With each year that passes I am constantly flabbergasted at how much the percussion industry continues to grow. More gear! More drum companies! More players! More insight to the craft! It's information overload for some and still not enough for the drum geeks (myself included) the world over.
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This year's percussion feature has what you'll find to be an interesting mix of drumming personalities. Each player comes from different backgrounds, but all seem to have been drawn into the profession from an early age reinforcing my belief that percussion can be a lifelong journey with valuable lessons to be learned. So without further ado, let me introduce this year's pros that graciously answered even the most prodding of questions.
Ajax's own beloved Sum 41 has introduced the world to one of the most sarcastic, witty and undeniably entertaining drummers to emerge in years: Steve "Steve-o 32" Jocz. As you are about to read Steve's answers please refrain from chewing and/or drinking as you could possibly choke with laughter all the while gaining insight to his take on drums and drumming.
What I believe to be a first for the annual percussion feature is also one aspect of drumming that I, until writing this piece, had not been exposed to - one of history's ancient art forms and most powerful to say the least: Japanese Taiko. Kiyoshi Nagata has studied Taiko with the masters of Japan and reminds us of the disciplinary aspects of drumming, life in general for that matter, and how drumming is truly a language that can transcend international barriers. Oh yeah! You think rock 'n' roll is heavy hitting stuff... check out the physical demands of Taiko. Those aren't 2B drumsticks Kiyoshi has raised above his head for his ensemble's thunderous two-hour long performances.
From "la belle province" and without question one of Canada's best, Paul Brochu. After completing a master's degree in percussion from the Conservatory Paul began his 12-year, multi award-winning project with the group UZEB. Paul was able to marry the electronic aspect of drumming with the organic side of traditional acoustic kits at a time when electronics were, well, really really electronic and not so user-friendly. These days Paul can be seen with the likes of Gino Vanelli accompanied by the finest symphony orchestras of the world. If you're truly fortunate you can study with the man himself at a university in Montreal.
A household name for drummers of all genres, Grammy award-winning Dave Weckl has been at the forefront of contemporary music since his first "big" tour with Simon and Garfunkel in 1983. Dave has inspired an army of thousands, perhaps millions, to excel not only in technique, but the importance of education through his video/DVD collection. The opportunity to sit and chat with Dave before watching him astonish a room full of drum-crazed folk, revealed some harsh realities many drummers will likely encounter. Nonetheless, his relentlessness to evolve should be taken as inspiration to all musicians. Come on... he's Dave Weckl.
At the editor's request I too give my two cents when I feel I have something of value to pass on. Who am I you ask? I've got an interesting history, from drumming for Bob Hope's tour of the Middle East in the Gulf War to David Usher.
Some questions may not have been answered directly by each player due to time constraints so some editing liberties have been taken, but rest assured as Mr. Weckl said during our interview: "The more information you can learn about anything, the better off you are."
BACKGROUND
What type of schooling, private instruction, and other types of learning methods (books, video, etc.) have you taken?
Steve: My next-door neighbour started giving me lessons when I was 12, but I quit them a year later hoping that I would someday become a professional snowboarder. The fact that I'd never even been on a snowboard before didn't seem to matter. I was going to make it. I probably should have stuck with drum lessons.
Kiyoshi: I started to learn Taiko (Japanese drums) in 1982 when I was 12 years old, at a local Japanese community centre in Toronto. I was a member of Toronto's first Japanese drum group called, Suwa Daiko, and its founder would come from Japan every year to teach us. His name was Daihachi Oguchi and he is designated a living cultural property in Japan. In 1992 I moved to Japan and apprenticed with the renowned Kodo drummers on Sado Island for a year. Apart from that, I have taken Western classical percussion lessons with Paul Houle at the Royal Conservatory of Music. I now teach Taiko drumming as a credit course at the University of Toronto's Faculty of Music as well as a public course at the Royal Conservatory of Music.
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Paul: I began playing drums at age seven. At age 13 I studied with Roger Juneau, Principal Percussionist with the Quebec Symphony Orchestra and Conservatory. I attained my Masters in Percussion.
