Drum Life

I started playing drums around 1978 before I was 10 years old.

It must've been around that time my Uncle Greg, who was more a big brother to me than a younger half-brother to my mom, put together this ramshackle drumkit in his mancave of a basement. Well, it was his parent's basement and Grandma Wright--Lord love her!--put up with our noise making! The foundation of the kit was a 4-piece, Ringo-style kit with pearlized shells, but my uncle had added other drums, like a snareless snare drum that was gerry-rigged with cable and tape as a "rack" tom and then there were the mismatched cymbals.

Let me backup and set the stage for you, so to speak...and there was actually a stage. In the northwest corner of my grandma's basement, under the guest bedroom and bath, sat what today we'd call a mancave. In there, my uncle had his workbench, a converted model train table cluttered with projects in various stages of completion. He was a tinkerer by hobby. Across the room, he'd built a one-foot high drum riser out of plywood and two-by-fours that he covered with artificial turf, the bright green scratchy kind. Atop that riser, sat his ramshackle drumkit that would've looked appropriate as part of Fat Albert's Junkyard Gang.

Now the masonry walls were painted a deep blue, a shade darker than royal, but lighter than navy. Upon that backdrop, my uncle had hand painted the Journey "Evolution" album cover and something from the Prince collection, who at that time was still the artist KNOWN simply as Prince. Now the painting may have come sometime later, probably the 80's, but this is how I remember Greg's mancave. Against the wall sat his behemoth homemade speaker cabinets with two woofers--12- or 15-inch, I'm not sure which. Suffice to say, those suckers were loud. They were powered by this pieced together Hi-Fi system that was my uncle's crown jewel!

His album collection contained the hottest rock on vinyl from that era--Journey, Foreigner, Styx, Toto and the like--so that's what he liked to play along to. The first songs I remember him playing for me were "Hot Blooded" and "Hold the Line," at such extreme volumes so as to hear the music over his heavy-handed playing. I wanted to emulate him, emulating Foreigner's Dennis Elliott and Toto's Jeff Porcaro. When I took the 5A sticks in my hand and felt the pedals beneath my feet, there was a jolt of energy and something took hold of me. Those sticks would become my magic wands, of sorts.

I played for countless hours--to my grandparent's chagrin--along with those records, trying to get every nuance of Jeff Porcaro's 4/4 blues pattern with the triplet feel and matching the power of Elliott's hard-driving pulse. I would eventually work up the nerve to try capturing Neil Peart's essence on 2112 "Overture/Temples of Syrinx." That album, brought over by my uncle's buddy Gary Davis, transfixed me for hours and launched my lifelong love affair with Peart and his band, Rush!

Long after Uncle Greg's flirtation with the drums ended, I began making magic on his ramshackle drumkit in the basement. He'd be out with girls during his high school days (Class of 82) or playing basketball with his buds in the backyard and I'd be hammering away Loverboy's "Turn Me Loose" or Journey's "Lovin', Touchin', Squeezin'" inside. In fact, that Journey tune was probably the second song I learned after "Hot Blooded." Those two and "Hold the Line" (Toto) were the first three songs I ever played on a set of drums. Prior to that, I'd only played pillows on my bed or mom's couch with two Lincoln logs.

I'd eventually graduate to much more diverse music, starting with Styx, Rush, Led Zeppelin and Triumph, but everything I played I learned by ear. I'd already trained myself to listen to the beat of any song first, to learn the drum pattern and to play in time along with records or the radio. I think that's the best way to learn to play the drums. Playing in-time with vinyl records was better than trying to match the speed of the metronome because music has a pulse and a groove. There is no way to simulate that any other way, unless you have recorded rhythm tracks with which to keep time.

When we moved away from Indiana after my high school graduation in '86, my uncle offered for me to take his drumkit with me. It had been scaled down to the original Ringo-style foundation and a couple of cymbals, but it was the perfect size to fit our Tallahassee apartment bedroom, the one I shared with my brother. My parents would never buy me a set of drums. Apart from the expense, they didn't have the patience or hardness of hearing like my grandparents in Princeton (IN). However, they graciously acquiesced because they knew how much my passion for drumming had grown.

It was in that small apartment bedroom at Cameron at Woodcrest in Tallahassee (now Live Oak at 850), that I worked up the nerve to play publicly. So that when asked to play in front of the youth group at church, I did and I was hooked on the live playing experience. I cut my teeth playing for youth group, adult choir and orchestra and eventually the "first string" worship team at Christian Heritage Church. That's where I cut my teeth on the drums and learned various forms of music, including gospel, R&B and big band swing--everything learned by listening, "by ear." Thus launched a lifetime of drumming passion, a pursuit that continues to this day, mostly as a side gig.



