©2022 DRUM WORKSHOP, INC. ALL RIGHTS RESERVED.

The new gold standard,

50 years in the making.

Inspired by John Good’s memories of growing up in Northern Italy, the DW Collector’s Series 50th Anniversary Limited Edition 6-Piece Kit
matches persimmon and spruce, two of the woods that stimulated his lifelong passion of crafting the perfect sound. Visit DWDrums.com to watch
Josh Freese, a DW artist since 1984, perform on our 50th anniversary kit.

Only from DW, The Drummer’s Choice® since 1972.

June 2021 Modern Drummer 1
CONTENTS

20 ANTONIO SANCHEZ
Mark Griffith and Antonio Sanchez
talk extensively about the writing and
recording process behind his new record
Bad Hombre II (Shift,) it’s predecessor
Bad Hombre, and how Antonio’s career is
shifting into new directions.
By Mark Griffith

32 MIKE WENGREN 40 PHILO 50 RODNEY ELKINS

The drummer for Disturbed talks about The new drummer for The Mars Volta and The drummer for country singer Tyler
their new record Divisive, his drumming Modern Drummer have a frank discussion Childers talks about his band Food
influences, his favorite music, his love of about her musical upbringing in Stamps, recording Tyler’s new record
groove, his dislike of recording, and more! Germany, her education at Popakademie, Can I Take My Hounds to Heaven? And his
By Mark Griffith getting the gig with The Mars Volta, and musical upbringing in Huntington, West
how she approaches their music. Virginia. By Robert Girouard
By Mark Griffith
Volume 46 • Number 12
Cover and Contents photos
by Fernando Aceves LESSONS
54 BASICS
DOWN
DIGITA
LOAD L
INSIDE CODE
Chris Lesso discusses how to make the best of your practice time, and
celebrating your “work” on the drums.

56 DRUM CHANNEL
Thomas Pridgen explains how he breaks everything down to singles
and doubles.

58 ROCK PERSPECTIVES
Modern Drummer concludes the 50th anniversary of Carmine Appice’s
Ultimate Realistic Rock with his Realistic Linear Rudiments.

60 JAZZ DRUMMERS WORKSHOP

Joe Morello teaches us about technique and explains the importance of
developing control around the set by playing Progressive Accents.

64 ROCK AND JAZZ CLINIC

Joe Franco explores his concept of playing mixed hand patterns over
the double bass roll..

68 CREATIVE PERCUSSION CONTROLLERS

Tony Verderosa shows us how the addition of just a bass drum trigger
can help you create a plethora of new music and drumming ideas.

EQUIPMENT
10 NEW AND NOTABLE
Modern Drummer brings you the
newest gear from Drum Workshop’s
50th Anniversary Celebration, Vater,
Latin Percussion, and Gewa.

14 PRODUCT CLOSE UP
Reviews of Zildjian Fat Hats and the
Blast Bell, and the Roland TD-17 KVX2

DEPARTMENTS
4 EDITORS OVERVIEW 72 COLLECTORS CORNER
Mark Griffith talks about Diversity and Donn Bennett tells us about The Carmine
Inclusivity in life, in drumming, and in Appice Collection.
music.
74 OUT NOW
6 KIT OF THE MONTH New releases from Emerson, Lake, & Palmer,
MD reader Brian Eaton shares his stunning Tony Williams, Al Foster, Wayne Shorter,
Allegra Custom Master Craft drums. Terri Lyne Carrington, John Entwistle, Chris
Parker, Charged Particles, and Alex Acuna.
8 JAZZ INSIGHTS
Peter Erskine details a very busy period in 78 EYE CANDY
his career when his life was unscripted. Modern Drummer takes a look at Jason
Bonham’s Ludwig Vistalite Led Zeppelin
Reunion Kit, which is also featured in the
book Crash: The World’s Greatest Drum Kits.
 AN EDITOR’S OVERVIEW

Diversity and Inclusivity Founder Ronald Spagnardi 1943–2003

Co-Founder Isabel Spagnardi

Publisher/CEO David Frangioni

D iversity and inclusivity is supremely

important in all walks of life… and music.
However, this is Modern Drummer, so how we
CFO Carolina Frangioni
President David Hakim
apply those modern ideals to our drumming Vice-President Ronnie Jimenez
and music, takes priority here. I am always CTO Jason Mehler
excited when drummers surprise us with Senior Art Director Scott Bienstock
the musical diversity and inclusivity in their
Content Director Mark Griffith
listening habits, favorite bands, and drummers.
This month is no exception. Editorial Daniel “Ziggy” Laverde
Would you expect jazz drummer Antonio Contributing Editor & Photographer Alex Kluft
Sanchez to be praising the song writing skills Digital Marketing Manager Ricardo Rodriguez
of Dave Matthews? Then when Antonio says Worldwide Education Dom Famularo
that, “I had nothing but respect for his (Trent
Live Fom My Drum Room Podcast John DeChristopher
Reznor’s) music because Nine Inch Nails
Archivist Felipe Laverde
are some of the most respected ‘sonic-conceptualizers’ out there,” were you
surprised? It is expected that Antonio mentions that Roy Haynes is one of his Videographer Tyson Francion
biggest influences. But when Antonio mentions his favorite soundtrack music
THE MD PRO PANEL/ADVISORY BOARD: Chris Adler, Carmine Appice,
from Michael Giaccino, Johnny Greenwod, Hans Zimmer, or John Williams, did Kenny Aronoff, Bill Bachman, Eddie Bayers, Gregg Bissonette, Jason Bittner,
you go straight to Spotify to listen to some of that music? I hope so! Bill Bruford, Will Calhoun,Terri Lyne Carrington, Matt Chamberlain,
With all due respect to the absolute masters and creators of our craft. The Peter Erskine, Dom Famularo, Daniel Glass, Alex González, Danny Gottlieb,
modern drumming world is about much more than Gene Krupa, Papa Jo Jones, Benny Greb, Matt Halpern, Horacio Hernandez, Gerald Heyward, Taku Hirano,
Buddy Rich, Max Roach, Roy Haynes, Elvin Jones, Tony Williams, Steve Gadd, Jonathan Joseph, Jim Keltner, Paul Leim, Peter Magadini, Pat Mastelotto,
Rod Morgenstein, Andy Newmark, Carl Palmer, Stephen Perkins, Dafnis Prieto,
Vinnie Colaiuta, Dave Weckl, Earl Palmer, Ringo Starr, John Bonham, Zigaboo
Rich Redmond, Brian Reitzell, Jim Riley, Bobby Rondinelli, Antonio Sánchez,
Modeliste, Neil Peart, Joey Jordison, Questlove, Travis Barker, Brian Blade, and Cindy Blackman Santana, Chad Smith, Steve Smith, Todd Sucherman,
Taylor Hawkins. Billy Ward, Kenny Washington, Dave Weckl, Paul Wertico, Dennis Wolfe
When a fan of The Mars Volta hears their drummer Philo referring to seeing
Robert Glasper and Chris Dave as, “The night that changed my life,” I hope that CONTRIBUTING WRITERS:
Billy Ashbaugh, Donn Bennett, Clayton Cameron, Bob Campbell,
fan goes to YouTube to watch some Robert Glasper and Chris Dave. When Philo Peter Erskine, Dom Famularo, Bob Girouard, Mike Haid, Brian Hill,
said that she had gone through a point when she was, “More into Brian Blade, Daru Jones, Nic Kubes, Chris Lesso, Daniel Laverde, Peter Magadini,
Raghav Mehrotra, James Petercsak, Tony Verderosa
Marcus Gilmore, Mark Collenberg, and Justin Tyson,” I hope a young drummer
is inspired to go and see Brian, Marcus, Mark, or Justin perform. I was inspired
when Philo said, “I was drawn to classical music, and I was listening to it a lot MODERN DRUMMER magazine (ISSN 0194-4533) is published monthly by MODERN
DRUMMER Publications, Inc., 1279 W. Palmetto Park Rd PO Box 276064 Boca Raton,
at the time. It is the only type of music that I can always listen to.” That pulled FL 33427. PERIODICALS MAIL POSTAGE paid at Boca Raton, FL 33427 and at additional
me right in to her orbit. I cued up my favorite recording of Bach’s “Brandenburg mailing offices. Copyright 2022 by MODERN DRUMMER Publications, Inc. All rights
reserved. Reproduction without the permission of the publisher is prohibited.
Concerto” and listened to it for the first time in a while. Thanks Philo!
Furthermore, would you ever expect metal drummer Mike Wengren of EDITORIAL/ADVERTISING/ADMINISTRATIVE OFFICES:
MODERN DRUMMER Publications, 1279 W. Palmetto Park Rd PO Box 276064 Boca
Disturbed to make this statement? “The thing that gets me grooving is the old Raton, FL 33427. info@moderndrummer.com
classics. I love 70’s rock. I like all the ‘geographically named’ bands like Chicago,
Boston, and Kansas. I like the Eagles.” I don’t think anyone would expect that. Email: info@moderndrummer.com.

Lastly, we all know that many drummer’s with over-the-top chops got their start MODERN DRUMMER welcomes manuscripts and photos but cannot assume responsibility
in drum corps. But who would have expected country drummer Rodney Elkins for them.
(whose drumming recalls Levon Helm much more than Travis Barker) to refer SUBSCRIPTION CORRESPONDENCE: Modern Drummer, 1279 W. Palmetto Park Rd
to drum corps as, “Where I learned the inner workings and intricacies of my PO Box 276064 Boca Raton, FL 33427. Change of address: Allow at least six weeks
for a change. Please provide both old and new address and send to
instrument.” How cool is that?
info@moderndrummer.com
So many drummers are much deeper than the music that they happen to be
playing at the moment. The music we listen to, sometimes offers a deeper look POSTMASTER: Send address changes to Modern Drummer, 1279 W. Palmetto Park Rd PO
Box 276064 Boca Raton, FL 33427.
into our musical soul than the music that we are performing. Many drummers
have extremely diverse and inclusive musical tastes and lives. There is something Canadian Publications Mail Agreement No. 41480017 Return undeliverable Canadian
addresses to: PO Box 875, Stn A, Windsor ON N9A 6P2
to be learned from everybody. Draw some inspiration from Antonio, Philo, Mike,
and Rodney. See how their sense of musical diversity and inclusion changes you MEMBER: National Association of Music Merchants, Percussive Arts Society
as a drummer, a musician, and a person. You might be surprised.
Subscribe today at moderndrummer.com/subscribe
Mark Griffith MODERN DRUMMER ONLINE: www.moderndrummer.com
Editor and Director of Content Music Key

@ModernDrummer modern_drummer @modern_drummer

4 Modern Drummer December 2022

 THE NEW GEWA G3
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The GEWA G3 module is very simple to use.

