ! > >

on the playing of jazz great Elvin Jones, who made a hand ends on the low tom.
> !
huge impact on drumming as part of legendary saxophonist !
‹ ‹ ‹
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ
John Coltrane’s quartet in the 1960s. The goal with this series
is to show you how to construct high-energy fills like those
! $
Elvin played, in an effort to take your drumming to a new
AL
level. I’ll teach you his sticking patterns and then show you IN
# $ # $ $ # # $ $ # $ $
how to apply them to the drumset.
»¡¡™ - ¡¢º
Here’s the sticking pattern for this lesson. Practice it until it Now combine a couple of the previous examples and play
becomes part of your muscle memory. them as a two-bar fill after two measures of time. In the
q following pattern we’re playing one bar of Example 2 followed
! > ! > ! > > > !

»¡¢¢
by one bar of Example 4 for the fill. A
!
q
MA
(PP
3 3 3 (PP
÷ 44 œ‹ ‹ ‰ ‹ ‹ ‹‰‹ ‹ ‹‰‹‹ ‹
6 $
‹ ‹ ‹ ‹
# $ # $ $ # # $ $ # $ $
Now let’s move the pattern around the drumset. To start,
play the accented notes using the ride cymbal and bass
drum. Play them with an aggressive feel, and make sure
> 3> 3> > 3 > 3 > 3> 3> > 3 > 3
‹ ‹ ‹‹ ‹ ‹ ‹‹
»¡£§> ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
they’re the lead parts in the pattern. Play all of the left-hand
notes softly on the snare.
q
> ! > > > !
EX
IN
! !
‹ ‹ ‹ ‹ ‹
(SS
! For this version we’re combining Examples 3 and 5 to
HA
SE
»¡§º
create the fill.
# $ # $ $ # # $ $ # $ $
q 3 3 3 $
÷ 44 œ‹ ‹ ‰ ‹
7 ‹ ‹‰‹ ‹ ‹‰‹‹ ‹
In this example the right hand starts on the snare and then
> ! > ! > >

moves to the toms.
!
> ! ‹ ‹ ‹ ‹
÷ 44 œ œ
! œ œ œ œ œ œ œ œ œ œ
> 3> 3> > 3 > 3 > 3> 3> > 3 > 3
‹ ‹‹
÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
# $ # $ $ # # $ $ # $ $
q"
Now the right hand starts on the snare and then moves to
the ride cymbal (played along with the bass drum); it
> > > > > !

concludes by hitting the high tom. That wraps up this lesson. Check back next month for the
! ! ! third and final installment of this series.
‹ ‹ ‹
! John Xepoleas has written two drum books, Style Studies for the Creative
Drummer and Essential Drum Lessons With the Greats. He is also an active
online educator. For more info, visit johnxdrums.com.
# $ # $ $ # # $ $ # $ $
For a video demo of some of these exercises,
q" visit moderndrummer.com.

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AROUND THE WORLD
Traditional Percussion on Drumset

MUSIC KEY
‹œ –— œ œ
Jam Timbal
Block High
œ‹
H.H.
Part 3: Timbales
S.D.
B.D.
H.H.
Mambo Timbal
w/foot
Bell Low
by Arturo Stable
I n a previous article (February 2013) I shared some of the

history of the timbales and a few of the main rhythms of the
main part. Most of the instruments are playing quietly during
this section. The drummer often plays on the closed hi-hat.
> >
instrument, and I recommended some great players to check R R L L R L R L L R L
out. I also included examples of how we’ve adapted those
2 ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
÷ 44 œ
rhythms to the drumset. In this article I want to share
œ
different grooves that you can use when you work alongside a
timbale player, which is very common in modern Cuban
dance music.
> >
> > > >
Cha Cha (2-3 Clave)
‹ ‹ ‹ ‹ ‹ œ ‹ ‹ ‹ ‹ ‹
1 —
÷ 44 œ — — — —œ — — — ÷ œ œ
‹ ‹ œ ‹ ‹ 4/4 Arriba (2-3 Clave)
> > >

Arriba translates to “up” and refers to a louder and more
energetic section of a song where the band plays a montuno
÷— —œ — — —œ — — —
vamp and the horns play heavy riffs. Here are two drumset
‹ ‹ ‹ ‹
parts that work for this section. The right hand plays the bells
3 — —– œ–– — —
3÷ 44 —œ
and snare, while the left hand plays woodblock and timbales.
4/4 Abajo (2-3 Clave)

÷ 44 œ‹
œ —–‹ œ œ‹ —‹ —
Abajo translates literally as “down.” In this context, the word
refers to a section of a song where the vocalist is singing the ‹ œ ‹ œ ‹ ‹
– —œ — —– — œ — —‹
÷–
‹ —œ —‹ —– —œ‹ œ —œ‹ —‹
4÷ ‹ — ‹ —– œ‹ – œ‹— —
4
4÷ 4 œ—‹ œ —–‹ œ –œ‹ —‹ —
÷ 44 œ‹ œ œ ‹
œ
‹ ‹
– —– —–
÷ – —œ — — œ —
÷ ‹ —œ —‹ —– —œ‹ œ —œ‹ —–
‹ ‹ œ‹ œ‹
q q
Afro-Cuban 6/8
Finally, here’s a basic drumset groove that works great =
j j
alongside a timbale player on tunes that have a 6/8 feel. The
‹ ‹j ‹ ‹ j ‹ ‹ ‹j
snare drum hits in the middle of the measure, which creates a
÷ 12 ‰ ‹ ‹ œj ‹
funky half-time vibe.
8
12 ‹œ ‹œ ‹ ‹
÷
q=q 8 œ œ ‰ œ
j
‹ ‹j ‹ ‹ j ‹ ‹ œ ‹
÷‹ ‹œ ‰ ‹œ ‹ œj ‹ œ ‹ œ ‹
÷ œ ‰ œ
Cuban-born percussionist Arturo Stable has performed with Dave
Samuels, Esperanza Spalding, Paquito D’Rivera, David Sánchez, Giovanni
Hidalgo, Miguel Zenón, and the Caribbean Jazz Project. For more info, q = q
visit arturostable.com. q = q
70 Modern Drummer June 2015 7
ROCK PERSPECTIVES
A John Bonham Foot Pattern