It wasn't until the Spring of 2012 that I decided to join a local cover band in Fort Myers Beach that I actually played paying gigs outside of church music. I loved it so much that I've been a gigging drummer in local cover bands ever since!

Remembering Jeff Porcaro

Just found this Drum Talk video honoring drumming idol Jeff Porcaro, of Toto fame, and it reminded me of the first time I saw someone demonstrate the Rosanna shuffle groove.

And while I play this shuffle groove with much more feel and fluidity than this "vlogger," I appreciate his scholarship and he shared some things I had forgotten, like Jeff's start as Sonny & Cher's drummer.

Toto IV came out when I was in Junior High and Rosanna was the big radio hit from that album before Africa rose to #1 some months later. I loved the groove and Jeff's drum playing, the jazz piano break followed by scorching guitar solo. It was just a great song and rightly received "Record of the Year" honors at the Grammy's. But I couldn't play it. In fact, I didn't really get the Bernard Purdie shuffle feel until many years later.

Specifically, I remember being at worship band rehearsal one night at Christian Heritage Church in the early 2000's. Christie Cole, our leader, was out that week and one of her backup singers was leading. The singer's husband was a drummer and at rehearsal that night he sat down and rocked out the Rosanna shuffle. My jaw dropped. It was right then that I realized the power of ghost notes and how on that groove, in particular, they provide the undercurrent and fluid, forward motion of the "Purdie Shuffle." Later, I would learn that it was Purdie who influenced Jeff's use of shuffle in his early work, like on Steely Dan and Boz Scaggs' records. But I watched in awe that night as this drummer, unknown to me, sat down and nailed it like it was the easiest thing to play. I took notes.

Later on, as I relaxed into the shuffle and learned to play those ghost notes in time and with groove, I was able to play the Rosanna song with feel and without rushing it. Since then, I've played along with it many times, though the tom fills still give me fits! It's just one of the reasons I count Jeff among my heroes.

My first encounters of his groove and deep pocket playing were, unbeknownst to me, while listening to his songs on the radio, like Lido Shuffle and Lowdown, both childhood favorites by the incomparable Boz Scaggs. At the time, I didn't know he was the grooving force behind Michael McDonald's I Keep Forgettin', another classic and a childhood fave. My first cognizant realization of his prowess was while playing along with Toto's first album, released in 1978.

I was a 10-year-old in my grandmother's basement, listening to my uncle's record collection in his early version of a "man cave." This room, walls painted a rich blue with my uncle's custom album cover art, had a drum platform and a rag tag set of drums, where I first cut my teeth on the kit. His vinyl collection included the first three albums I ever played along with--Foreigner's Double Vision (1978), Journey's Evolution (1979) and Toto's self-titled first album (1978).

I played along with these albums over and over until I could hit all the parts in lock-step with the players, even if I wasn't playing them exactly right. To this day, Hold the Line from that first Toto album is one of my favorites. I didn't even realize I was playing a pretty basic blues groove on the chorus, but it seemed to come very naturally to me. In fact, I seemed to have a knack for picking up on syncopated kick and hi-hat patterns without too much trouble. It was playing with groove and feel that would take many more years of practice.

But that was my introduction to Jeff's playing. I would follow him for many years and would to my surprise find out that he played on many great songs I'd grown up on. As an adult, I fell in love with the body of Steely Dan's work. Found out he was a session drummer for them...and scads of other artists spanning the 70's and 80's. In fact, he even played on an album by Christian recording artist, Bryan Duncan, on a song I'd loved since childhood. On this track, as on every track he's ever played, he does it tastefully, with groove and feel, providing the band with a deep pocket. Jeff was never very showy; never tried to steal the spotlight.

Jeff was taken from us in the prime of his life in 1992. His drumming, along with Neil Peart and Steve Smith, were my earliest influences. Had I known all the great tracks he had recorded in the 1970's, I would have called him my first, but I really discovered him in 1978-79 and followed his short-lived career over the next fourteen years. I purchased the only instructional video he ever did and have watched nearly every YouTube I could find, from his performances in '76 with Boz Scaggs on Japanese TV to his later concerts with Toto, where he never even took a drum solo. His selflessness and modesty was on display in this rare interview that I just recently discovered (from the late 80's?):

I listed Jeff among my Top 5 Modern Drummers back in 2009 and even included the clip from his instructional video where he breaks down and explains the roots of his Rosanna shuffle. After that, I immediately had to go work on Led Zeppelin's Fool in the Rain.

Well, that's my tribute to one of my all-time favorites and a huge influence on my playing style--the one and only Jeff Porcaro. Rest in peace, brother.