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December 2022 Modern Drummer 5
 KIT OF THE MONTH

Brian Eaton’s Allegra Custom Master Craft drums

D ecember’s submission for Modern

Drummer’s Kit of the Month comes from
Brian Eaton. Brian’s kit is an Allegra Custom
Master Craft setup that was custom built at the
end of the Dave Peterson era at Allegra Drums.
Brian’s snare is a Kirsch custom built 7x14
with natural maple hoops (6-ply maple shell,
with custom bearing edges, and Espresso
satin finish.) His drums are Allegra Master
Craft Drums (natural maple with a thin nitro
lacquer satin finish, round-over bearing
edges, and solid aircraft aluminum lugs.) The
toms are 7x8, 8x10, 9x12 (6-ply shells;) the
floor tom is a 13x15 (6-ply shell;) and the bass
drum is a 16x20 with natural maple hoops
(8-ply shell.) Brian’s Zildjian Cymbals are 20”
K Custom Flat Top Ride, 19” K Custom Hybrid
Crash, 18” A Uptown Ride, 17” K China, 14” K
Constantinople Crash, 14” K Constantinople
Hi-Hat (top,) and A Mastersound (bottom;) 11”
& 9” K Custom Splashes, and an 8” K Splash. His
Paiste Cymbals include a 6” Cup Chime and a
4” Accent.

6 Modern Drummer December 2022

 UNLEASH THE FULL POWER OF YOUR AUDIO INTERFACE
8 CHANNEL TRANSFORMER COUPLED CLASS A MIC PREAMP
WITH PREMIUM 24 BIT 192 kHz ADC

“With Heritage Audio I get a super musical presentation with all the detail and vibe I need.
So easy to set up and sounds INCREDIBLE!
The Súper 8 is a life saver.”
CARTER McLEAN

www.heritageaudio.com
The sound of yesterday.....
built for tomorrow.

December 2022 Modern Drummer 7

 JAZZ INSIGHTS
Life... Unscripted
By Peter Erskine

T here are busy spells and then there are very busy spells. I
recently found myself in the middle of a “this job/that job/and
another job” when things had been moving along quite calmly
for some time. Suddenly, I was juggling spinning plates like that
guy on The Ed Sullivan Show. Life does not always come at us as
scripted. Therefore, this one job that I had promised to do way back
when my calendar was wide open, had now become a fishbone in
my throat through trying to please everyone and make the best
business decisions I could. At least I was wanted!
Okay, let me simplify this. Once you commit to doing a job,
you do not want to cancel it if something bigger, flashier, “better”
(what’s that, by the way?) or more lucrative comes along (yeah, I
get it, more lucrative is often “better.”) I’ll just say this, you’re going 5. Then I got a call to participate in a multi-drummer fund-raising
to work long and hard to establish your name, credibility, and event whose theme was paying tribute to the great big band
reputation. If you say you’re going to do something, you need to do drummers of yesterday. Well, that was easy to turn down, I had
it, period. There’s no quicker way to demolish a career than to be already committed to doing Vince’s gig, so I replied with a simple,
that drummer that cancels one gig when another one comes along. “Sorry, I can’t do it.”
The small picture is, you’ll make a bit more money. The big picture 6. Maybe I should feel flattered, but the organizers changed the
is that word will get around that your word is no good. date and time so that I could do it even though the timing would
be tight. That meant that instead of “simply” taking three flights
Allow me the indulgence of laying out a sequence of events. to return home from Iceland after a day-and-a-half of non-stop
recording, NOW I would be driving way across town to do a
1. The twice delayed 50th reunion of my high school alma mater, rehearsal with a big band and be the first of several drummers
the Interlochen Arts Academy, was scheduled to stream their performance as part of this tribute. Then I would
for mid-October of this year. In anticipation, zip over to the long-planned Vince Mendoza
I booked my flights and lodging on the Alex Acuña rehearsal. However, a union crew time issue
campus and was looking forward to several came up and the live stream got pushed back
days of this personally important holiday. by an hour. This meant that - no matter what –
2. A few days later, a work inquiry came in I would now be late for Vince’s rehearsal.
from my long-time friend and associate Vince
Mendoza for a concert of his music along All of this meant that my first day home
with the singing of the great Brazilian vocalist would be a 12-hour work day, followed by a
Luciana Souza. This was a no-brainer “yes,” rehearsal and soundcheck. Then a concert the
and it nestled comfortably into my calendar. following day for the Mendoza/Souza project.
3. I should also mention that my wife was (Did I mention that Alex Acuña was playing
called away for this entire period to play percussion?) Once I (somehow) finished all
nanny and granny to our grandson while of that, I was playing a tribute to composer/
our daughter was busy filming a new show arranger Bill Holman on the weekend with
out of town. I had a little bit of double-duty alumni members of Buddy Rich’s band. The
going on, but I was handling everything okay. Icelandic recording was Weather Report-
I was making lots of “to do” lists and making certain that I was not themed, and now I’m flying home to (literally) play “Flying Home”
forgetting anything. as a tribute to Gene Krupa. Then I’m in the contemporary Brazil
4. Then a series of emails came in about my possibly going to world, and the next day I’m getting ready to be Buddy Rich. On
ICELAND to participate in a recording the night between Brazil and Buddy,
project. This would mean either I had a celebrity birthday party gig
cancelling the Vince gig or cutting in Hollywood, and then a tribute to
my reunion short. While my college Brazilian percussionist Airto Moreira a
teacher’s wise words of, “Have day later. You get the idea. Each one of
the courage to say no,” have long- these involved the logistics of drums,
reverberated in my ears, I couldn’t resist cymbals, and wardrobe. And, oh yeah, I
the invitation and opportunity to visit had to feed and walk my dog!
Iceland, even if only for a day-and-a-half. When it rains, it pours. Don’t bite
Therefore, I decided to cut my reunion/ off more than you can chew. The early
vacation short by one day to make all bird … At THIS stage of the game do I
of this work. And Iceland agreed to my equate some level of self-worth with
spending only a day-and-a-half in the From left: Jeff Hamilton, Peter, Dennis Chambers being wanted or working? I’m afraid
studio. and Adam Nussbaum. I do. And I’ll bet that you do too. Now

10 Modern Drummer November 2022

that the bragging part is done, rather a place to travel to, to get
let’s look at how time and place away from it all, to refresh and
can play a role in the success reinvigorate your senses while
or failure of our endeavors, and hoping for the best from them.
one of the venues where my Guess what? The concept works!
fortitude and forbearance was Recent sessions in and
tested. around Los Angeles have
Departing Thornton School found me getting more and
of Music dean Rob Cutietta more exasperated by the work
is married to a woman from process. It’s no one’s fault
Iceland. Consequently, he but mine. A combination of
knows a number of musicians post-pandemic and latent
from Iceland. Rob connected heart-attack recovery (from
some dots, and I received an 1.5 years ago) have made me
invitation from Iceland to travel a less-patient soul during a
there and record at a place number of recent projects. After
named Floki Studios. Here is flying, traveling, and arriving
their description of the studio on too-little sleep; I was afraid
and its raison d’être: that I’d REALLY be a toxic
presence in Iceland. But the
“Around the year 868 AD, magic of this studio combined
the Norwegian Viking Flóki with the freshness of these
Vilgerdason set sail to establish excellent Icelandic musicians

The Peter Erskine Library

a settlement in Iceland. Legend From left: (Standing) Siggi Baldursson, Einar Scheving, (plus the most-excellent bass
has it that he made a pact with Jakob Magnusson, Eythor Gunnarsson, (Seated) Peter, and playing of Matthew Garrison)
three ravens who joined his ship. Matthew Garrison was just a perfect combination
Believing they would help him of elements. The music was
find land, he asked them to guide him on his way. At sea, Iceland meets Matthew and I. Honorable mentions
Flóki set the first raven free, and it flew toward the rear go to keyboardists Jakob Frímann Magnússon, Eyþór
of the ship. The second raven took to the air and flew off Gunnarsson, percussionists Einar Scheving, Sigtryggur
to the Faroe Islands. But the third raven flew out ahead Baldursson, and a stunning vocalist named Ragga.
of the ship with strong purpose, so Flóki set his course to The fresh seafood lunches and dinners were out
follow the third raven. In time he found land; that land of this world, and to be honest, I can’t wait to go
would become known as Iceland. Flóki settled and lived back there! However, Los Angeles awaited me. And
the rest of his life in our beautiful valley, Flókadalur - The Peter and Ragga after three flights, I got home at midnight local time.
Valley of Flóki. I was Gene Krupa the next day, I was myself the day
Flóki’s story is Icelandic lore, and his use of ravens for maritime after, I was Buddy Rich a day or two after that, and Airto Moreira a
navigation earned him the name ‘Raven Flóki.’ Flóki’s story has inspired couple of days after that. And all along, I was Professor Erskine at
generations. He has featured in books, novels, and on television, and a the Thornton School of Music. However, I did notice that Professor
monument in his honor was built in our valley, just upstream from our Erskine was more invigorated than he had been, and his students
studio. Eleven Music is proud to create our own tribute to Raven Flóki— were leaving the studio smiling.
a world-class recording studio where artists create and collaborate Although the schedule did threaten to unravel more than
in a relaxed environment with outstanding gear and amenities, one musical relationship, while strengthening others, everything
surrounded by the striking natural beauty of the Icelandic coastline pretty much worked out. Maybe that’s the way life works. We are
which is there for artists to explore and enjoy. Whether it is marveling tested and it’s fun when we score well. But it’s okay to fail or to
at the northern lights or getting the adrenaline going with rafting, give yourself a “B” (or even a “C”) every now and then. As a vertically
surfing, hiking, biking or horseback riding… Flóki Studios offers artists challenged friend of mine likes to say, “Life is short. I’m shorter.”
an escape from the real world, inspiring creativity and friendship. Flóki More on the idea of judging ourselves, judging others,
Studios offers a platform for artists to and somehow inserting ourselves into those
explore their passion on the edge of the judgements of others in my next column.
arctic circle. Like Flóki, we have followed Meanwhile, here is a link to a few pics of the
our own ravens here to help inspire studio and location https://flokistudios.com/
those that inspire the world.” deplar-farm and www.flokistudios.com

This guy Flóki reminds me of a

drummer I know! Flóki studio is a
combination state of the art up-to- Check out Peter’s
date production facility blessed with drummer profile page,
a literal ton of analog tape machines. and get a copy of
It is what’s known as a “destination his Legends book at
studio,” not a place where local
modern drummer.com
musicians go to make jingles, but