Dave: I began playing drums at age eight. Both of my parents were musical. I studied privately in my hometown of St. Louis, MO, with Bob Matheny and Joe Buerger before enrolling in the music program at the University of Bridgeport in Connecticut.
Chris: Middle school was my first formal education in music. Playing with the various bands (Stage/Jazz, percussion ensembles, etc.) throughout high school was a great way to make the arduous task of learning during my teen years bearable and eventually lead to my enrollment at Humber College of Applied Arts Music program. Since then I have had the privilege of studying with Charles (Chuck) Burrows in our nation's capital. I wholeheartedly believe a good private teacher can accelerate the learning process in leaps and bounds.
Do you or have you in the past played other instruments? Please list them chronologically if possible.
Steve: I can play the piano, the violin, the viola, guitars, sitars, keytars, xylophones, steel drums, drum machines, trombones, tubas, trumpets, saxophones, didgeridoos, organs, CD players, upright bass, congas, bongos, the triangle and wind chimes.
Kiyoshi: Tenor saxophone and Western Classical percussion.
Paul: When I was studying at the conservatory I was playing vibraphone, timpani, piano, but I decided to focus on drums. Now, I still play piano at home just enough to compose.
Dave: I attempted to play guitar first actually, but it got very frustrating very quickly. These days I mess around on the bass and dabble on the keyboards to work out chord progressions.
Chris: Having a musical family afforded me the opportunity to play keyboards, guitar and bass. Exposure to other instruments can only benefit a drummer. We already get enough "how many drummer" jokes as it is. So expand your talents... at the very least you can converse with other members of the band and get your own ideas across.
REGIMES
What type of exercises (cardio, weights, yoga, etc.) do you do A) on the road, B) off the road?
Steve: I run 4-6 km a day, unless I've been out drinking the night before - and then I run 8-10. I don't really like lifting anything, so if I'm going to do weights, I get my drum-teach to do them for me.
Kiyoshi: Taiko is considered one of the most physically demanding forms of music. Playing the Taiko requires agility, flexibility, stamina and endurance. My off-road routine consists of a 7 km daily morning run. Before rehearsals, my group, the Kiyoshi Nagata Ensemble, will spend at least half an hour doing stretches, cardio exercises as well as abdominal and leg strengthening exercises. On the road, my ensemble maintains a strict routine of stretching and warming up at least an hour prior to performance time.
Paul: When I'm on "big" tours and the gig demands a lot of chops like five or six nights a week I have to warm up for sure. As for physical exercise: I should, but I don't.
Dave: Swim. A lot! I used to lift weights and go to the gym, but I stopped doing that. It just started to feel wrong to lift dead weight and put that against my wrists. I've tried to stay in line with the way that I've been playing the last few years which is continuous energy type exercises... natural ways to strengthen the body. I also like to walk at a fast pace.
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Chris: As a kid growing up I was active enough just being a kid to keep me "in shape" for the rigours of drumming. As I have developed a few grey hairs (probably from the music business itself) I learned that keeping fit is a full-time job. Core exercises are a must. Lower back and abdominal strengthening (Yoga, Pilates, crunches) not only keep you stable, but protect your spine. Cardio exercises such as elliptical machines, swimming, biking, etc. are important for stamina and endurance. Most forms of exercise will benefit you and are recommended as long as you're not damaging joints such as knees, wrists, elbows, shoulders and of course your spine.
What do you practice drumming-wise and how often A) on the road, B) off the road?
Steve: I don't really practice on the road or at home. But, when I do practice, I'll blow the dust off of Stick Control and can usually get through the first five pages or so before I get distracted and start doing something else. I'll only get around to doing that if a real drummer has upstaged me the night before.
Kiyoshi: Apart from our performance repertoire, my ensemble spends a great deal of time each and every rehearsal playing basic drills, which would be equivalent to Western drumming rudiments... only a lot more physical! On the road, we normally run through the difficult passages of each song we'll be performing that night.
Paul: I generally use rudiments to prepare for long shows.
Chris: Double stroke rolls and other rudiments do a decent job of keeping my hands in shape. At home I warm up with some basic hand and feet exercises. I stretch after playing a show, as opposed to before. The muscles are already warm and you don't run the risk of stiffening up. My wife is a personal trainer and made me aware of the damage you can cause by stretching cold muscles. She recommends some form of dynamic cardio for five minutes before sitting down at my kit. Whatever you do... ease into it.