MUSIC KEY
‹œœo ‹. ‹œ
R.C.
C.C.
œœ‹
open Bell
H.H.
Creative Ideas Based on the “Four Sticks” Ostinato

T.T.
S.D.
F.T.
B.D.
H.H. Add'l
w/foot
by Powell Randolph T.T.
L ed Zeppelin’s John Bonham is considered by many to R L R L R L R L
÷ 44 œ
7
œ œ œ œ œ œ œ ..
be rock’s greatest drummer of all time. He’s definitely
‹ œ ‹ œ ‹ œ ‹ œ
one of my favorites, and in this article we’ll focus on a foot
pattern that Bonham used often. It’s essentially an alternating
pattern between the feet, starting with the left foot on the
hi-hat pedal.
Start by getting comfortable with the foot pattern by itself. Once you have that down, add accents and move the right
Make sure the hi-hat is played with the same force as the hand around the toms. Here’s one option.
> > > > >

bass drum. R L R L R L R L
÷ 44 œ
8
÷ 44
1
.. œœ œ œœ œ œœ œ œœ
‹ œ ‹ œ ‹ œ ‹ œ ‹ ‹ ‹ ‹
> >R > >

Now add some flams on the snare and flat flams on the toms. R L L R L R L
Œ Ó œ œ
÷ 44 ÷ œ œ œ œ œ ..
2 j
œ .. œ œ œ œ‹ œ
œ œ œ œ ‹ ‹ ‹
œ
‹ ‹ ‹ ‹
Œ œ Œ
÷ 44
3 j
œ œ ..
œ œ œ œ
In this next example we’re dropping in an open hi-hat hit at
œ
‹ ‹ ‹ ‹ the end of the measure. Any notes played on the hi-hat on the
offbeat will automatically be open because of the foot pattern.
Once you have this example down, experiment with some
Œ
variations of your own.
4
÷ 43 œj œ œ .. o
œ
R L R L R L
‹ œ ‹ œ ‹ œ ‹
÷ 43 œ
9 œ œ œ ..
œ œ œ œ
‹ ‹ ‹
Œ œ
÷ 44
5 j
œ œ
j
œ
œ œ œ œ
œ œ
‹ ‹ ‹ ‹ In the next example, the hands are playing a three-over- q = q
two polyrhythm.
L/R R L R
Œ Œ
÷ 43 œœ œ
10
÷ œœ œ .. œ œ ..
œ œ œ
j
œ œ œ œ ‹ ‹ ‹
œ
‹ ‹ ‹ ‹
q q q q
Œ
= =
÷ 43
6
If you add a couple quarter notes to the previous
j
œ j
œ ..
œ œ œ
pattern, you have a groove in 5/4 that’s very much like
œ œ
‹ ‹ ‹
the beat Bonham plays on the song “Four Sticks,” from
Led Zeppelin IV.
L/R R L R L/R L/R
5 œ œ œ œ
11
q= q÷ 4 œ‹ œ ‹œ œ œ‹ œ œ‹ œ œ‹ œ ..
This next one is a little tricky; it’s like rubbing your belly and
tapping your head at the same time. Play alternating 8th notes
with your hands (RLRL) over the LRLR foot pattern.
q = q
By spreading out a flam and delaying the last bass drum By hitting the snare on beats 2, 4, and 6, and by moving the
note, you can create a triplet at the end of the measure. You left hand to the crash, you can create a powerful four-over-
can play the triplet with either an RL or LR sticking. three polyrhythm.
> > >

L R L/R R L R L/R R L R L/R R L R L/R R L R
Œ Œ ‰
!
÷ 44
12
œ œ 17 ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
œ œ .. ÷ 46 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
j
œ œ œ
œ
‹ ‹ ‹ ‹ ‰
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
!
These next two examples use that triplet idea throughout the Now play the cymbal bell with the right hand, and the floor
measure. Beat 3 is played as a crossover, with the right hand tom and snare with the left. I also add splashes with the hi-hat
hitting the rack tom and the left hand hitting the floor tom. foot part on every other note. Kick the hi-hat pedal with your
heel to get the open notes, and stomp with your toe for the
R L R L R L R L
‰ ‰ ‰ ‰
! ! ! closed sound. Have fun!
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ ..
13 !
. . ˘ .
R/L L R L R/L L R L
‹ ‰ ‹ ‰ ‹ ‰ ‹ ‰ 18 ‹ ‹ ‹ ‹
÷ 68 œ œ œ œ œ œ œ œ œ œ œ œ ..
! ! ! ! ‹ ‹ ‹ ‹ ‹ ‹
L R L R L R L R o o o
‰ ‰ ‰ ‰
! ! !
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ ..
14 !
Powell Randolph is a teacher at Alpha Music in Virginia Beach. He tours with
‹ ‰ ‹ ‰ ‹ ‰ ‹ ‰
Windborne Music Productions, which puts on rock shows with major orchestras
around the world. He can be reached through powellrandolph.com.
! ! ! !
This example is written in 6/4 and is very similar to the

groove in the bridge of “Four Sticks.” Pay close attention to the
sticking and the tom orchestration. I’ve created a pattern
where the right hand descends down the toms while the left
hand goes back and forth between the floor tom, rack tom,
and crash. This keeps the three-over-two polyrhythm going on
the rack tom.
q=q
R/L R L R L/R R L R
‹
÷ 46 œœ œ œ œœ œ œ œ œ œ œœ œ œ ..
15 q = q
‹ ‹ ‹ ‹ ‹ ‹
Here, the flam on beat 1 is spread out so that it becomes