November 2022 Modern Drummer 11

 Drum Workshop Puts Innovation on Display
at 50th Aniversary Celebration
Drum Workshop hosted a multi-day program of talks and workshops true acoustic to electronic convertibility, wireless connectivity, three
designed to celebrate drummers and the drumming community zone metal cymbals and a premium sample library.
along with DW’s own heritage of innovation. “DWe will deliver the most authentic playing experience in the
The opening night brought the introduction of new products that market for drummers whether played acoustically or electronically,”
honor the past and excite for the future. The celebration highlighted says John Good, senior executive vice president and co-
its 50-year legacy of innovation, while demonstrating its continued founder of Drum Workshop. “Our focus has always been helping
commitment to inspire the next generation of drummers with drummers elevate their craft by delivering new innovation, and
the introduction of breakthrough technology solutions. The 50th DWe is no exception.” Lombardi added, “Including technology in the
Anniversary represents a significant milestone for the company drummer’s toolkit will enable them to introduce new creative ways
which has built a reputation as the preferred brand of drums and to express themselves. DWe solves the issue of having to choose
hardware by both professionals and enthusiasts globally. With between electronic or acoustic drums and gives drummers the
five decades of product innovations in acoustic drums, pedals and ability to add new sounds to their setup.”
hardware to celebrate, the company is not resting on what’s worked In addition to the reveal of DWe and to celebrate the 50-year
in the past. “We have always looked to improve the tools that milestone, DW Drums is releasing a 50th Anniversary Limited-
drummers have at their disposal, and that is what we’ll continue to Edition suite of products available globally beginning November
do in the years ahead,” said Don Lombardi, chief product officer 4. DW Collector’s Series 50th Anniversary Limited Edition
and co-founder of Drum Workshop. “Looking back to 1972 when Drums are constructed from a combination of persimmon, a hard
John and I started the company right here in Santa Monica, we tone wood similar to purpleheart that produces thick attack and
projection, combined with spruce that boosts warmth and tonality.
Each drum comes with a veneer of rare, quilted maple fitted with
inlaid maple and rosewood 50th Anniversary badges and are fitted
with antique gold hardware. These Limited Edition DW drums are
available in a 6-piece shell pack Collector’s Series® 50th Anniversary
drum set, a 6.5”x14” snare, and a 6.5”x14” Edge® snare drum.
Inspired by John Good’s memories of growing up in Northern
Italy, the DW Collector’s Series 50th Anniversary Limited Edition
6-Piece Drum Set features a core of persimmon, a hard tone wood
similar to purpleheart that produces thick attack and projection,
combined with spruce that boosts warmth and tonality. These
10 PLY HVLT™ shells, handcrafted in DW’s California custom shop,
feature a stunning outer veneer of rare, quilted maple, inlaid with
a rosewood and maple 50th Anniversary badge and band. The
drums are finished in a burnt toast burst lacquer and fitted with
antique gold hardware, True-Hoops™, True-Pitch 50™ Tuning, S.T.M

could not be more proud of what the team has

accomplished together and in close partnership
with the entire drumming community.”
Revealed at the event was DWe, a first-of-its-
kind wireless acoustic electronic convertible drum
set. Under development for several years, DWe is
designed to blur the lines between acoustic and
electronic drums and deliver a natural playing
experience. DWe adds innovative, patented
technology to the artisan, hand-crafted acoustic
drum shells that DW is known for worldwide.
Launching in 2023 and manufactured in DW’s
California custom shop, DWe will deliver industry
advances in electronic drums with features including

12 Modern Drummer December 2022

(Suspension Tom Mounts) and DW drumheads by Remo® USA. This
pre-configured shell pack includes 8 x 10” and 9 x 12” mounted
toms, 12 x 14” and 14 x 16” floor toms, an 18 x 22” kick drum,
complemented with a 6.5 x 14” matching 10-ply hybrid persimmon-
spruce HVLT™ shell snare, fitted with DW Mag™ Throw-off. Only 100
of these kits will ever be produced and each includes a certificate of
authenticity signed by DW founders Don Lombardi and John Good.
In addition, 200 à la carte 6.5 x 14” anniversary snare drums will be
made for those adding to their snare collections.
The Limited Edition 50th Anniversary DW Edge® Snare Drum,
is assembled by hand at DW’s California custom shop using the
legendary tried and tested Edge® construction. The patented DW
Edge™ snare drum was developed by John Good in 1991. Known
for its brightness, articulation, volume, attack and sensitivity it has
become the go-to snare for a generation of drummers. The new

Pedals possess the same speed, precision and durability you expect
— at a reduced weight. It also incorporates the same innovative
specifications synonymous with the 5000 series of pedals including,
Limited Edition 50th Anniversary DW Edge® Snare is constructed
the Accelerator™ (AD4) drive system for increased speed and
using a 10-ply persimmon and spruce shell with an exotic quilted
sensitivity, Tri-Pivot™ Toe Clamp for improved bass drum hoop grip,
maple outer veneer finished with a commemorative maple and
the Dual Bearing Spring Rocker which delivers ultimate smoothness
rosewood 50th Anniversary inlaid badge. Two heavy-duty brass
and the new textured rubber grip pad on the base plate to reduce
Edge® rings complete this stunning snare drum which is shipped
slippage while playing. DW’s patented Delta Ball-Bearing Hinge,
in a deluxe DW carrying bag. DW will produce 100 of these special
101 two-way beater, clip-in drum key and built-in spurs all come
6.5”x 14” Edge® snares. Each will include a signed certificate of
as standard. Available in both a single and double pedal options. A
authenticity and DW’s characteristic professional-grade features
limited edition DW50 pedal bag is included.
including antique gold hardware; DW 3.0 steel True-Hoops™, MAG
Drum Workshop was acquired by Roland Corporation earlier this
Throw-Off™, 5P (5 position) Butt Plate™, True-Pitch 50™ tuning, True-
fall. DW will continue to operate as a wholly owned subsidiary, with
Tone™ 20-strand snare wires and DW Drum Heads™ by Remo®.
both organizations benefiting from their shared areas of expertise.
The iconic DW 5000 pedal has become the industry standard bass
Masahiro Minowa, chief innovation officer of Roland added,
drum pedal after its launch in 1977. Five decades later, the company
“We are excited for DW to reveal this breakthrough innovation and
is celebrating its 50th anniversary with the release of a limited
support DW in blending the worlds of acoustic and electronic drums
edition of the iconic 5000 pedal. Incorporating a DW50 signature
into one seamless package that benefits all drummers.”
logo carbon fiber footboard and heel plate, the Limited Edition
dwdrums.com
50th Anniversary DW 5050 Carbon Fiber Single and Double

Vater Releases 30th Anniversary Limited Edition Chad Smith Stick!

November 2022 marks Red Hot Chili Peppers drummer Chad available to the public on his Funk Blaster model before. Chad Smith
Smith’s 30th year as a Vater Drumstick Artist. To commemorate this states, “Heart to the hands to the sticks - which are the conduit
milestone, Vater is releasing a limited-edition Chad Smith model to the kit. Vater Drumsticks have been it for me now for 30 years!”
which will only be manufactured until November 1, 2023. Play them or display them as a collectible…Either way, you will
This 30th Anniversary Edition of Chad’s Funk Blaster model own a piece of Chad Smith and Vater History. Contact your Vater
is finished in a special silver paint, with a 30th Anniversary logo Distributor and/or Vater directly for ordering help and information.
designation along with Chad’s signature, which has never been vater.com

December 2022 Modern Drummer 13

 Latin Percussion Launches Limited Edition Black Box Exotic Cajons
and Discovery Bongos
LP is pleased to release two limited edition Black Box edges and Black
cajons with a choice of Exotic Ebony and Figured powder-coated
Cerise Craftwood soundboards. Based on LP’s award hardware.
winning, best-selling cajon, the two new Black Box The new eye-
cajons have clear distinct snare and bass tones catching and affordable
making them fun and easy to play for the beginner bongos are constructed
percussionist. Made from environmentally responsible using a high-density
MDF and incorporating two sets of premium snare polymer shell, natural
wires, they are completed with either a stunning Exotic rawhide heads,
Figured Cerise soundboard (LP1428NYFC) or Ebony comfortable EZ Curve
Craftwood soundboard* (LP1428NYEB). rims, 9/32” diameter
Cajons can be played with hands or cajon brushes lugs, traditional Cuban-
to create an infinite number of grooves. The range style bottoms and
of sounds achieved stylish black hardware.
with the different tone The 6 ¼” and 7 ¼”drums
zones and premium are fun and easy to play,
snare wires will provide simple to tune and they produce a bright dynamic
inspiration for players sound suitable for all genres of music.
of all levels. The Discovery Bongos are available in an
The new, lightweight assortment of seven vibrant colors: Black Onyx,
LP Discovery Race Car Blue, Rose, Sonic Blue, Sea Foam, Slate
Bongos made with Grey and Snow White. For a limited time the new
LP’s Exclusive HD™ bongos are available with a FREE carrying bag.
Shell Construction, lpmusic.com
reinforced bearing

GEWA Digital Drums announces the new GEWA G3 SERIES

The new GEWA G3 SERIES kit consists of a G5 series. The G3 configuration includes: 10” kick pad
five-piece pad configuration and is aimed one 10” kick pad, three 10” tom pads, a 12” 14” crash cymbal (3-zone, 360° play zone,
at everyone from snare pad, a 14” crash, an choke function)
beginning students to 18” ride, and a 14” hi-hat. All 18” ride cymbal (3-zone, 360° play zone,
advanced drummers. cymbals--including the hi- choke function)
The Gewa G3 offers hats*—feature three zones, a 14” hi-hat cymbal (3-zone, 360° playing
no compromise on 360° playing surface that can zone, choke function)
sound, playability, be choked at the edges (*The GEWA Studio Rack
and connectivity, 3-zone hi-hats are unique to includes the GEWA hi-hat stand and cables.
but it comes in at a GEWA Digital Drum and are More information is available at
lower price than its currently the only hi-hats in gewadrums.com
predecessors. The our industry
G3 is the perfect which offer
companion for this feature!)
home or studio use. The GEWA
It is even compact G3 module
enough to be used as is extremely
a practice kit! easy to
An outstanding feature of the Gewa G3 use. Turn it on, run the
is the 901 high-resolution sound library. Setup Wizard, and you’re
All sounds were recorded at the legendary ready to go - BORN TO
Funkhaus Studios in Berlin and use up PLAY! The GEWA G3 will
to 1,000 samples per instrument. What’s be available in stores
more—these sounds are identical to those from mid-November at a
of the flagship GEWA G9 Drum Workstation. recommended retail price
The player has 40 drum kit presets at their of €1,899.00. The GEWA G3
disposal. Studio 5 comes with:
The GEWA G3 uses the same trigger GEWA G3 Drum Module
technology (and, therefore, has the same three 10” Tom Pads (2-zone)
playability) as the GEWA G9 and GEWA 12” snare pad (2-zone)