Have you ever sustained any injuries (short- or long-term) during your drumming career, if so how did you adapt?
Steve: As for short term, I've been hit in the face with everything from shoes or bottles to cups filled with sand, and even my own drumsticks while playing live. But as for long-term injuries, at the end of one of our recent tours, I got tendonitis in my left arm, but it seems to have gone away after some rest, stretching, some physiotherapy and a little prayer.
Kiyoshi: As Taiko drumming requires a player to make use of his entire body when striking a drum, physical injury is not uncommon. That is why so much time is dedicated to stretching and preparing the body. Because we assume very low stances when playing, injury often occurs in the legs and lower back. It is very difficult to adapt with an injury without compromising the basic Taiko drumming form. Thankfully, I have never sustained a long-term injury.
Paul: I have had a few problems with my shoulder. If It warm up properly it's okay! I think it has to do with the repetition.
Dave: I can't run (long distance) anymore. I had orthoscopic surgery on my knees about eight years ago. It's hard to say exactly where injuries come from. I hurt my knee as a kid playing football and never really thought anything of it until it got to the point I couldn't even stoop down anymore. Also I think the injury progressed because of playing... the shock of hitting the foot pedal. Now I try to tune and muffle the bass drum so there's not a lot of resistance... so the head isn't so rock hard. I play a strap pedal instead of chain so there's a little more give and I use pedal without a base plate. I think it helps dissipate the shock. Then I went through some stuff with my wrists because of neck problems probably from playing ride cymbals out of position for a long time [Dave motions outward and upward]. That alleviated itself after going to a chiropractor that put me on some nutrients. I changed my setup so that my ride cymbal was lower and got an orthopedic pillow and started sleeping right. You learn as you get older you can't abuse the body.
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Chris: As I write this piece I am on a sabbatical (so to speak) from drumming as a recent MRI (x-ray of the spine) revealed some "bulging" in two discs. I am currently undergoing chiropractic and muscle rehabilitation to correct the problem. I am also evaluating my technique with the help of a specialist to prevent the injury from recurring. Young drummers take note. Practice good technique from the start and hopefully you can avoid any health problems down the road. Drumming is more akin to a sport and you have to maintain your health to fully enjoy it and all its facets.
GEAR
What was your first kit?
Steve: I can't even remember what brand it was. It must have been about 50 years old and probably came from a Sears catalog. It was just a kick drum and a snare. I sold it two years later for a dollar.
Kiyoshi: Taiko drums are prohibitively expensive to own. The huge Taiko drums with heads over 4 feet in diameter can cost up to $500,000. Most Taiko drums are owned by a community or group rather than by an individual. I bought my first Taiko when I started to play professionally 10 years ago. It cost me over $8,000 to buy one drum from Japan! I now own a full set of various sized Taiko from performance savings and thanks to my sponsors in Japan.
Chris: My folks bought my first kit when I was six years old. I believe it was a "Black Diamond" - some German department store set. It had weird wax paper-like heads that would divot just looking at them. It survived almost three years of abuse before I graduated to a "real" drum kit.
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How has your setup evolved since first playing drums to now?
Steve: It's changed a lot. At one point I had three kick-drums, roto-toms, octabons, and a few gongs. But now it's been toned down a little. I like my drums set up so that they're nice and close to one another. I want it to feel like the drums are giving me a hug.
Paul: I now place all the cymbals close and not too high because of this (points to his shoulder). I've always liked 10[Symbol Not Transcribed] [straight double quote], 12[Symbol Not Transcribed] [straight double quote], 14[Symbol Not Transcribed] [straight double quote], 16[Symbol Not Transcribed] [straight double quote] for toms and 22[Symbol Not Transcribed] [straight double quote] for the bass drum.
Dave: I grew up with the Jazz, Buddy Rich-type set up with one tom, floor tom and the ride cymbal was always very close to me.