two 16th notes.
16 œ ‰
L R R L R R L R
÷6 œ œ
4 ‹ œ œ ‹œ œ œ‹ œ œ œ‹ œ œ‹ œ œ‹ œ ..
j q=q
For a video demo of some of these exercises,

visit moderndrummer.com.
q = q June 2015 Modern Drummer 73

CONCEPTS
Focus on Elimination
The Key to Success
by Russ Miller
H ere’s one of the topics I get asked about frequently by other

players. It probably stems from my work in pressure situations.
From sight-reading live on TV on American Idol to reading
late-night television shows with millions of viewers. If you let those
facts into your focus, you’ll melt down. When the nerves start to
build, stop for a second and think, What is actually requiring my
multi-page charts with an orchestra on a movie session, my ability focus right now? Just play your part of the music as well as you can.
to focus on the task at hand can be the difference between success
and failure. Eliminate the Distractions
Have you ever been to a show and noticed that it sounds as
“The secret for mastery is though you’re listening to a record? I’ve been to shows and
thought, I haven’t heard one thing that isn’t spot-on. When that
concentration; the success of happens, you’re witnessing musicians who’ve successfully
eliminated all distractions. This takes serious maturity as a
concentration is in elimination.” player. When something seems out of place, it usually is.
—Israelmore Ayivor Something could be flat-out wrong, like the time breaking down
or a note being out of key. Or maybe the tempos are way too fast
This month’s quote, by the African leadership coach Israelmore and the lyrics sound rushed. Often I hear something that was
Ayivor, sums up the key to focusing. Elimination is paramount. You played to bring attention to the player. Sometimes it’s a crazy
must eliminate what is not absolutely necessary at a given point in drum fill that’s overly busy or too loud or has no business being
time. This can be used in a few different ways when it comes to our played at that particular moment.
circumstances as musicians. It’s relevant in removing pressure and I recently went to a big drum competition. Each contestant
calming yourself. It’s also used to refine and focus the direction of came out on stage and played for about three minutes.
your playing. Collectively, in the eighteen to twenty minutes of combined
drumming on display, I heard about four bars of time. The core
The Pressure Cooker function of the drumset—to keep time—wasn’t present in any of
First let’s talk about the most obvious use of focus: to help the performances. One of the things I noticed while watching the
ourselves get through a pressure-filled situation. Everybody crowd was how everyone was longing to connect to the artist’s
experiences a measure of stage fright or performance anxiety. It’s playing through a form of groove. If the drummer would start to
just a matter of how much you let it debilitate you at crunch time. play a beat, people began to bop their head. Unfortunately, all of
I’ve seen a lot of different manifestations of performance anxiety the drummers left the groove almost instantly and moved on to fill
in my career. Some musicians don’t play the same way on stage as ideas. I kept thinking, Man, you had them…and you left them
they do in rehearsal, and I’ve worked for artists who become a hanging! The players were creating distractions from communi-
completely different person on the gig. They get visibly stressed, cating with the audience.
forget their parts, miss cues, and perform leagues below their Communicating with the band and then the audience is a
rehearsal level. I even witnessed a string player pass out on a primary job for every musician. The guy who played the most
movie session. Her face went right into the music stand! groove at the competition ended up winning. Why? Because he
I’ve suffered from nerves many times, like when I had to play a made the strongest connection with the listeners and the judges.
ten-page chart containing eight different time signatures with an I feel that these competitions should require all of the contes-
eighty-five-piece orchestra, while watching a conductor, syncing tants to perform with a click track so they are forced to play
with a click track, and referring to a movie-cut playback. So how everything in time. It’s much harder to execute drumming
do you get through these extreme situations with your career acrobatics with a solid pulse. The event was essentially an example
intact? Of course, not every situation is as stressful as a Hollywood of what not to do if you ever want to work in the music business.
movie session. But even playing with your band at a club can really This is why players who get work for playing great time are seldom
get to you, especially if you don’t learn to eliminate distractions the ones attempting inappropriate drumming acrobatics.
and focus. If you’re one of the drummers who feel the urge to be “impres-
The key is first recognizing what’s actually requiring your sive” by squeezing in chops and licks every chance you get, realize
attention while you perform. It’s probably not the cute guy or girl that the heaviest cats in the room will be moved only by moments
in the front row, the 10,000 people in the arena, the eyes of the of great musicality. Whatever you play has to be relevant to what’s
producer, the camera, or the red “recording” light. What’s likely currently happening in the groove and music. Sorry, but those
requiring your attention is the chart, the time, the dynamics, the “look at me!” moments are clear signs of immaturity. When you
execution of tones on the instrument, and the act of opening your deliver the music respectfully and passionately, it connects with
ears to listen to the band and yourself. Eliminate everything else. everybody in the room. The band, the listener, the producer...
You should play the music by yourself the same way that you do in everybody is drawn to your performance.
front of 50,000 people. How many times have you zoned out while watching someone
I’ve played halftime shows at football bowl games and on playing? That’s a failure of the artist. You never want to lose the

NOT ONLY
audience to distraction. You couldn’t take your eyes off Michael
Jackson, not feel the emotion of the lyrics delivered by Frank
Sinatra, or fail to connect with the rhythmic drive and energy of
WILL YOU
Elvin Jones or Buddy Rich. Focus your energy on the task at hand.
If the current task requires some awesome drumming skills, great!
Go for it. If that’s not the focus at that moment, don’t distract
SOUND
yourself and everybody else by forcing things into place.
This focus on the elimination of what is not required is one of
the differences between good and great musicians. Your internal
GOOD,
focus while playing will in turn determine the focus of the band
and the audience. Keep yourself zeroed in on the important things
in the music, and everybody will end up being focused on you.
Learning to eliminate distraction is the way to succeed in many
YOU’LL
things. It’s the key to effective time management, successful
business decisions, keeping calm in pressure situations, and
playing music at the highest level. My favorite Star Wars quote:
LOOK
“Your focus determines your reality.” If you focus on maintaining a
high level of execution, it will become a reality. Do this through the
process of elimination.
See you next month!
Russ Miller has played on recordings with combined sales of more than
26 million copies. His versatility has led him to work with a wide range of
artists, including Ray Charles, Tina Turner, Nelly Furtado, and Andrea
Bocelli. For more info, visit russmiller.com.
GOOD!
Introducing four all-new
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Order now at moderndrummer.com
DRUMSTRONG 2015
MAIN EVENT::MAY 8 + 9
visit drumstrong.org for an event near you
share your pulse come out & PLAY
drumstrong.org
Supporting cancer survivorship,
education and research globally
through RHYTHM
the power is in your hands