14 Modern Drummer December 2022

 Presents:
Gary Chester’s New Breed

Buy from your favorite retailer

check out more at moderndrummer.com
December 2022 Modern Drummer 15
 PRODUCT CLOSE-UP

Zildjian Fat Hats and Blast Bell

Warm, Earthy, Dark and Extremely Musical
By Brian Hill

Fat Hats consistent “go-to” set of hats that would work in a studio or a live
Zildjian sent Modern Drummer two pairs of the new Fat Hats and setting. I think they succeeded.
a seven inch Blast Bell, they wanted us to give them go, and I must The masters at Zildjian came up with a combination of “Dark
admit that just holding them made me want to play them. On first Hammering,” like on a “K,” and a wide lathing technique as was used
inspection of the Fat Hats, I noticed that they not only had a wide on those old classic Zildjian A’s from back in the day. The result was
lathing, but, big, fat hammer marks. I’ve seen plenty of hammering worth the decade long wait! These Fat Hats are a very nice blend of
in my day, but I think this hammering is a larger version than the strengths of both of these classic and musical cymbal lines.
some of what else is on the market today. In fact, the hammering The two sets of hats measured in at 14-1/8” and 15-1/8” in diameter.
reminded me of what I remember on some really old jazz-oriented Usually, I can immediately tell the top plate from the bottom just by
cymbals from the past. So not only holding them was exciting me, feel and holding the cymbals. This time was different. I had to look
but so was looking at them! The Blast Bell also had its own distinct closer because I really wasn’t sure from just the feel. It turns out that
look that made me just want to hit it! So, let’s take a closer look and, the Fat Hats top and bottom cymbals are fairly similar in thickness.
well… hit them! The smaller weight difference between top and bottom seems to
Zildjian worked on the Fat Hats for a decade. They referred to it blur the lines between the cymbals a bit, but that creates something
as a “labor of love.” Their goal was to create a set of hats that have very special that really works well when the hats are blending into
a rich blended sound that would fit into a large majority of musical the music.
situations seamlessly. It seems that they were trying to create a I set both sets of hats up and on the same kit at the same time

14 Modern Drummer December 2022

and found that the two sets complimented each other very well. bells, allowing you to be able play a more controlled and consistent
Both sets of Fat Hats came across very warm, somewhat dark, but pattern when riding it. With the Blast Bell you’ll get a whole lot less
they also created a lot of mids which helped them cut through of the “crazy-white-overtone-noise” sound, which results in more
the mix nicely. They have a nice combination of blend and cut. In articulation and clarity overall.
playing them, I found lush and focused sounds that were crispy The Blast Bell has a lower profile and a raw finish. That gives the
and crunchy and very rich and very wide. Ok… OK… they were bell its distinct look and means that it can be mounted solely on a
just flat-out FAT! The 15” set was full and warm while the 14” set stand or mounted inverted on top of another cymbal. I really like it
supplied a wonderful high-end crispness that not only differentiated mounted inverted on my ride cymbal as it makes a great and easy
it from the larger set but made the use of two sets of hats seem very target! This bell really cuts through with a very consistent musical
practical. Fun stuff! quality and provides a level of control that I really appreciate.
These new offerings from Zildjian were really easy cymbals to
Blast Bell review because the folks at Zildjian just did an outstanding job with
The Zildjian 7” Blast Bell was a real treat. It was designed in both of these beautiful instruments. Both explore the sonic realm
collaboration with Matt Greiner and provides a darker version of of a warmer, darker sound that’s only found in metal if you look and
the classic Z Bells. I have used “bells” before and most of them have work hard enough. I really have to recommend these for a good
an incredible sustain: Like the “into next week” sustain! Because of look……and listen. They’re worth it! Check ’em out! The 15” Fat Hats
that, I found previous bell cymbals to be more of an effects-type have an MSRP of 720.00 the 14” MSRP is $648.00 and the Blast Bell
instrument. The Blast Bell has a much shorter sustain than most MSRP is 186.00. zildjian.com

December 2022 Modern Drummer 15

 PRODUCT CLOSE-UP
ROLAND TD-17KVX2
By Jason Mehler

R oland recently announced some exciting

upgrades to their V-Drums product lineup.
Included in the rollout is the Roland TD-17KVX2,
MDS-COMPACT seem to be identical, which
would allow the kit to be set up either right or
left-handed by just moving some cymbal clamps.
which is the subject of our product review this I am a lefty, but for this review I chose to follow
month. The TD-17KVX2 builds upon the previous along with the provided (too small for my eyes)
generation TD-17KVX model and features both printed instruction booklet, which (by default)
hardware and sound module updates. For those displays the kit right-handed. Mounting the
not familiar with either model, I will explore this pads and cymbals was extremely easy. I have
kit as a whole and the upgrades. always been a huge fan of the ball and socket
adjustments which are present on all of the
What’s in the Box stands and mounts on this kit.
The TD-17KVX2 is a 5-piece kit that includes One major thing to note about the TD-17KVX2
the TD-17 sound module, the KD-10 kick drum is that it does not come with a hi hat stand, bass
pad, a 12” PDX-12 snare pad, three 8” PDX-8 tom drum pedal or drum throne. Therefore, unless
pads, two 12” CY-12C-T rubber coated two- you already have access to those items, you will
zone crashes, one 14” CY-14R-T three-zone ride need to purchase them separately. I used my old
cymbal, and one 10” VH-10 floating hi hat with trusty Tama Iron Cobra HH to mount the VH-10
bottom unit. Also included is the MDS-COMPACT floating hi hat cymbal and an old Yamaha bass
drum stand (drum stand may vary in some drum pedal on the KD-10 kick pad. I would also
countries.) highly recommend a strong drum rug to provide
a secure base for the Velcro-bottomed KD-10 to
Hardware Setup firmly anchor the bass drum pad.
The setup of the TD-17KVX2 took me about an The mount for the TD-17 sound module
hour from unboxing to playing, with most of the allows for two different mounting positions on
time being spent on building the MDS-COMPACT the rack. This came in handy for me because my
drum stand, a curved rack-mount system that hi-hat stand position was blocking the display
holds most of the pads and cymbals. The rack when the module was mounted in its default
is sturdy but can be a bit challenging to square position to the left of the hi hat. Moving the
at first, due to the curvature of the cross-mount module between the hi hat and first tom solved
bars. Thankfully, Roland has provided guide that issue for me.
holes to make it a little easier to align and The pads and cymbals were very easy to
eliminate wobble. connect to the sound module thanks to the
The left and right extension bars on the pre-labeled wiring harness included with the
Jason Mehler

16 Modern Drummer December 2022

December 2022 Modern Drummer 17
 PRODUCT CLOSE-UP
product. Because the TD-17KVX2 has an additional cymbal pad, there wake up call for drummers who assume they have good time but
is also an extra balanced quarter inch cable in the box. aren’t used to practicing to a click. Other coaching features include
Time Check and Warm Ups, which are definitely useful and worth
Playing Experience exploring.
Once the TD-17 module is powered on, the first drum kit preset If you’d rather practice or play along to music, you have a few
is immediately available to play. The pad volume, sensitivity, and options. There are several songs embedded into the unit and you
response adjustments are pretty good right out of the box and the can change certain parameters such as tempo and mix volume.
internal sound samples are smile-inducing. The TD-7KVX2 comes You can load and save songs via the SD card port on the side of
with Roland’s new thinner V-Cymbal pads, and combined with the the unit. Of course, my favorite method of playing along to music
rich, high quality sound is simply pairing with
samples they are an an external Bluetooth
absolute joy to hit at the source such as a
end of a drum fill, play smartphone or tablet
light colorful ride patterns and just streaming my
across the bow and bell, or favorite playlist from
even choke the edge like a a music app such as
traditional cymbal. Spotify or Apple music.
The performance of For this application,
the VH-10 hi hat when the TD-17 module has
paired with a standard hi a convenient recessed
hat stand is impressive. slot at the top of the
I was able to easily use unit to hold a smart
nuanced hi hat techniques phone while you play.
and sounds like heel–toe If creating unique
splashes and sloshy open sounds is your thing,
hats. I won’t go so far to you can manipulate the
say that the hi hat feels sampled sounds that are
completely natural, but assigned to each pad by
it does feel very familiar, tuning, muffling, adding
and I was able to dial-in a effects, layering and
better response by simply more. The possibilities
increasing the sensitivity within the TD-17’s interface. are endless. You can also import your own sounds if desired. Once
The KD-10 kick drum pad feels nice whether you bury the beater you’ve perfected your sounds, you can record a performance using
or let the beater rebound. The one I was testing had a little more the physical record button on the unit and export the recording to
movement than I would’ve liked, but again, that is easily eliminated an SD card. Roland also boasts that you can further develop your
by a good drum rug and secured pedal. playing and time with the free Melodics for V-Drums software. You
In my opinion the PDX-12 snare pad adds value to this kit. The can also expand your range with sounds, samples, and artist kits,
larger size is reminiscent of an acoustic drum and the rubberized rim from the Roland Cloud.
is at just the right height to allow a comfortable rim shot. The fact
that you can adjust the tension of the double-mesh head makes it My Experiment
that much more appealing. Let me preface this by saying, the following is in no way a practical
Each of the PDX-8 tom pads mount nicely to the rack system use for the TD-17KVX2 due to the cost of the unit, but it was a fun
and can be maneuvered into a comfortable playing position with experiment. Anyway, because the PDX-12 snare pad is similar in size
minimal effort. They also have mesh heads, rubberized rims, and the to my Real Feel pad, I decided to try using it as a practice pad while
same great response as the PDX-12. The shallow depth of the pads on a day trip. I also brought the TD-17 sound module which I was
can be advantageous in situations where overlapping the lower able to power using a power inverter. The pad sat firmly on my lap
drums will reduce the overall footprint of the drum kit. and was actually very comfortable to play. The pad plugged in to
the aux input on the module and I was able to assign sounds, play
Working with the TD-17 Sound Module with head tensions and other settings to dial-in the best response. I
At first glance the TD-17 sound module looks very simple. It is indeed also used the coaching features to practice. This time also gave me a
really simple to just plug it in and start playing with the library of chance to dig deeper into the multi effects and explore the layering
preset drum kits including the 20 new kits that have been added to features which allow triggering of multiple sounds per pad at specific
the TD-17KVX2. The interface is clean and some of the most used sensitivity levels.
features are easily accessible from the knobs and buttons on the
face of the unit. However, there are also some very powerful features In Conclusion
hiding just below the surface. These tools make the TD-17 a great The Roland TD-17KVX2 is a great option for someone who is looking
tool for building better chops, crafting your own unique samples, to practice, perform, be inspired, and rapidly improve their skills.
and creating great music. It’s perfect for someone looking for full-featured electronic drums
For example, the built-in coaching features are great for all skill that sound great, feel like acoustic drums, have a smaller footprint,
levels. I personally love the Quiet Count feature, which loops an and are reasonably priced. Here is an additional unboxing and set
audible click for a specified number of measures, followed by a up video of Modern Drummer reviewing this set. The TD-17KVX2
measure or two of silence until the loop restarts. This can be a real currently retails for $2,099. Roland.com

18 Modern Drummer December 2022

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Modern Drummer
 Antonio
Sanchez
A Bad Hombre Migrating Towards a Shift
By Mark Griffith

A ntonio Sanchez’s career is going through a bit of a “shift.” (Which is actually the name of
his new record.) Years ago, the drummer who recorded and toured as a side musician
with Paquito D’ Rivera, Michael Brecker, Pat Metheny, Gary Burton, and Chick Corea made
his first shift and became a bandleader. That resulted in the release of nine recordings as
a leader and the formation his first band called Migration. Some of those albums have
featured noted jazz musicians such as Pat Metheny, Chick Corea, Joe Lovano, John Scofield,
Brad Mehldau, Donny McCaslin, Chris Potter, and others. However, in 2014 another major
Fernando Aceves

shift occurred in Antonio’s career. He was asked to write the music for the Oscar winning
film Birdman, for which he created an original concept and score that featured only drums.
While drummers and movie watchers celebrated Antonio’s artistic vision, the film world
tried to recover from the shock of a solo drumming score for a major movie.