Chris: I started out on a typical five-piece with a ride on the right and a crash on the left. Then I went through my Van Halen days and added five roto-toms. After that I used a seven-piece kit for the better part of a decade. For the past three years I've been going with a four-piece (14[Symbol Not Transcribed] [straight double quote] snare, 12[Symbol Not Transcribed] [straight double quote], 14[Symbol Not Transcribed] [straight double quote] toms, 22[Symbol Not Transcribed] [straight double quote] bass drum), 14[Symbol Not Transcribed] [straight double quote] hi-hats, a couple of crashes (17[Symbol Not Transcribed] [straight double quote] and 18[Symbol Not Transcribed] [straight double quote]) and a ride (20[Symbol Not Transcribed] [straight double quote]).
Does it change often?
Steve: Not really. My tech sets them up exactly the same everyday... or else.
Paul: It depends on what type of music I'm playing, but it hasn't changed that much over the years.
Dave: I keep it consistent these days. Sometimes when I do play different set-ups it can inspire me for solo ideas.
Chris: When I bought my last kit I ordered the 8[Symbol Not Transcribed] [straight double quote], 10[Symbol Not Transcribed] [straight double quote], 12[Symbol Not Transcribed] [straight double quote], 14[Symbol Not Transcribed] [straight double quote] and 16[Symbol Not Transcribed] [straight double quote] toms even though I've only used the 12[Symbol Not Transcribed] [straight double quote] and 14[Symbol Not Transcribed] [straight double quote]. I may break out the whole kit and caboodle just for a yuk one of these days, but for now I'm cool with a four-piece.
Do you use different sets for different types of music or keep a consistent configuration?
Steve: Excluding the tour during which my entire drum kit went missing for eight days, I pretty much use the same drum kit every night.
Kiyoshi: Every song that my ensemble performs requires a different set up or configuration. We use a stage plot for each piece, mapping out where each drum is to be placed on stage. Having the various drums positioned differently on stage as necessitated by the music, which greatly enhances the over all sound from the audience perspective.
Paul: With UZEB I felt I needed more of a flat ride (cymbal) sound, for more colour. At one point I had like three flat rides, one regular ride, a China and a couple of crashes.
Dave: When I wanted to add another tom, I added it off to the side (left of first tom position) and for years I played that way until I played with Chick (Corea). Then I moved them (toms) onto the bass drum. Then I added another tom (that's three rack toms) for some reason and now since my metamorphosis over the last five years I realized, ergonomically I wasn't set up to accommodate the body as well as I should have been. I ended up going back to that original set up when I was 19 moving the toms to the left side.
Chris: I guess I've always tailored my kit to certain types of music. The overall setup stays the same. I just add the pieces in and around it for some diversity.
To what extent do you use electronic drums/percussion live and studio-wise?
Steve: I own a set of Roland V-drums. But I really just bought them because Deryck [Sum 41's singer] bought some before I did and we're kind of in a competition to see who has the coolest gadgets. But now that I own them, we're planning on using them during pre-production for the next record. Until then, I guess they just make my apartment look cooler (or lamer, depending on how you look at it).
Kiyoshi: Never.
Paul: During the UZEB days I used a lot of electronics. In 1992 when UZEB split up I was tired of them so for a couple of years I got rid of them. With some of my own projects I have added a few triggers and pads here and there. It's the type of thing I know I can use them if I need to.
Dave: I don't use them at all now. Not for drums. [Dave did use triggers while playing with Chick Corea.]
Chris: The Roland Octapad was my first taste of electronics. I used it mainly for auxiliary percussion sounds to add to my kit. For one project I can remember a friend of mine using Sony earphones as triggers. We built a kick drum using a Remo practice pad, an old hi-hat pedal with a bolt sticking out of the bottom to strike the pad and plugged it into the back of the Octapad. It worked! Pads and triggers seem to come and go and come again throughout my drumming career.
Please tell us about your favourite piece(s) of gear in your collection and why it is so.
Steve: Right now I have two huge timpani drums on the left and right side of my kit. I have them mounted vertically so that the drum skins are facing inward. I like those, and a little piece of equipment I picked up in Germany called a "Verntrichtenbruum7000". We're not quite sure what it does exactly, but it looks really impressive.