Highlights From
NAMM 2015
This past January, large and small drum
manufacturers from around the world
brought their latest wares to Anaheim,
California, for dealers and guests to check
out. Here’s a baker’s dozen of our favorites.
For additional NAMM Show coverage,
visit moderndrummer.com.
Photos by Michael Hacala and Michael Dawson
CANOPUS
Neo-Vintage 6.5x14 Maple/Poplar Snare
This odd-looking snare from the Japanese company Canopus
features twelve lugs on top and six lugs on the bottom. It’s
designed to produce big, fat tones.
DIXON
Gregg Bissonette Signature Snares
For utmost versatility, top Dixon artist Gregg Bissonette had the
company build him two signature 6.5x14 models: one with a
hammered and beaded black-nickel-over-brass shell and one
with a black-nickel-over-steel shell.
DW MDD Direct-Drive Hi-Hat

To accompany the MDD direct-drive bass drum pedal, which was one
of last year’s releases, DW put out a tough-looking MDD hi-hat that can
switch from the free-floating feel of a 9000 series stand to the solid-
stock pull of the 5000 series.

ISTANBUL MEHMET
Tony Williams Tribute Collection
This set of limited-edition cymbals (18" crash/ride, 22" ride, 14" hi-hats) is
designed as a replica of the Turkish-made setup that jazz great Tony Williams
used in the ’60s.
GRETSCH
Broadkaster Drumset
Harking back to the drumset design that made the company
famous in the 1920s through ’50s, Gretsch has revived its
classic Broadkaster series, which features 3-ply maple/
poplar/maple shells and vintage-style appointments.
MEINL
Byzance Extra Dry Series
20" and 22" Dual Crash/Rides
These two-tone models provide clear ride capabilities and
crashes due to the raw center section and polished edges.
LUDWIG
Copperphonic Snare
To round out the ever-popular Supraphonic line of snare drums,
Ludwig added a copper model with a raw finish.
NFUZD AUDIO
Inspire Series Electronic Drum System
These pads are designed to fit right over the rim of any acoustic
drum. The cymbals have three zones and choke features, and
the two-piece hi-hat mounts to any standard stand. The sounds
included in the module are uncompressed. The module can also
grab samples from any sound library, and it includes a special
version of BFD Eco software.

PEARL
Crystal Beat Acrylic Kit With DrumLite LEDs
To boost the visual appeal of its new Crystal Beat acrylic kits, Pearl worked out a
deal with DrumLite to include LED light packages as an optional upgrade.
PAISTE
PSTX Effects Cymbals
These affordable perforated cymbals are designed for more
controlled, exotic, and gated tones. They’re trashy and sharp
sounding, and the line includes various sizes of crashes,
hi-hats, splashes, and stacks.
TYCOON
Triple-Play Cajon
One of the most practical and versatile new products we checked
out is this cajon model that features three different surfaces. One
side is snare-less for classic Pervuian-style sounds, another is set up
to provide hybrid high-pitched bongo/cajon tones, and the third
has snares under the faceplate.
TAMA
Star Series Walnut Drumset
To add warmer, fatter tones to the super-high-end Star series,
which originally comprised bubinga and maple options, Tama
is now offering drums and kits made from walnut.
ZILDJIAN
FX Spiral Stackers
In addition to unveiling heavier models for the vintage-style Kerope series,
Zildjian caught our attention with a few unique Spiral Stackers, which can be
placed on top of any splash, crash, or ride for funky, noisy effects.

New from
N ow you can carry up to two dozen

pairs of sticks, mallets, and brushes
in style with the new MD Deluxe Stick
Bag. It’s made from durable Cordura
fabric and features six deep padded
pockets, two tom-hanger cords, a loop
handle, a shoulder strap, and a zippered outer pocket for all of your
odds and ends, including the latest issue of Modern Drummer. The bag Order today
is 18" long, 10" wide when closed, and 21" wide when open, and a
heavy-duty zipper keeps everything secure in transport. for only
So whether you’re taking your sticks to practice, heading out to a gig, or
keeping everything all in one place in your studio, you’ll be thrilled to
$29.99!
have the attractive MD Deluxe Stick Bag with you.
(Sticks, brushes, and mallets are not included.)
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D’Angelo and the Vanguard Black Messiah
There was a rush of attention last December when the R&B trailblazer released
his first album in fourteen years. But we’ll all be studying this one for a while.
The savory grooves, soulful melodies, and amazing sounds on Black Messiah evoke Marvin Gaye, Prince,
P-Funk, and the Beatles. You’ll be hooked immediately by the rich, decaying crash cymbal on opener
“Ain’t That Easy” and the multitracked rimclick on “Betray My Heart.” Ahmir “Questlove” Thompson
gets the call for the bulk of the material, shuffling the raw groove back and forth with Pino Palladino’s
off-the-beat bass on “1000 Deaths” and rushing the backbeats intentionally on “Till It’s Done (Tutu),”
bringing a powerful and unsettled vibe. “Another Life” features a salvo of tightly tuned snare flams
and deep, roaring cymbals. Chris Dave contributes the solid and playful “Prayer,” while R&B legend
James Gadson provides the album’s smoothest moments, from the laid-back funk of the aforemen-
tioned “Ain’t That Easy” to the radio-ready, rim-rattling “Sugah Daddy.” On “Really Love,” Gadson
shows he too has listened to J Dilla, kicking some silly, syncopated soul. (RCA) Robin Tolleson
Wovenwar Wovenwar Mahavishnu Orchestra