20 Modern Drummer December 2022

December 2022 Modern Drummer 21
 The shift continued... With prior training that he had envisioned in the past. No longer
in classical piano and composition at the did compositions have to come from melody
conservatory in Mexico and a strong interest in and harmony; compositions could be based
modern technology for creating, scoring, and on pure vibe, feeling and the discovery of new
recording music, Antonio kept pushing. His sounds.
2017 recording Bad Hombre was a reaction to When the pandemic hit, (like the rest of us,)
the political atmosphere, and an opportunity Antonio had a lot of time on his hands. While
to create new music in his home studio the rest of the world watched movies on
where he could design sounds, manipulate Netflix, and learned how to make sourdough
recordings, and ultimately take charge of bread, Antonio was busy scoring the music for
his entire creative and recording process. television shows and movies and learning how
For Bad Hombre he recorded and edited his to create and record beautiful music at home.
own drum improvisations and layered them Adding to his award-winning work on Birdman,
with soundscapes and textures, elevating the his film and TV credits now include Get Shorty,
sonic experience of his rhythmic ideas. Those and Hippopotamus for EPIX, the feature film
improvisations-turned-compositions reflected Harami, HBO’s The Anarchists, and the list is
his feelings around the treatment of immigrants growing.
and the growing problems facing society. This All of this is what has led up to Antonio’s
process of expression appealed to Antonio in wonderful and fascinating new record called
a way that was different from his experiences SHIFT Bad Hombre Vol II. This is a recording
recording and touring with jazz legends and that combines everything that has happened
leading his band Migration. This new creative throughout his musical career, and the resulting
process was drastically different from the music music is simply spectacular.

MD: This is one of the most interesting records that I have heard in and artists should do a lot more than that now. The amount of
a while. It is nothing like your Migration records, it isn’t even like its preparation, time, effort, and love you put into something is going
immediate predecessor Bad Hombre. When I first heard it, I thought to be directly proportional to how much people are going to want to
I was listening to a Nine Inch Nails or a Peter Gabriel record, and check it out. Now we have the tools at home to do post-production,
(from me) praise doesn’t get any higher than a comparison to Peter mixing, mastering. When I started taking control of my own albums,
Gabriel. productions, and mixes, doors began to open that were not
AS: Thanks, Peter is one of my favorites as well. I am hoping that previously available to me.
this record resonates with people, because it was three years in the MD: How did you start taking control and opening those doors?
making. AS: I started with getting some of the right gear. After the success of
MD: Your recordings in the past both as a sideman and as a Birdman, I started to get offers to do some more film scores. I bought
bandleader have always had a certain “big-ness” to them. Your earlier a house and the gear at the same time, so there was a pretty steep
recordings with Donny McCaslin and David Gilmore helped create a learning curve. I was terrified, but pressure can work magic. That
large musical landscape. Even if we go all of the way back to Michael magic resulted in my learning that I could do a lot of things that I
Brecker’s Quindectet, and fast forward to Pat Metheny Group’s The couldn’t do before. Suddenly I had the space, I had the gear, and I
Way Up and Speaking of Now; you seem to attract music that is wanted to do something of my own. That’s how the first Bad Hombre
presented on a big canvas. record came about. Suddenly I was editing, splicing takes, reversing
AS: I have always loved music that was big, has depth, and is waveforms, and just experimenting with music and technology.
presented with a wide scope. I like that in movies, books, and music. When there was something that I couldn’t do, I would ask someone,
My first love was rock and roll music, and listening to ambitious or simply go on YouTube to figure things out. There was a lot of trial
records by Led Zeppelin, Rush, The Police, Tears for Fears… made and error, but I found that it was such a liberating way of making
a huge impression on me. I have also always liked concept albums. music.
Today, there is so much music being created that it is hard to cut With my band Migration, I would sit at the piano, write
through the noise. I think one way to do that is to make music that melodies and harmony, write out the charts, rehearse the band,
is well thought out. Sometimes I think that some jazz records are and record the music. It was “the usual process.” But with this new
just thrown together. Get everyone together in a studio, everybody process, I could base everything around sounds and production.
brings a tune, sight reads the music, you mix and master it the It was a whole new way of creating music that I had never
next day, and it comes out in a month. That can be great, and the experimented with before. It was like moving from black and white
playing can be amazing, but to me music can be so much more, to color.

22 Modern Drummer December 2022

Fernando Aceves

December 2022 Modern Drummer 23

 MD: What is your home studio workspace like? past. You can overexpose yourself by touring with a bunch of different
AS: I work on a Mac with Native Instruments, Spitfire, Spectrasonics bands. Unfortunately, as a band leader on my level, you are forced
and Teletone plug-ins among others. I have a lot of software to commit yourself to a single project, in order to not confuse the
instruments creating wonderful string, percussion, and guitar sounds. listeners or the promoters. I hate the fact that I have to hold back on
I have some Apollo interfaces so I can record drums in 16 channels. different projects because I don’t want to confuse people. I toured
I have plenty of good mics, a few keyboards, midi controllers, real last year with a quartet featuring Donny McCaslin, Miguel Zenon,
string instruments (guitars, basses, ukulele, mandolin, oud), my and Scott Colley. It was two saxophones, bass, and drums. I love that
main drum kit which is a Yamaha PHX with Remo drumheads, lots instrumentation, but I am on such a mission with the Bad Hombre
of Zildjian cymbals, and miscellaneous percussion. I write on Logic project now, that I just had to leave that quartet alone.
and record to ProTools. Logic can be a little friendlier to write with, MD: Did the Birdman project lead you into this new realm?
but when I record and edit, it’s always in ProTools. For musicians AS: Without Birdman, I probably wouldn’t have done any of this.
nowadays, there is no excuse to not be doing this kind of stuff. This direction isn’t something that I was looking for. I’ve always
MD: Your career seemed to change with the release of New Life and loved movies, but I never had the aspirations to create music for
the creation of your band Migration. With those recordings your movies. Then Birdman happened. With some exploration and
music just seemed to get bigger, and your musical scope got bigger experimentation, I found out that I was good at creating music for
Fernando Aceves

too. movies. Then I got a few more offers.

AS: My band Migration can do anything musically, but I also like Writing film music can be stressful and disappointing at times. You
experimenting with side projects. Through working with Pat Metheny, are creating music for somebody else, and what you are enamored
I really started to become aware of the model that Pat developed with musically, doesn’t really matter. It’s ultimately up to the director,
throughout the years. He had the Pat Metheny Group playing big film studio, or producer to decide if your music is creating the right
music, and then in between he would release a “small” group record. mood for that scene in the movie. Because there are a lot of people
MD: Like Rejoicing (with Billy Higgins,) Question and Answer (with Roy involved, there are often a lot of different opinions on what your
Haynes,) Trio (with Bill Stewart,) or Day Trip (with you.) music should sound like. Quite often, those different opinions will be
AS: Yes, I love those records, but then he would go back and do a Pat contradictory, and you (as the composer and performer) have to find
Metheny Group record. He was always moving between different a way to please everybody.
bands and special projects of his own. MD: However, as drummers and side-musicians, isn’t that what we are
MD: I always admired how Chick Corea did that, or musicians like doing most of the time anyway?
Ralph Peterson, Joe Lovano, and Dave Douglas. AS: Yes, but with film scoring you are dealing with that in
AS: Exactly. But today, that is a lot tougher to do than it was in the composition, and if you are up against the clock, it can be very

24 Modern Drummer December 2022

daunting. It’s nice when I can work directly with the director or the songwriters with the end results. My goal was to help them see their
creator, but that’s not always possible. It’s tough when you have been own song in a completely different way. These weren’t collaborations
working on a piece of music all day (or week,) and a music editor or because there really wasn’t a back and forth between the songwriters
one of the producers voices an opinion that changes everything. and me. I reharmonized and rearranged the songs, completely
There is a lot of second guessing in the process, and it can be very changed the basic drumbeat ideas, and I tried to take sonic paths
frustrating. That’s why I like to work directly with the director. with the production that were not obvious or expected when I re-
On the other hand, it’s also nice to stay home and compose in my imagined their tunes.
studio and not have the financial and personal stress of constant MD: A lot of great songwriters agreed to let you do this.
touring. It’s getting really tough for musicians. Barely anyone buys AS: Thankfully, yes. In the case of Dave Matthews, he gave me the
records anymore, streaming revenue is non-existent, promoter full multi-track recording of the session for “Eh Hee.” I extracted his
and venue fees are going up, musician fees are going down, record voices, and I went to work. His version is very linear, and entirely in
companies are treating musicians horribly, and most venues even 4/4. I edited his vocals to be much more hypnotic. The new version
request a percentage of artist merch sales. wound up having all sorts of bars in odd-times but it really flowed.
MD: Let’s talk about the new record. Is the subtitle of the new SHIFT I also asked Pat Metheny to play a crazy guitar solo in the middle to
Bad Hombre Vol II an acknowledgement of this shift in your career round things off. I always want to do justice to each song, but I also
trajectory and career focus? wanted to give the songwriter a real surprise when they heard their
AS: A little bit. It’s also a play on words because songwriters gave me composition again for the first time.
their songs to use, and I shifted them into my own musical realm. The first song that I did was Silvan Estrada’s “El Agua y la Miel.” I had
MD: You created a completely new process to write the music for this seen her perform that song in Mexico with only her voice and her
record, let’s talk about the interesting way that you created these new Quatro guitar. I immediately thought that I could have so much fun
songs. re-imagining her tune.