Evaluating Birdman

I was captivated by this movie from the opening scenes, the witty dialogue between actors Keaton and Galifianakis and the drum-centric soundtrack (note: the drummer makes a few cameos throughout the film). In fact, I'm going to have to say that this is my most favorite movie soundtrack EVER! The jazz drum soloing seemed to fit the movie perfectly, but more importantly it suited my tastes to a "T."

But it was more than witty banter and cool drums. This movie struck a chord with me that is still resonating in my innermost self. I likened it today to the way the movie "Dead Poets Society" stuck with me at age 21. This was the middle-aged version of that movie.

Obviously, it's resonated with many movie-goers and cinema critics, alike. Which in itself is quite funny, since the movie takes a scathing look at snobby, theater critics. It also seemed to this movie-goer to be an autobiography of Keaton's real-life career. It's not a stretch to see his Birdman persona as the Batman he portrayed, ironically, the same year that "Dead Poets Society" was released (1989).

But it was more than autobiographic. It was emotionally stirring and hit WAY TOO CLOSE to home. A middle-aged man struggles with the path his life has taken. You know, us 40-somethings love to take stock at the supposed midpoint of our lives (as if we're all going to live to the ripe old age of our mid-80's). He's frustrated with his career path and attempts to reinvent himself, pouring himself completely into what he sees as a more worthwhile pursuit. Aren't we all taking stock and trying to gauge what exactly our legacy will be?

More importantly, he reassesses his relationship with his estranged wife/significant other, his daughter and his current female friend/co-star. His daughter, played by a personal fave, Emma Stone (those eyes! those cheekbones! that wicked smile!!!), is a complete mess, thanks in part to her father's absence in her life. You know, girls need their daddy's quality time. He's pretty much cut to the quick by her in one scene. The look on Stone's face is priceless after she realizes what she's done to him with her sharp tongue. It's quintessential Stone. She's a great actress, just by her facial expressions.

And this is where I'll note what a stellar job the casting director did. Not only did the casting director do her absolute best, she chose some of my favorite actors, including Stone (as noted above) and Edward Norton. I have loved his innocent-yet-devious, childish mug ever since I first saw "Primal Fear," in which he played an angelic-demonic altar (alter) boy. Zach Galifianakis has to be my absolute favorite comedic actor of the millennial era. His muted antics are a perfect fit for the film, much like the kick-ass soundtrack. As I said, his reparte' with the lead man in the first 10 minutes had me laughing out loud. He's just a funny guy and his timing is spot-on! I'd love to see the outtake reel of he and Keaton, who is very funny in his own right (I submit "Mr. Mom" as Exhibit A).

So casting, music, storyline...everything was right with this picture! I didn't even mind the quirky ending, which was reminiscent of "Big Fish" (2003, Ewan McGregor). No, I left the cheap theater very pleased and entertained. Introspective, but in a good way. Seeing much of myself in Keaton's exterior character, Riggan Thomas, and "Birdman," the low-tenored voice inside him. The war he raged with himself, the demons he fought, were all too real to me (more than I'd care to admit, but I think I just heard a cat let loose).

I'd recommend this movie to any guy my age. I'll bet any of you 40-somethings who were once moved by Dead Poets will be equally entranced, moved and amused at this movie. I'll probably own it on DVD one day, but who knows. I don't own a copy of Poets. Maybe it was just the right movie at the right time. Still, go and see for yourself. I promise you, if you are a drummer, you will dig the soundtrack!

In a word...WECKL!

No matter how hard I look, I cannot find anyone more precise, yet more fluid on the drumkit than Dave Weckl. I LOVE this guy's drumming!

Had I discovered Weckl earlier in life, I would be able to say he is the undisputed number one in my book. As it is, I grew up idolizing Neil Peart, so Dave is like number 1-B...but I think even Neil would bow to Weckl's percussive prowess. In fact, he basically does on the Burning for Buddy Tribute DVD. Still, Neil is tops. And if I had to categorize my faves, I'd put him at the top of my rock drummers list and Dave at the top of jazz/fusion drummers. For more on my favorite drummers, see this blog post from April 2009.

Hope you enjoy the short clip, above, of Dave showing off his chops!

This is 8 minutes of pure percussive mayhem!!!

I first took notice of this drummer while listening to Army of Anyone's debut (and only) release. On the hit single "Goodbye," Luzier breaks into a mini-solo during the last minute of the song. His fills mezmerized me. To this day, I cannot duplicate a couple of them.

Anyway, on the above video he starts out with the mini-solo from "Goodbye," then breaks into flurry of pedal and stick fills that will blow your mind! After which, he shows off his chops by playing the rims of his toms, leading back into another flurry of fills...I couldn't tell you what notes, exactly--maybe 64ths?--as he is going too freaking fast. I think he is my new fave!