Laser-beam precision defines the Whiskey A-Go-Go 27.03.72
former As I Lay Dying drummer on A previously unissued live set
his new project. from the famous fusion group is
Following frontman Tim Lambesis’s welcome, particularly for fans of
arrest, the remaining members of As drummer Billy Cobham.
I Lay Dying re-formed around singer While Mahavishnu Orchestra rages on
Shane Blay to record this thick slab of the early-’70s albums The Inner Mounting
razor-sharp metal, produced by legendary All/Descendents/Black Flame and Birds of Fire, the audio quality is weak at best, distorted
Flag drummer Bill Stevenson. Drummer Jordan Mancino sticks to at worst. Taken from a live console feed, this concert recording is
a no-nonsense approach, throwing in perfectly executed double a revelation of group detail, with every note of Billy Cobham’s
bass on “Archers” and “Identity,” plus some wicked toms on the scorching jazz-rock drumming revealed as never before. The
verses of “All Rise.” Things slow down for a brief minute during the biggest surprise is Cobham’s attack, which registers at dynamics
production piece “Father/Son,” but that’s a fake-out, as the rest of from whisper quiet to heavy-metal extreme. Creating the template
the album features Mancino riding his crashes and whipping out that influenced the careers of everyone from Dennis Chambers
one punishing snare fill after another. It’s extremely aggressive to Vinnie Colaiuta, Cobham’s drumming is a study in subtleties,
stuff, and the exactness and suffocating nature usually on display culminating in “The Noonward Race,” which joins Jimi Hendrix
on this type of modern metal record leaves little room to breathe. with Black Sabbath for a maniacal sound never heard before or
Anyway, how can you breathe when you’re banging your head? since. (Klondike) Ken Micallef
(Metal Blade) Ilya Stemkovsky
Toto XIV
The Dream Logic My Black Arts Toto’s first studio recording
Crossover in the best sense of in nearly a decade features
the word, this multi-style album sophisticated arrangements,
makes a good case for the ongoing deep lyrical content, and the
open-ended nature of rock, jazz, tough but elegant drumming
and R&B. of Keith Carlock.
Camille Gainer-Jones creates a world Longtime fans will revel in the trademark
of hybrid drum sounds, acoustic and polished production and progressive Beatle-esque level of
enhanced, with the Dream Logic, brainchild of guitarist/vocalist compositional prowess on Toto’s new studio release. Masterful
Charles Compo. A crisp pop-rock beat on “My Red Heart” leads musicianship and superb vocal artistry resonate throughout,
to some pounding on the War classic “Cisco Kid.” “Biznasty” is reaffirming the longstanding benchmark set by these highly
interesting psychedelic rock and soul, and Gainer-Jones’ groove decorated L.A. masters. The Toto drumming legacy began with
on “It’s Murder” is broken, edgy, and fierce. “Just Can’t Quit It” the unrivaled pocket of the late, great Jeff Porcaro, was carried on
is straight-up rock with some cool hi-hat stuff—she’s thinking by British legend Simon Phillips, and is now brought forward by
hip-hop and jazz. “Trying to Be a Buddha” features live dub effects Porcaro’s kindred spirit Keith Carlock. From the classic ’80s-based
and cool triplets on the snare and hats, while “Don’t Judge” is 16th-note hi-hat groove of “Chinatown” to the Steely shuffle “21st
sweet soul jazz and “Think I’ll Stay” has a great rimclick groove, Century Blues” and the rhythmically progressive “Orphan” and
subtle and strong. Gainer-Jones saves her most wicked beat “Great Expectations,” Carlock’s contributions to Toto XIV usher in
for last; the set-ending title track is a romp with halting fills and a new era of finesse drumming in pop music. One can only hope
stumbling, rumbling grooves moving from half time to triple time. that this tasty trend will continue. (Frontiers) Mike Haid
(Chaos Music Company) Robin Tolleson