Kiyoshi: My favourite piece of gear is the largest drum called the O-Daiko. We use drumsticks the size of small logs to play it and it has a booming and thunderous sound. It takes four people to lift it into its cradle where it is played with arms raised above our shoulders. Our sponsor in Japan, Miyamoto Unosuke Shoten, donated the drum to us.
Paul: I have a good collection of snares (brass, maple, oak, Dave Weckl Signature model). I have a snare that Hagi made for me when I was in Japan. It's a great second snare (13[Symbol Not Transcribed] [straight double quote] [Symbol Not Transcribed] [times] 6[Symbol Not Transcribed] [straight double quote]).
Dave: I don't really get into 'using' vintage stuff. I have some stuff, but I don't really get into collecting drums. If I could afford it I'd buy cars not drums. I have one of Buddy Rich's (Slingerland) sets from the late '70s era and a couple of older Ludwig and Leedy snares. I've worked hard with Yamaha to develop new stuff. I have my signature snares and a collection of cymbals that I recently helped design with SABIAN.
Chris: I love my "Elvin" (Jones) Signature. 14[Symbol Not Transcribed] [straight double quote] [Symbol Not Transcribed] [times] 7[Symbol Not Transcribed] [straight double quote] maple with 19-ply maple hoops. Very versatile and looks fabulous. A close second would be my 20[Symbol Not Transcribed] [straight double quote] Zildjian K Custom dry ride. I'm not a fan of washy rides. My "K" is clear with a dark, almost thick sounding tone. My 14[Symbol Not Transcribed] [straight double quote] SABIAN flat hats and Tama Probeat pedal have been with me since the early '80s, not to mention around the world a couple of times, and I don't think I'll ever let go of them. Although, lately I have been using other pedals.
MISCELLANEOUS
What do you enjoy doing when not drumming?
Steve: I like reading magazines in search of grammatical errors so that I can write to the editor and complain.
Kiyoshi: I enjoy watching other 'World' percussion performances such as Indian Tabla, Indonesian Gamelan, Brazilian, Korean, and West African drumming. They all share much in common with each other.
Dave: I've graduated to sitting behind the mixing console mixing records... that's my hobby. I have a Pro Tools rig at home.
Chris: Writing drum articles, test driving cars and composing music.
Your most memorable performance?
Steve: There are plenty. But the first one that pops into my head is when we sold out Wembley Arena in the UK last year - either that or when we sold out the Enormo-Dome.
Kiyoshi: Playing an outdoor improvised concert with some of the finest musicians from around the globe at Quebec City's Festival D'ete International. The audience just seemed to really appreciate every moment of the show.
Chris: Playing in front of 130,000 crazy Canucks celebrating Canada Day on Parliament Hill. I grew up in Ottawa so that night was fun for a lot of reasons.
YOUR WORDS
Please feel free to add any comments, advice, words of praise and/or constructive criticism you wish to share with other drummers.
Steve: I would advise any drummer who is starting out to concentrate on the very basics first. I think mastering the book Stick Control early on is a really good idea. I can't think of any better way to develop good co-ordination early on than by practicing with that book... even if it is painfully boring. It's something I wish I had done early on had I known I was going to be a "professional drummer". Also, for those who are starting to use double kickdrum pedals, try practicing with 5-10 lbs. weights strapped to each leg. Running helps too.
Kiyoshi: In Japan, Taiko drumming is not just an art form, but also a way of living. With that in mind, one must always approach the drum humbly and with respect.
Paul: Less is more. Just play for the music... don't show off. Groove!
Dave: You can be creative with just about anything. If you want to be a drummer... learn how to play the drums on acoustic drums. You can't fully learn how to play drums with an electronic set. They (electronic drums) are good practice tools when you can't make a lot of noise, but if you're serious about learning the instrument you have to practice "the" instrument as much as possible. The other advice I have is to be as versatile as you possibly can. Don't pigeonhole yourself by saying, "I'm this type or that type of drummer." That will probably happen all by itself. Learn all styles from the past and present. To survive as just a drummer can be very, very difficult... educate yourself in all aspects of the music business.
Chris: Take all the advice this year's drummers have shared and have fun, work hard and last but not least make sure you're playing with proper technique. It's much better to develop good technique to prevent injury than having to stop playing the instrument you love and fix whatever ails you. That goes for all musicians. Trust me.