Buddy Rich Tribute

BUDDY RICH 1917-1987

When considering great drummers of the modern era, one man stands at the top of the heap: Bernard "Buddy" Rich. I did not pay near enough attention to this legendary musician in my youth. All I knew about him was that he was a jazz drummer who could play lightning quick buzz rolls and was a favorite on The Tonight Show with Johnny Carson.

As I began taking drumming more seriously in my late teens, I began exploring all types of music, including jazz. I marvelled at the percussive wizardry and technical acumen of such greats as Billy Cobham, Dave Weckl, Alex Acuna, Jeff Porcaro, Harvey Mason and others. Still unaware of the influence of jazz's all-time master, I idolized these modern drumming marvels, along with rock's best Steve Smith (toured with Journey early in his career), Neil Peart (Rush) and of course Porcaro (a drummer who truly transcended genre).

It wasn't until the 1990's that I became more aware of the influence Buddy Rich had on all of my favorite drummers. When Neil Peart released the "Burning for Buddy" tribute CD in '94, I was simply blown away. Because of the dabbling I had done in jazz and big band swing, I immediately appreciated the prowess of Rich and his disciples. And this tribute CD featuring Rich's own band included performances by some of my favorite drummers, most notably Peart, Smith and Weckl. They assembled to pay homage to the man who is arguably the best to have ever picked up a pair of sticks.

After wearing out my copy of "Burning for Buddy, Vol. 1" and ordering "Vol. 2," I stumbled upon a best of Buddy Rich compilation that included some of the famous drum duels between he and Gene Krupa. I was mesmorized. So when I found that the Burning for Buddy sessions had been captured on DVD, I had to own a copy.

It arrived in the mail last weekend!

To hear my idols, Peart et al, talk about the impact Rich had on their lives and careers kind of put his iconic status into perspective for me. What's more, they all admired and respected each other, as well. They approached this project with fear, humility and much exhiliration. Some of them, Peart included, had never played with a big band so they were really out of their element. That just makes watching them perform that much better.

I only wish I had paid more attention to Buddy while he was still alive. Some of his performances from the early to mid 80's are astonishingly great. Here's a clip of his appearance on the Muppet Show in 1978: Buddy Rich v. Animal


As you can see, the man was amazingly fast with the sticks and made the double-stroke roll look effortless at any speed. He was very creative in his approach to the drums, milking the percussive quality out of every conceiveable part of his kit, including the stands. He was a pioneer who cut a path for all drummers of the modern era, regardless of genre. (In fact, one of the drummers featured on the DVD was a metal head who played for Guns'N'Roses.) His legacy is evident by the sheer number of drummers, including myself, who feel obliged to pay tribute and who watch the old footage with much awe and admiration.

A Drummers Dilemna

Some of you may not know that "in another life" I worked as a radio personality and semi-professional drummer. The short-lived smooth jazz station in Tallahassee was where I called home for the last semester of school back in '97 and for several months after graduation. Money was the main reason I left that job for greener pastures. But throughout my whole adult life, I've found ways to pursue my passion for drumming. Opportunities have dwindled since leaving the church music scene back in Tally, but the passion is still there.

Any time I am in a concert setting, at a music store or around other musicians, I get the urge to pick up a pair of sticks and bang on something. That was the case this past Thursday.

Indy's smooth jazz station, WYJZ, was hosting a listener appreciation party at a small music venue, featuring saxophonist Walter Beasley. He brought his whole band and for 90 minutes they rocked the Music Mill. Paying close attention to the drummer, I thought (as I often do), "I could be doing that!"

And it's true. While not the most technically-precise or fine-tuned musician, I do pretty well to hold my own with most contemporary forms of music. A self-taught drummer, I really prefer to play smooth jazz, R&B and gospel for their rhythm-centric groove and syncopation.

And its not just the magic of music or the thrill of performance that calls out to me in the shadows of the club, church or music hall. It is the whole atmosphere and the connectedness that joins musician and audience member. It is the power of creation at work, drawing people in on an emotional and physical level.

Even when I handled events for the radio station in days gone by, I sensed that I was part of the larger music scene. I was able to go out and enjoy good music while feeling a part of some larger community not bound by race, socio-economic status or religion. I miss that.

Thursday's concert was just another reminder of what I am missing. And while I've tried to fill that void with the occasional church appearance as guest drummer on a worship team, I yearn for more than just a four-song set on a Sunday morning.

I think it is important to seek creative outlets and to explore the things you are most passionate about. Sometimes life can get in the way of that pursuit, but it helps to be reminded that you make time for the things of most import to you. If you are passionate about something, if you have a creative spark inside you, why aren't you passionate in your pursuit of it? I find myself asking that question more and more.