MULTIMEDIA
Holmes, guitarist Jeff
The View From the Back of the Miley, and bass player
Band: The Life and Music of John Flitcraft produce
Mel Lewis by Chris Smith a unique bicoastal
There was a time when certain jazz blend, and Holmes
drummers were instantly identifiable. proves his deftness at
One was Mel Lewis, subject of this superb shaping subtle rhythmic
book. Chris Smith, a drummer and jazz statements and pulling
educator, has beautifully interwoven the a plethora of tones and textures from his Yamaha kit, building a
man and his music via extensive inter- perfectly balanced ghosted/accented dialogue from a whisper to a
views—including with Lewis himself— roar. On “Sinister” the drummer displays his double-stroke mastery,
and long-lost, previously published materials. Smith also includes and on “Digging Out” he catches key accents yet eases in and out
transcriptions and an overview of the equipment that was essential of time with blistering crescendos. Holmes, who edited the video
to the unique and singular sounds Lewis was able to get from his of this eight-camera, HD streaming/download release, thoughtfully
drums and cymbals. Curiously, the man who recorded almost 700 captures crucial highlights of each player’s performance. (from $5,
records and drove the bands of Stan Kenton, Terry Gibbs, Gerry alteredlive.vhx.tv) Mike Haid
Mulligan, and dozens of small groups had little technique in the
traditional sense of the word. But he knew what his job was: to
accompany, to inspire, and, above all, to be musical. Independent Cymbal Rhythms
The biography really takes off with the story of the beginnings by Bobby Williams
of the Thad Jones/Mel Lewis Jazz Orchestra, an ensemble that While many books have focused on
changed the course of big band music. Smith effectively details its independence and coordination, the
beginnings on Monday nights at New York City’s Village Vanguard material often includes exercises for
and its evolution into a touring road band. In 1977 Jones left the kick, snare, and toms while a cymbal
group to settle in Denmark and lead the Danish Radio Orchestra. pulse or pattern remains steady. Bobby
Lewis kept the band going until he lost a courageous battle with Williams offers a challenge here, with
cancer at age sixty. Now known as the Vanguard Jazz Orchestra, ever-changing cymbal parts that are
the ensemble plays every Monday night at the Vanguard, as it has tricky yet musically satisfying. Ranging from 8th notes to triplets to
for forty-eight years. Mel would be pleased. ($24.95, University of 12/8, there’s no shortage of cool stuff to play on the ride or hi-hats,
North Texas Press) Bruce Klauber and the kick and snare notation can make things a bit hairy, so it’s
suggested to straighten out the bass drum to even quarter notes
before moving on to the music presented. That means the exercises
Anthrax Chile on Hell will take quite a while to master and should be taken piecemeal
By the middle of the classic “Caught in a in their one-bar examples. Sure, advanced players can alternate
Mosh” from this 2013 live performance hands if they’re feeling up to it, or even add bass drum notes where
in Chile, Charlie Benante has already rests are notated, as Williams recommends. But the varying cymbal
switched from a lightning-speed double- material on its own should keep most of us busy for a while. ($12.99,
time assault to a heavy four-on-the-floor Hal Leonard) Ilya Stemkovsky
beat to odd-metered patterns, injecting
double bass flurries without blinking an
eye. Anthrax has been at it for a very long Stompin’ in Seven for the Solo
time, and while some might cry foul at yet another live DVD with a Drummer by David Reeves
similar set list, this time around classic-era singer Joey Belladonna Influenced by Wynton Marsalis drummer
is back and the band is clearly inspired by the mayhem from the Herlin Riley, David Reeves created this
rowdy South American crowd. The production value is high, with advanced multi-percussion solo for
clear video (although the quick cuts and split screens get annoying) snare, bass drum, and hi-hats to sound
and exceptional audio, so Benante aficionados can hear the fat improvised, although each note is clearly
toms in “Indians” and the unflinching groove on a cover of AC/DC’s written out and explained. The snare
“T.N.T.” Fans of today’s extreme metal drummers would be wise to and bass parts serve as a “dueling duet”
check out this recent showing from one of the originals, still doing (especially with the double pedal), while
it at the top of his game. ($16.98, Megaforce) Ilya Stemkovsky the foot-only hi-hat acts as accompaniment. This piece, just under
five minutes in length and written in 7/4, is a challenging solo for
contests, concerts, or just for fun. With swung 8th notes, lots of
Altered Live 2014 buzz rolls, and a distinctive New Orleans flair, the “duet for one”
This fifty-minute concert film featuring the trio Altered, led by score/CD-ROM package is a great addition to any drumset player’s
drummer Steve Holmes, represents the essence of the small-club library. ($16, Tapspace) Andrea Byrd
vibe of L.A.’s longstanding jazz-fusion haven, the Baked Potato.

“I’ve been reading Modern Drummer
since I began playing the drums.
It’s been a constant source of information for
my drumming career—a way to learn about
new players and new gear, and to read up
on all of the drummers I love and admire.
I always enjoy seeing the setups of my favorite
drummers, reading their perspectives, and
learning about their careers. The staff at
Modern Drummer is forward thinking, and
they truly have drummers’ best interests in
mind. This is exactly why Modern Drummer
is, has been, and will continue to be the
magazine for drummers.”
—Matt Halpern of Periphery
DRUMMERS
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WHO KNOW
READ MD.
KEEP YOURSELF IN THE KNOW. SUBSCRIBE AT MODERNDRUMMER.COM.
ENCORE
Bill Evans Trio

Sunday at the Village Vanguard
A shaky start and a tragic end couldn’t keep this
collection from becoming a classic.
O n Sunday, June 25, 1961, a portable