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DRUMMER'S RESOURCES
EVENTS
Montreal Drum Fest 2003
Montreal, PQ
November 7-9, 2003
(450) 928-1726, FAX (450) 670-8683
angelillo@videotron.ca, www.montrealdrumfest.com
Percussive Arts Society International Convention (PASIC)
Louisville, KY
November 19-22, 2003
(580) 353-1455, FAX (580) 353-1456
percarts@pas.org, www.pasic.org
Cape Breton Drum Festival
Cape Breton, NS
May 1-2, 2004
(902) 727-2337
bruce@cbdrumfest.com, www.cbdrumfest.com
WEB SITES
www.marching.com
A great site for anyone involved with marching bands. Features links to performing bands from Canada to around the world.
www.drummersweb.com
A source of links to sites pertaining to the various percussion products available, books/videos, teacher and even schools.
www.drumweb.com
Another good site that features links to resources, manufacturers, tips & techniques, a chat room and more.
www.drumbum.com
Tips, merchandise, resources, to help you improve your drumming.
www.drumset.com
An online community for drummers featuring a chat room, forums, resources etc.
www.harmony-central.com/Drums
Lessons, tips, forums, new products... this site has it all for the practicing drummer.
www.taiko.com
A site dedicated to, big surprise here, Taiko drumming.
www.drumlesson.com
The site's Web address says it all: they offer drum lessons.
www.musicbooksplus.com
Music Books Plus offers over 6,000 titles of books, CD-ROMs, DVDs etc. Pretty much anything you could think of to read up on drumming and percussion.
EDUCATION
There are simply far too many schools and educational facilities that offer drum lessons to list in one magazine article. We've prepared a short list of a few schools and/or associations that specifically focus on drums and percussion. Of course there are countless numbers of colleges and universities that offer music courses, and you shouldn't overlook these when selecting a school that's right for you. You can look at your local post-secondary schools to see what music programs they offer. This is only the tip of the iceberg...
Percussion Institute of Technology
One of the world's leading schools of contemporary drumming, Percussion Institute of Technology offers its students a complete immersion in the world of drums. In a program that allows students to learn new grooves or fills in the morning, and then perform the same things on stage later that day. Located in Hollywood, CA, this school teaches drummers the skills they need on the traditional drum kit in addition to techniques used in electronic drumming, digital recording and MIDI sequencing. You can find out more about PIT online at www.mi.edu/programs/pit.htm.
Percussive Arts Society
Although it's not a school per se, the Percussive Arts Society is a music service organization that promotes percussion education, research, performance and appreciation throughout the world. Its in-depth Web site, located at www.pas.org, offers drummers a look into the world of drumming and percussion. Links are offered to a wide variety of resources available to drummers. PAS hosts its annual percussion trade show, Percussive Arts Society International Convention (PASIC) which offers students a detailed, hands-on look at everything new in the percussion world.
KoSA Communications
KoSA Communications was formed to develop and promote percussive events that specialize in professionals participating with students for a mutual learning experience. The programs are taught by some of the finest instructors and artists in the percussion world today. Designed to offer close, personalized learning in an accessible environment, KoSA offers programs in the world of percussion, percussion techniques and emerging percussion technologies. It's become a total immersion into the world of percussion offering instruction in all aspects of music making. KoSA offers week-long courses once a year that include four classes per day, concert percussion ensemble playing, small hands-on classes with instruments, master classes, evening performances, jam sessions and drum circles. Two locations host this event: Vermont, USA, and Cuba. Visit www.kosamusic.com for more details.
Ontario College of Percussion and Music
A little closer to home in Canada is the Ontario College of Percussion and Music. Located in Toronto, ON, this school was founded by Paul Robson in 1965. Robson is recognized as a leading music educator, performer, author, clinician and columnist. The college has trained students that have performed with such artists as Anne Murray, Gordon Lightfoot, B.B. King, Burton Cummings, Kim Mitchell, Whitney Houston, Rush, and many more. The school offers programs ranging from home school right through to MIDI equipment and music computer programs. Find out more about the school online at www.ypca.com/ocp-m/.
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