I used to think that

AS: I have always been a fan of a good story. I love a I asked her permission
good book, a good movie, or a song that has a great after the concert, and she
story. It’s a real art form to tell a story in a short made a recording of her
amount of time. You have to be concise and deep at
the same time, which I’m a sucker for. Storytelling
radically different styles singing and playing the
song with a click track,
has to have an arc, characters, motivic development,
and you have to remember said characters so you of music (classical, rock, and (again,) I went to
work. When she heard

and jazz) had no musical

can refer back to them. In music, dynamics and my final version, she
space also help you tell a story. When you analyze was amazed that her
Bach, Beethoven, Mozart, Debussy, and Berg you song could “do” what the
see and hear how they wrote full symphonies from
developing one idea. I used to think that radically
relationships. But as a final version “did.” She
was thrilled that I took
different styles of music (classical, rock, and jazz)
had no musical relationships. But as a more mature more mature person and a simple and beautiful
song that was very linear
person and musician, I now realize that it’s all the in its construction and
same thing. All good music has the same elements,
and if it doesn’t have those elements, and if it
musician, I now realize that made it big and epic.
When I approached
doesn’t tell a story, it’s probably not good music.
MD: I use the term “plot line” with students so much, it’s all the same thing. Trent Reznor, he
managed to find the
they must think they are taking a literature class. time to record something
AS: That’s what it’s all about. When you play, new for me. I couldn’t
what are you talking about? What are you trying to say? And if YOU believe it! He recorded some vocals with Atticus Ross playing synths.
don’t know what you are trying to say, then how will the audience? The song was atmospheric, dreamlike and really cinematic. Maybe
Musicians wonder why people at their gigs are paying more attention he thought that I was going to record some Birdman-like drums on it,
to their phones than they are to the music. The way to grab people’s I’m not sure. But I kept hearing it as a really powerful industrial rock
attention is to be very clear when you are telling a story. anthem, so I ran with that. It took a while to finish but when I played
In the case of SHIFT Bad Hombre II, I asked some of my favorite him the final version, I told him that I had nothing but respect for his
musical storytellers to provide me with a story. That story could be music because Nine Inch Nails are some of the most respected “sonic-
old or new, it didn’t matter. This was during the pandemic, so I knew conceptualizers” out there. Happily, he loved my re-imagination of his
that most of these songwriters would be home. I was sure that these song, and he connected me with his engineer so we could finish the
particular songwriters would give me songs that had depth and mix together. It was an incredible experience to have all of this raw
were challenging. I knew their songs would focus on issues that are material from these incredible storytellers and to be allowed to run
important to me like social justice, human rights, women’s rights, with the stories that they created. It was a producer’s dream.
mental health, addiction, etc. These are things we are all battling as a MD: Talk about the track that you did with Meshell Ndegeocello,
human race and as individuals. “Comet Come to Me.”
I told each of them that I was going to completely re-imagine the AS: Meshell is one of my heroes. She is incredible in so many ways,
musical elements of their songs, and I asked their permission to do a singer, a producer, a composer. Her first three records are definite
that. I kept the integrity of their songs, but I re-imagined everything desert island albums to me. I listen to them all of the time. I am still
around the vocals, the harmony, and the instrumentation. My idea amazed how big and beautiful they are. Gene Lake’s drum parts on
was to have the drums and the voice on equal grounds. I wanted the first two are genius. I really wanted Meshell on this record. She
to not only surprise the listeners, but I wanted to surprise the sent me a few things that she had already recorded, but “Comet Come

December 2022 Modern Drummer 25

 to Me” really resonated with me. She sent me vocals, a little bit of MD: Were there any songs that you got into, and completely
bass, click track, and lots of space. I couldn’t really make total sense rethought your approach in mid-stream? Therefore, changing your
of it in the beginning. I originally looked up the song to give me a approach to create a completely different treatment from what you
reference point, but I couldn’t find it online, so I figured it was a demo had originally conceived?
of an unrecorded tune. I listened to what she sent me a lot, and finally AS: Yes, that happened on every song! I did this all during the
found my way in. After I finished it, I sent it to my manager and his pandemic, so I would start a song with one approach, then
assistant. They told me that the Bad Hombre version was so different completely rethink it and do something else, and then go back to my
from the original… I was quite surprised, “what original?” It turns original idea, and so on… I had time, and I was constantly aware of
out that when I looked it up online, I must have spelled something the pressure of having this amazing story from a great songwriter and
incorrectly. I never heard (or even knew) the original version. But in having to create something that would be worthy of the tune and the
retrospect, I’m glad I didn’t hear it because it would have influenced artist. My main thoughts the entire time were, “What is the artist going
me to approach the song in a completely different way. Thankfully, to think when they hear my treatment of their story?”
Meshell was also very pleased with how it came out. MD: No pressure… Did anyone ask for additional musical guidance
I think the most poignant story on the entire record is Becca from you, regarding what you wanted from them?
Stevens’ song called “The Bucket.” When I first approached her, she AS: Both Ana Tijoux (the incredible hip hop artist from Chile’) and Lila
asked me what the album was about, and I told her that the general Downs (the amazing Mexican singer,) both asked me to send them
mission behind Bad Hombre was social justice. She sent me the text of a drum beat for them to use as inspiration. They just wanted to get a
a soliloquy from a play that inmates at the Oregon State Penitentiary vibe of what I wanted but the most collaborative process came with
had written and won an award for. That soliloquy was penned by a “Trapped (Red Room)” with my wife Thana Alexa. With that one we
man named Sterling Cunio who was involved in a double homicide had the luxury of going back and forth since we were living under the
at age 16, for which he received two consecutive life sentences and same roof and I really went all in with the drum production.
spent 26 years in prison, including nine years in intermittent solitary MD: Did any of the artists tell you that they felt any pressure
confinement. While in prison he began learning to read and write supplying stories and songs to you?
poetry. Through the process, he became a model inmate, found a way AS: No. I am the least “famous” (or “known”) musician on this record!
to save his own soul, (laughs). I told each of them
and to help others.
Becca wrote a My idea was to have the drums that I would work with
whatever they would give me
gorgeous melody to use. Some people sent me
and harmony to his
text. She asked me
and the voice on equal grounds. ideas that were very short. That
meant that I had to lengthen
if I wanted her to
add a drum part to I wanted to not only surprise the what they had given me and
create new musical sections

listeners, but I wanted to surprise the

the song, and I told within their story.
her “absolutely not!” The song that Rodrigo y
since I was trying Gabriela sent called “M-Power”
to surprise her with
my treatment of the
songwriters with the end results. was very short. I created a
completely new outro and
tune. Her version placed their guitar parts at
was very folky and really beautifully crafted. I took her guitar out in different places throughout the song. They were probably the most
the beginning and left her voice a cappella. Then I started adding all surprised of anyone when they heard the final version of their song.
sorts of crazy drum beats around her voice and reharmonizing the Their style of rhumba-flamenco usually has very “inside” harmony but
melody with different string and keyboard instruments. I brought her when I rearranged it, I added a lot of extended harmony, in the end I
original guitar tracks back in towards the middle of the song. I think think they dug it.
she was startled by my version at first, but by the end of the song she MD: That was the most surprising track on the record to me, it sounds
loved what I had done with her amazing rendition. Once the song like “Mexican Mahavishnu” (laughs...)With all of the tracks that ProTools
was finished we realized that we needed permission from Sterling can provide, and all of those sounds at your fingertips, and acting as
Cunio to use his words. Thanks to the fact that Becca’s husband (Nate your own producer, how could you tell when each tack was done?
Schram) has a foundation that brings music to prisons, we were able AS: Great question, that is an issue sometimes. Luckily, I did this
to get in touch with him in prison. We spoke to him, showed him the record during the pandemic, and I had the luxury of time. I lived with
song through the phone and he was honored and humbled that we this project for almost three years so I had the advantage of being
had chosen his words and story, and he granted us the permission able to listen to each track for a long time and then come back a
we needed. It was a crazy experience! However, to make things even week later to see how it sounded after I had been away from it for
more amazing, I found out that after SHIFT came out in August 2022, a bit. I would add or subtract whatever seemed right. When I heard
Sterling’s sentence had been commuted by the governor of Oregon that something was missing, I could tell it wasn’t finished. However,
in November of 2021. Now Sterling is now a free man, and he is sometimes I would add something, and it would fail miserably so I
helping other ex-inmates adapt to civilian life after prison. He is still would remove whatever I had added. It’s all so subjective.
creating poetry and literature and continuing to do positive things. MD: It’s important to note that you had the time to make those
It’s an incredible story of redemption, and I’m glad his words inspired mistakes, and that can be a real luxury. Sometimes it’s hard when
the song. there isn’t the extra set of “unemotional” ears of a producer to help
MD: Was there anyone that didn’t like your treatments or final with that subjectivity.
versions? AS: Although I didn’t have a producer, I did have Thana here to
AS: Luckily, no. bounce ideas off, she is a great musician. Since we were both

26 Modern Drummer December 2022

“trapped” here together during the pandemic, she was a constant both strengths and weaknesses as (what people call) a multi-
collaborator, especially on the song that she and I wrote called instrumentalist. I don’t call myself that, I would never appear on a
“Trapped (Red Room),” and on the other song that she wrote with stage with a guitar but at home with no one watching, I can put
her trio SONICA called “Doyenne.” On my song “Waiting” I had enough little things together that it can start to sound good to me. I
originally recorded scratch vocals but really wanted Thom Yorke also sang a lot of background vocals on many of these tracks. When
(from Radiohead) to sing on it. When I couldn’t make contact with his something sounds good to me, I get excited, then I hear more things,
management, I ended up just leaving my voice in there since I didn’t and then I keep going and going and going…
think it sounded that bad. For this record, I really wanted to use the drums as a production
MD: It must have been terrifying when you gave the finals back to the tool. When you hear well produced rock records like Peter Gabriel So,
composers. U2 The Joshua Tree, Led Zeppelin Physical Graffitti, or Tears for Fears
AS: Absolutely. It was like people were trusting me to babysit their The Seeds of Love, you hear tons of guitars, many tracks of voices, and
children, and instead I did plastic surgery on their kids. With Dave layers of synths and keyboards. But you usually hear only one drum
Matthews, I sent him the track, and I didn’t hear from him for two set part. Sure, there might be a drum machine, some percussion, or
weeks, so I started getting a bad feeling that he had heard it and a loop, but there’s usually only one actual drum kit. I challenged that
didn’t like it. Then one day I got a barrage of texts from him telling by asking, “Why can’t I use the drums like someone else would use
Fernando Aceves

me that he finally had time to listen and that he loved it. We even a guitar or keyboards?” I started playing one kit and layering that kit
ended up doing a whole video for it! four or five times. The results were huge sounding drum tracks. Then,
MD: Although with most people, if they don’t like something they will (for instance) I would create a different and super compressed part
tell you that immediately. that was panned hard left. Then I did another part with delays that
AS: That is true. Dave Matthews told me that since I had written so was panned hard right. Then I would create a super trashy drum part
much music around his song, that he wanted to give me writing that I could move around in the mix at different times.
credit, so we renamed the new version “Eh Hee 2.0.” Trent gave me MD: That sounds like a lot of tracks.
writing credit too, which is absolutely crazy to me. I’m a drummer, AS: There were! I used the Yamaha EAD microphone for recording
and here I was working with all these rock star songwriters. It was a all of these different stereo drum tracks, so I wouldn’t have to use 16
humbling process. tracks for every different drum set. On Trent Reznor’s tune, the verses
MD: It sounds to me like besides being a drummer, you are becoming have a very dislocated drum part so I recorded a few different linear
a really good arranger, although you are not arranging in the sounding eighth note grooves for that. I layered them and panned
traditional way. them really wide. Then I started muting different sounds randomly
AS: I often think of it as creating extreme remixes. I have so what you hear on the track is all of these eighth notes sort of