Ampex tape recorder was perched on a
back-wall bench in New York City’s cramped
term influence the past few hours would
have. They also couldn’t have foreseen that
their closing tune, LaFaro’s composition
basement club the Village Vanguard. The “Jade Visions,” would be the last piece
goal was straightforward and low tech: they would play together. The ascending
The Bill Evans Trio was at the tail end of a twenty-five-year-old bassist perished ten
two-week engagement, and jazz producer days later, when his car skidded off an icy
Orrin Keepnews hoped to capture the road and into a tree.
final matinee and evening performances. On the fortieth anniversary of the
Waiting until the last day was deemed risky, Vanguard performances, Motian told
should there be unforeseen problems, but it writer Adam Gopnik of The New Yorker,
was the only scheduling possible. “[Evans] was good. But I was good with
Sure enough, there was a sudden power him, you know, because I listened. We Sunday at the Village Vanguard
outage, rattling Keepnews. But the lights listened to each other, and you can still hear (1961)
quickly flickered back, the reel rolled, and us listening when we play.” Gloria’s Step • My Man’s Gone Now • Solar •
Alice in Wonderland • All of You • Jade Visions
pianist Evans, drummer Paul Motian, and At the time of the engagement, Evans
bassist Scott LaFaro swung into their first was already an important new voice in jazz,
Bill Evans: piano
set of the afternoon. What followed was a helping to shape Miles Davis’s ultra-classic Scott LaFaro: bass
two-show, five-set piece of history, yielding Kind of Blue. Since signing to Riverside Paul Motian: drums
one of the landmark live recordings of jazz, Records, Evans had been recruiting a Produced by Orrin Keepnews
an event that defined a new approach to variety of fine bassists and drummers. But Recorded by Dave Jones
the jazz piano trio format itself. he discovered an especially rare bond with
When the three packed up that night, Motian, whose sensitive, swinging touch, ideal complement to Evans’ shimmering,
they couldn’t have understood the long- interactive open-mindedness, and respon- impressionistic sound.
sive ear ideally suited the introspective By the dawn of the Vanguard dates,
Hot Stuff pianist’s explorations. Furthermore, Motian the trio’s concept was at its pinnacle. And
Setting each other free. On the Miles Davis intuitively understood that Evans sought to having just returned from the road, the
number “Solar,” pianist Bill Evans gets the dismantle his trio’s boundaries. players were more in sync than ever. The
first eight bars to himself, and the instant
Once the astonishing LaFaro joined Riverside label’s Vanguard album—with
drummer Paul Motian and bassist Scott LaFaro
enter, they shake things up vigorously. The
Evans, the circle was suddenly, brilliantly its intermittent clinking glasses and bar
head becomes merely an improv reference whole. The trio introduced their newfound chatter—stands as a living snapshot of
point, never fully played out. Motian swings, sound on Evans’ Portrait in Jazz (1959), a musical turning point. An immediate
playing freely over the barlines, eschewing followed by Explorations (1961). The follow-up LP featuring additional selections
typical 2 and 4 signposts, while LaFaro bobs innovators broke the traditional mold of the from those sets, 1961’s Waltz for Debby, is
and weaves. Casual listeners may be unsure piano trio as a lead instrument supported also a classic.
where the 1 is during the solos. Doesn’t
by a rhythm section. Instead, the unit was Evans’ career would enjoy other trium-
matter. Motian is a swinging slipstream.
an equal-voiced chamber group. Departing phant sessions. But the model for many of
Playing it (relatively) straight. Reinventing from traditional walking bass patterns, his future bands stood on the shoulders of
the standard “All of You,” Evans explores LaFaro danced freely between Evans’ Motian, LaFaro, and the Vanguard record-
brilliant reharmonizations. Motian provides phrases, offering a continuous commentary ings. And throughout Motian’s own long
a cooking, more straight-ahead pulse here, of rhythmic and harmonic suggestions. career—up until his passing in 2011—the
allowing Evans to rhythmically stretch with
Motian was immediately simpatico with drummer continued to embrace and
his left hand. The drummer unleashes his
finest solo of the sets, with melodicism, the bassist’s approach, interplaying freely evolve the concepts he helped to define on
dynamics, and fiery chops. LaFaro comments while still delivering strong, swinging time. that historic day. Those elements are quite
freely over Motian’s solo, asserting that even Motian generated an urgent—though evident on one of Motian’s final recordings,
the traditional concept of trading fours will never heavy-handed—forward pulse a trio tribute to Evans featuring Chick Corea
be interactive. In the final head, the three with intricate brushwork and nimble ride and Eddie Gomez, aptly titled Further
contribute so collectively that no one fully
cymbal variations, uniting the ensemble. Explorations. As always, you can hear
owns the wrap-up.
And his exquisite colorations lent an him listening. Jeff Potter

GREAT DRUM COVERS III
Bruford
Feels Good to Me
1978
“Gered Mankowitz,” Bill Bruford
recalls, “was the celebrated
photographer of the day who’d
shot everyone from Hendrix to the
Stones, and, in our case, the King
Crimson Red photo, aka ‘the good,
the bad, and the ugly.’ There was just
enough money left in the budget
to use him again. I’d always been
struck by the visual beauty of my
Paiste gongs under the stage lights,
and I knew Gered would be able
to highlight all those colors in this
portrait shot. I can’t remember why
I decided to hold a hi-hat clutch
between my first and second fingers,
left hand, other than to have people
say, ‘Why’s he doing that?’ or ‘What’s
that?’ Dumb, really.”
Gretsch Drum Night at Birdland

1960
Art Blakey
and the Jazz Messengers
Roots & Herbs
1970 (recorded 1961)
Roy Burns
Drum Set Artistry
1971

BACKBEATS
2014 Guitar Center
Drum-Off
Grand Finals
T his past January 17, Guitar Center’s

2014 Drum-Off Grand Finals were held
at Club Nokia in Los Angeles. With sturdy
time, flashy chops, and even a quote from
John Coltrane’s “Giant Steps” on the Roland
Octapad, Shariq Tucker, from the Bronx,
New York, was crowned the winner by host
Gregg Bissonette. The runners-up were Clyde
Frazier, from Orangeburg, South Carolina;
D’Andre Gosey, from Pasadena, Texas; Forrest
Rice, from Rancho Cucamonga, California;
and Jharis Yokley, from Crestwood, Missouri.
“They were all amazing,” Bissonette tells
MD. “Nobody just blew without playing a
groove, and nobody just grooved without
blowing, so it was a good mix. The judges
had a hard choice, because the finalists were
really close, I thought.” Advancing steadily
through local and regional rounds over
the past year to emerge victorious in the
end, Tucker, who was a runner-up in 2013,
will receive prizes worth nearly $45,000, Clockwise from top: Shariq Tucker, D’Andre Gosey, Jharis Yokley, Forrest Rice, and Clyde Frazier
including $25,000 in cash, a Roland TD-30KV
kit and SPD-SX pad, a set of cymbals of his choice, and a high-end Garstka opened the show with a solo and then did a short set with
drumset by DW, Tama, Pearl, Gretsch, or OCDP. Animals as Leaders. Royster, who brought a full band, joined a trio
The judges for the event included DeShaun Allen, Gorden of marching drummers and played a kit duet with Mike Moore
Campbell, Cora Dunham, Dave Elitch, Peter Erskine, Eric Hernandez, (Making His Band). And Stephen Perkins took a break from hosting
Chris Johnson, Mike Johnston, Thomas Lang, Nick Smith, and Brooks the finals to connect with Tim Alexander for a long, drum-heavy
Wackerman. Steve Jordan was honored with an induction into workout on King Crimson’s “21st Century Schizoid Man.”
Guitar Center’s RockWalk and played with his band the Verbs. Matt Photos by Alex Solca

Stephen Perkins and Tim Alexander played an epic version of King Crimson’s “21st Century Schizoid Man.”
Says host Gregg Bissonette, “It was amazing to see how well orchestrated all their parts and duets were.”
Steve Jordan joined

GC’s RockWalk and
played with the Verbs.
“Man, what a groove,”
Bissonette raves.
“His pocket was just
so deep.”
John Blackwell
Tony Royster Jr. (top) brought a full band. “Great playing, kind of funk/
pop,” Bissonette says. “Just phenomenal.” Royster also played with
Mike Moore (bottom).
Matt Garstka performed with

Animals as Leaders. “I told him, ‘Man,
you knocked me out!‘” Bissonette
says. “I was supposed to be looking
at my notes, but I couldn’t stop
watching and listening.”

Guitar Center Drum≠ Oﬀ, the worldí s premier drum Hosted by Gregg Bissonette, the show featured
competition, celebrated its 26th anniversary with exclusive musical performances by some of todayí s
a star≠ studded nals event featuring the top ve most revered and innovative talents, including Matt
undiscovered drummers in the country. Garstka with Animals as Leaders, Stephen Perkins
with Tim Alexander, Tony Royster Jr. featuring
Shariq Tucker of Bronx, N.Y., was named this yearí s Mike Moore, and Steve Jordan with The Verbs. The
championó out of more than 5,000 competitorsó night also honored Jordaní s in uential career and
by an all≠ star lineup of competition judges, contributions to the music world with an induction
including top touring and session drummers like into Guitar Centerí s RockWalk, and the spectacular
Cora Dunham, Eric Hernandez, Peter Erskine, evening closed with a private after≠ party DJí d
Thomas Lang, Chris Johnson, Dave Elitch, Gorden by Trevor Lawrence Jr.
Campbell, Nick Smith, DeShaun Allen, Brooks
Wackerman and Mike Johnston.
Matt Garstka
Tony Royster Jr Gregg Bissonette
Steve Jordan Stephen Perkins Drum≠ Oﬀ Contestants Tim Alexander

#TUNEDUPNICE
#FASTTUNING
#HUGESOUND
#LOVETHESETHINGS
#LEVEL360

Dangerous Curves
*+,-,.%/0%102-,)%3'452$5
“T his is my 1975 Ludwig Vistalite spiral
kit,” Tim O’Connor of Wickenburg,
Arizona (timtrapsoconnor.com), says. “It
started off as a six-piece kit and turned into
fifteen pieces. Never leave your drums alone with other drums!
“I’ve had the kit all over the USA, and I had the opportunity to play with
Chuck Berry in 1983. As he walked out, he looked at my drums and said, in
front of 6,000 people, ‘What the hell is a giant roll of Life Savers doing on
stage?’ He smiled and gave me a thumbs up.
“Some bands wouldn’t allow me in their group due to the color and style
of my drums. Their loss! I’ve also used the drums as a Christmas tree, stacking
them up. I still have all my original Ludwig stands and Speed King pedals. The
only new parts are the rubber feet on the bass drum and floor toms.
“What makes this kit different is that the spiral pattern goes the opposite
way on one of the 15" toms—from top left to bottom right, rather than
bottom left to top right. I guess someone wasn’t paying attention to detail.
I’ve had a blast putting the kit back together. I keep it under lock and key and
only bring it out for special occasions. This is the last of the Monster Vistalites!”
Photo Submission: Hi-res digital photos, along with descriptive text, may be emailed to [email protected]. Show “Kit of the Month” in the subject line.
Coming Up in Modern Drummer

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Jack White’s Daru Jones

Antemasque’s Dave Elitch
Reasons to Love the Kinks’ Mick Avory D MUCH MORE!
AN
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ZILDJIAN.COM/DRUMSTICKS DRUMSTICKS

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WIN A CANOPUS/DREAM PACKAGE VALUED AT $9,000

THE WORLD’S #1 DRUM MAGAZINE

STUDIO TALK WITH

WISE UP & WARM UP

For more information on the Gen16 series go to Zildjian.com/gen16

Cover and contents photos by Gerhard Kühne

Education Equipment Departments

70 Around the World 84 Critique

A John Bonham Foot Pattern

74 Concepts an 18" crash, a 22" Contact crash ride,

The Key to Success

Second Prize: Canopus 4-piece Yaiba II Bop Kit (14x18

teachers, who I consider my great friends: David Summerlin, Tony

drummers in Wilmington, North Carolina. These four men have

been an influence on me throughout my life, since I was twelve

of—a reputation as being very demanding of

were always helpful.

I am now fifty and teaching

Photos by Paul La Raia

my students feel important and Parents Well”

Kenny Washington empowered. We are friends as

M any of you will recogni Publisher/CEO

become confident and complete

Thank you, David, Tony,

feel, and tone suffer. In this month’s Catchin

John Golden Jr.

HOW TO REACH US [email protected]

10 Modern Drummer June 2015

FROM NAMM 2015 Rock Perspectives HEAR THE DRUMMING!

BLOGS GET WIRED NEWS SOCIAL MEDIA

12 Modern Drummer June 2015

Meinl Announces Lineup for 2015 Festival

Who’s Playing What

14 Modern Drummer June 2015

Josh Freese is out with the

Ryan Brown is on a world

Also on the Road

Sepultura /// John Humphrey

June 2015 Modern Drummer 15

H ave you ever brought a pair of antlers to use as sticks on a

16 Modern Drummer June 2015

F eaturing bassist Baron Browne, guitarist Vinny Valentino, alto

George “Funky” Brown

K ool & the Gang has sold 70 million records, including

A longtime martial arts enthusiast, Brown began to suffer from

June 2015 Modern Drummer 17

E-Drums and This is a very common problem,

I live in a very old three-story apartment

18 Modern Drummer June 2015

5-Piece Electronic Drum Set

Maxwell Drums Nesting Kit

Specs and Features

Size Versus Sound

20 Modern Drummer June 2015

June 2015 Modern Drummer 21

Paiste Masters Dark Crashes and Hi-Hats

T he Masters series started in

16", 18", and 20" Crashes

22 Modern Drummer June 2015