December 2022 Modern Drummer 27

 bouncing around the stereo field randomly. Then when we get to the I do, and hearing him say those things about Mexicans created a very
chorus and things get really big, I have two drum kits (one panned traumatic time in my and many others’ lives. I had a lot of anger and
to each side) playing very similar parts. As a drummer it’s a really frustration about those words, and I took my emotions right to the
gratifying way to have a lot of drums on a track without having to drum set. I spent many days improvising on the drums and recording,
include a drum solo. I wanted to use other techniques besides solos not thinking about anything like tunes or solos. It was pure stream of
to make the drums stand out, and for the listener to really feel them. consciousness improvising. Then I went back and started to edit parts
MD: Often, the drums are of my improvisations
not the driving force in this together to create
kind of music. There is a concise performances.
drum part, but it’s usually I started adding all
not very present in the mix sorts of electronics and
or the arrangement. But layered sounds around
with SHIFT Bad Hombre II, my drums and I ran with
the many tracks of drums that process. I had no
are a musical motivator and outside help or input
a main production tool in for that record so it
the music. That leads me to was just me. I like the
ask, are you playing some of combination of acoustic
this music live? How is your drums and electronic
creative process transferring instruments, and I
to the stage? enjoy bridging those
AS: We are playing ALL of two worlds. That entire
this music live. That was process (and my Bad
one of the most daunting Hombre alter ego) really
aspects of this project. If liberated my creative
we played this music with a process from doing
standard quartet, it would records in the way that
be cool, but it would sound I had previously been
like an “unplugged” version working. That liberation
of the record, and I didn’t led to SHIFT Bad Hombre
want that. We are playing Vol. II.
the music with a quartet MD: Apart from the
but it’s not your standard new processes that
quartet. Thana Alexa is you created for the Bad
singing (and rapping!) all of Hombre records, how
the lyrics, and she is using does you background
Fernando Aceves

live looping and effects to in classical piano help

create all of the different in your compositional
vocal parts. We are playing process? How do you
live with a click, and we are compose?
using some tracks of the AS: Without the piano
parts that are essential, like I don’t know how I
some synth parts that are could ever compose
on the songs that just fatten anything. Sometimes
everything up. That means that pianist BIGYUKI is free to really play I hear a melody and I go to the piano to extract it. I hear a bass line,
keyboards, as opposed to just playing parts. Lex Sadler is the bassist, chord changes or sometimes a drum groove. Those are usually
and he is playing keyboard bass as well and manipulating the tracks my initial building blocks. Some of my more recent records have
in real time. I also kept some of the original voices from the album so been pretty ambitious compositionally. The Meridian Suite, is one
that you hear Dave Matthews or Trent sort of doing backgrounds for long composition from beginning to end for which I used all of my
Thana. Some of the original different musical motifs as
drum parts were kept in there
too to double what I play live I had to learn how to play really, different characters that
I wanted to bring back
and make it sound bigger. throughout the piece.
MD: What is the relationship
between the first Bad Hombre
really, softly, yet with intensity. By the end of the suite
those characters had been
record and this one. They seem
like very different records. Which is the hardest thing to do. completely transformed
by what had happened
AS: They are completely musically. That album
different. I did the first one was inspired by The Pat
during the Trump candidacy. Many people might remember the Metheny Group’s The Way Up.
speech that he made saying “we have some bad hombres here and we MD: How do the two sides of your musical personality the “Bad
have to get them, out.” I came here from Mexico to try to excel at what Hombre” and the (for lack of a better term) “jazz drummer,” affect each

28 Modern Drummer December 2022

other? the Pat Metheny Group he would usually give us demos that we could
AS: The Bad Hombre way of creating music can be very random practice with.
and crazy, like the first record. But I think my knowledge of jazz and MD: Speaking of hard music, you did a beautiful record with Billy
musical structure and harmony gave the first Bad Hombre album Childs called Autumn: In Moving Pictures.
consistency and form. I think my study of classical music and jazz has AS: That is another of my favorite records. You’re right that is some
informed everything that I do, and my goals to tell a story and create really difficult music. Since I have started my full-time bandleader
an emotional connection, remain. thing, it has taken me away from recording with more people and
MD: How did working with Pat Metheny influence you? doing more different projects. But I came to the realization that I can’t
AS: Pat Metheny has influenced me in many ways. His work ethic do all of the things that I want to do and at the level that I want to do
is infectious. The way that Pat will painstakingly prepare, compose, them, if I keep spreading myself too thin. And that is exactly what was
produce, and edit each record is an eye-opening experience. Seeing happening.
someone that is so established, work so hard, and be so careful when MD: The Chick Corea record Dr. Joe is another favorite of mine. How
he is creating a record, is amazing. did working with Chick Corea

I like to try and find out

I also learned a lot by watching Pat put influence you?
sets together. They are never random. He AS: Chick was my “gateway drug”
always knows what he’s going to play next, into jazz. I was coming from
he knows where he is playing each tune
and why each tune is placed where it is.
why people sound the listening to rock music so when
I heard the Chick Corea Electric
How you put a set list together has a huge
effect on people. When I am leading my way they do. For example, band it was mind boggling and
life changing. It became a dream

why does Jack DeJohnette

band, I always think about where I am going to someday play with Chick. After I
to talk, how long I should talk, and what joined Pat’s band we did a quartet
I am going to tell them about the music. tour with Pat, Michael Brecker,
People deserve to get a great show, not just
a bunch of guys playing “great.”
sound different from Roy Christian McBride, and myself. We
played a few gigs with Chick’s band,
When we were recording Speaking of
Now, Pat told me that he thought people Haynes. If you can figure and I told Chick, “I don’t want to die
without ever playing with you, so
liked the Pat Metheny Group records if there is ANYTHING ever that we
because of the sheer amount of information
there is in each tune. We did multiple takes
out those differences, could do, I’m THERE!” Eventually we
did a bunch of gigs together, and
of every tune, he reminded me that we
were creating important music, and he was then you can summon not only was he gracious enough to
play on my first record (Migration,)

that energy and apply it

adamant about his belief that it had to be but he wrote two tunes.
done perfectly. Coming from the musical What did I learn from him?
world of jazz where you often do an entire Work ethic. I admired how prolific
album in one day, to the musical world of
Pat Metheny where we were doing one
to your playing. he was. He was just like a cat that
you could throw into the air and
track a day was a luxury. We had a long time would always land on his four feet.
to really work on every song. Coming from that experience, I started That was Chick. He could put the strangest combinations of people
to take several days to record each of my records. I would have mock- together, and through his piano playing, he would make it work. He
ups of tunes, create midi maps and tempo mapping for each song. was daring, fearless, and he always had a smile on his face when he
MD: Do you use a click for the Migration records? played. He enjoyed the musical process of getting into trouble and
AS: Yes, it makes it easier to edit them. But I would manipulate and finding a way out of it.
move the click around, so the music never felt stiff. I learned that from MD: One of your first gigs was with pianist Danilo Perez what did you
Pat. learn from him?
MD: Before we move on from Pat. The record Tap is just you and Pat AS: I really learned about dynamics from playing with Danilo.
playing duets, I love that record! What can you tell me about Tap? We would often be playing in big rooms with bad acoustics (like
AS: That is one of my favorite records with Pat. Obviously it’s just me churches.) And I would be playing backline drums that weren’t really
and Pat, but we are playing music that is composed by John Zorn. He set up for jazz. I had to learn how to adjust to those situations, and I
created melodic and rhythmic cells that Pat and I expanded on and had to learn how to play really, really, softly, yet with intensity. Which
then did a lot of post production to it. The nature of that music was is the hardest thing to do.
just so open, so daring, and just so different from what Pat usually MD: I always refer to that as, “Burn hot on a low flame,” and yes, it is
does. really hard, but very useful... What did you learn from playing with
MD: How does Pat bring music to the Pat Metheny Group? Does he Michael Brecker?
bring demos, or big scores, or structures? AS: Just the process of playing duets with Michael Brecker and being
AS: I’ve been with him for 21 years and it has changed over time. I’m in the eye of his hurricane was amazing. Although you were in the
also the only drummer he’s ever used that has played on virtually middle of all of this energy that Michael was creating, you knew
every project he’s done. Since I joined in 2001 I have been in The Pat everything was going to be fine. The first time that I played with
Metheny Group, Trio with Christian McBride, The Unity Band, The Michael I was aware of the drummers who had played with him like
Unity Group, The Quartet with Gary Burton, and now this most recent Jack DeJohnette and Jeff Watts. I was trying to emulate that energy,
quartet with Linda May Han Oh and Gwilym Simcock. So I have done and I thought that I had overdone it. I asked him about it after the
lots of different music with Pat, and each context is different but with gig and he said, “No you can always play more.” Then I asked him for

December 2022 Modern Drummer 29

 some suggestions, and he said, “If
I felt as though I needed to give
you suggestions, you wouldn’t be
here.” Some bandleaders are very
eager to give a lot of direction, but
some aren’t. I try to use that same
approach with my music. I give
people a little bit of direction, then
I let them be free within the music.
MD: I sometimes get a little messed
up by knowing the drummers who
have done a specific gig before
me. How aware are you of the
drummers who have done a gig
before you? For example, with
Pat there was Danny Gottlieb and
Paul Wertico before you. With Gary
Burton, there was Bob Moses, Roy
Haynes, Michael Hyman, and many
others…
AS: I am always hyper-aware of
who has done a gig before me.
I am never really trying to copy
anyone, but I am always trying to
bring a similar energy. Because of
that, in the past I would try to force
things that weren’t natural. But
now I’m older and I realize that I
am what I am. Now I am much more ANTONIO’S GEAR
secure with who I am, and I have
DRUMS: Yamaha PHX HARDWARE: Yamaha.
realized that I can’t be anyone else.
14” × 18” Bass Drum
When I first joined Pat, we were HEADS: Remo, Bass drum: Coated Ambassador
5” x 14” Signature Snare
playing material that both Danny 14” x5.5” Loud Snare Drum batter/Yamaha single-ply logo head; Snare
and Paul had played. I obviously had 10” x 12” Tom and Toms: Coated Ambassador X batter, Clear
to bring some of their energy to the 13” x 14” Floor Tom Ambassador resonant.
gig in my own way. I know Pat was 15” x 16” Floor Tom
fairly uncomfortable when I joined HOME STUDIO: iMac with Avid Pro Tools, HD
the group because the older material CYMBALS: Zildjian 12, Native Instruments Komplete Kontrol S88
sounded weird to him since I had a 14” old A Hi-Hats weighted keyboard controller, Avid Artist Mix
10” A Custom EFX (top) over 14” Mini China control surface, two Universal Audio Apollo
such a different sound and approach
(bottom) Stack 8 Thunderbolt audio interfaces, a pair of
from Danny and Paul. When I listen
22” K Constantinople Medium Thin Low Ride Yamaha HS8 powered studio monitors, and a
to my first record with Pat (Speaking host of plug-ins (Spectrasonics’ Omnisphere,
16” EFX Crash
of Now) I hear myself trying to 8” A Custom Splash (top) over 8” A Custom Spitfire Audio, Teletone Audio, Soundtoys, and
please, instead of someone who is Splash (bottom) Stack miscellaneous plugins.)
sounding like himself. By the time we 21” Vintage K Ride (with a missing chunk)
did The Way Up, Pat was more used 14” Mini China (top) over 16” Trashformer KEYBOARDS: Kawai Electric Piano, Moog
to me, I was more used to the band (bottom) Stack Matriarch, Moog SubPhatty, Prophet REV2,
and everything I did sounded like it 6” inverted A Custom Splash (top) over 18 Korg Kaoss Pad.
belonged. Prototype Crash with holes (bottom)
12” Special Recording Hi-Hat top (top) over GUITARS: Pat Metheny Signature Guitar,
When I was playing with Gary
14” Trashformer (bottom Stack Yamaha Electric Bass and Acoustic Guitar,
Burton in the quartet with Steve
20” K Constantinople Ride Mandolin, Oud, Ukulele, Acoustic Bass Guitar.
Swallow and Pat, Pat would play a
long solo of six or seven choruses, STICKS: Zildjian brushes and Antonio
and then Gary would play a couple Sanchez model sticks.
of choruses and create a perfect
solo. Pat and I would look at him and
wonder how he did that. That taught AS: He is one of my biggest influences. I should get sued because
me that you can tell a story in a short amount of time, and still tell the of the amount of stuff that I have stolen from Roy, but I think that’s
story very well. healthy. Stealing ideas is fine but trying to copy other players can be
MD: That Quartet record that you just mentioned is one of my dangerous because you wind up sounding like a bad copy. I like to try
favorites. You sound very Roy Haynes-ish on that. How influential is and find out why people sound the way they do. For example, why
Roy Haynes on your playing? does Jack DeJohnette sound different from Roy Haynes. If you can

30 Modern Drummer December 2022

 for The Power of the Dog
is wonderful, as is Hans
Zimmer’s new score for
Dune. Of course, anything
by John Williams or Trent
Reznor gets my attention.
Cristobal Tapia de Veer
did the music for White
Lotus and that is a very
imaginative score. I love
the score for Soul by Trent,
Atticus Ross, and Jon Batiste
and I have always liked the
score for Taxi Driver.
MD: So, after a long career
as a jazz sideman, leading
a jazz group (Migration,)
becoming a Grammy award
winning and sought after
soundtrack composer, and
now with the Bad Hombre
band and project, what’s
the next step?
AS: I need to solidify the
Bad Hombre concept
and keep going in that
direction. My dream is that
figure out those differences, then you can summon that energy
and apply it to your playing.
I am from Mexico, and I came to this country to play jazz, not
I have discovered I could use some music
from a band in Morocco,
and then do the same
Mexican music so I had an impostor syndrome for a long time. A
lot of Latinos come here to play their music and that’s how they that there are thing with some music
from India for instance, I

many ways to
thrive, because they play Afro-Cuban or Brazilian music better could do some very cool
than Americans. But I didn’t come here to do that. It has been very experiments as a producer
hard for me to play a music that I was not born into, and I didn’t and conceptualizer like I
grow into it either. In fact, I started playing jazz reasonably late
in life. For a long time, I renounced all other music except jazz. I
started to research why different jazz music sounded like it did.
sustain intensity did with SHIFT.
MD: That sounds like what
Peter Gabriel has been
I tried to copy the greats, I tried to play all of the music with the
right accent. But eventually I realized that if I didn’t bring myselfand creativity. doing with his music and
his Real World Studios. You
to the drums I was never going to stand out. That is when I started and Peter have to hook
to try and bring everything together musically. And without that up and collaborate. Like
realization I would have never been able to do The Pat Metheny I said at the beginning of this interview, you are making music that
Group, or my band Migration, or the Bad Hombre music. sounds a lot like the music that he has been making with Big Blue Ball,
Along the way I think I have become really good at pacing the Passion, Long Walk Home, and OVO: The Millennium Project.
music so you can keep the music growing while keeping the intensity AS: That would be a dream come true, Peter is such a creative
very high. The rock vocabulary provides different ways to do that, as person... What it comes down to is this: culture is at an all-time
does the jazz vocabulary. But if you combine many different musical low. In today’s world there is so much crap out there on TV, on the
approaches in your drumming, you discover more choices and radio, and in social media that creative music -and creativity in
musical devices to keep the musical intensity high. I have discovered general- when it’s done well, is a form of protest. Today, creativity is
that there are many ways to sustain intensity and creativity. actually a form of counterculture against all of the mediocrity and
MD: I think you just answered the first question that I asked. I asked greed that is out there. People want to be famous, and people want
you why you seem to do a lot of “big music” projects. Maybe it’s to become celebrities, and that is having a terrible impact on the
because of the way that you pace the music while keeping the world. Thankfully, there will always be people who want to support
intensity high. creativity, but it’s getting harder and harder to reach those people,
AS: That could be it, good point. and it’s getting harder for those supporters to find creativity to
MD: I know you are starting to do a lot of soundtrack work for support.
movies and television. I would assume that has you listening to more MD: I agree. There has got to be a SHIFT!
soundtracks and scores. What is some of your favorite soundtrack
music?
AS: I love anything from Michael Giaccino. He has done a lot of the
Pixar films, and his scores are incredible. Johnny Greenwood’s score Check out Antonio'‘s drummer profile page,
at modern drummer.com
December 2022 Modern Drummer 31
 G ro ov e M a st e r :
e d ’ s M e ta l
n
r b
e
t u
r
Dis

Mike W e n g
Story By Mark Griffith • Photos By Alex Kluft

T
he popular American hard rock-
metal band Disturbed has been
around for more than 25 years,
they have released seven studio
records and two live records. Their
first recording entitled The Sickness is
a true metal classic. Like every other
band, singer David Draiman, guitarist
Dan Donegan, bassist John Moyer,
and drummer Mike Wengren haven’t
had much else to do for the last two
years or so, thanks to Covid. So why
not spend a ton of time working on
and writing your next record? That
is exactly what Disturbed did. The
new record is called Divisive, and it is
proving that Disturbed is back with a
vengeance.
Alex Kluft

32 Modern Drummer December 2022

December 2022 Modern Drummer 33
 MD: I didn’t know that Disturbed was (sort of ) founded by you and that was it. They were a game changer for me. Vinnie Paul was very
your guitar player Dan Donegan. Why are so many modern metal powerful and innovative. Sure, he was playing fast, and he was
bands started and led by drummers? playing heavy, but man could Vinnie lay down a groove! And that’s
MW: Maybe it’s because we are always the guys that have vans big what I wanted to do.
enough to transport everyone’s gear. Let’s face it, when you are MD: Was this around Cowboys from Hell?
starting a band if you have a van or (even better) a PA, it doesn’t MW: When that came out, I didn’t even know there were any
matter how well you play, everyone wants you in their band, you’re Pantera records before that. I found out about Power Metal and
golden. Actually, we didn’t become Disturbed until our singer Projects in the Jungle and the earlier stuff later. But I can play tunes
joined, but yes, Dan and I were the originators of the band. like “Cemetery Gates” and “Walk” in my sleep because I listened to
MD: What is your drumming background? and played them so much. At that time, there was no room in my
MW: I am 100% self-taught. I got a job to buy my first set, and heart or brain for anything else but Pantera.
I started listening to records and tried to emulate what I was MD: You were influenced by two drummers early on that were great
hearing. I tried taking lessons when I was younger in the basement groove players. People always talk about Tommy’s showmanship
of my elementary school, but all the teacher wanted me to do and all of that, and Vinnie’s double bass drumming, but they both
was rudiments. It wasn’t even close to being fun, but the teacher have a huge groove.
Rafa Alcantara

suddenly died, and I stopped taking lessons. I pursued lessons MW: I’m glad that you said that because that’s an excellent point,
a few years later but I got into a car accident and had to stop. It they both have a great groove. That might actually be Tommy’s
felt like every time I started getting drum lessons, something bad biggest attribute in drumming, his groove. As far as I am concerned,
happened. both Tommy and Vinnie are groove masters, and that is what I was
After that, I got really serious about listening to Motley Crue always attracted to in their drumming.
records, I was watching what Tommy Lee was doing, and trying I saw those two bands every time they came through town.
to do that. At that time Tommy was the epitome’ of the “rock Everything that they did, I wanted to do. This was about the time
drummer.” He seemed like a cool guy, he had great chops, and he that I started jamming with Dan Donegan. He was into Van Halen
was a great showman. I wore out several cassettes of Shout at the and Alice in Chains. Dan has a great rhythm guitar groove.
Devil. I loved the tune “Red Hot,” “Live Wire” and the tune “Shout There was a self-storage complex outside of Chicago that all of
at the Devil.” He had some cool breaks in those tunes, and he was the bands rehearsed at, and Dan and I met there and just started to
doing some cool double bass drum stuff. jam. Dan would always show up early for his band’s rehearsal, and
As I got better, I got into heavier music like Testament, I would always show up early for my band’s rehearsals. Because we
Megadeth, and Metallica. Then Pantera came on the scene and were both there early, we started to jam together. We both noticed

34 Modern Drummer December 2022

that we were always the first ones to rehearsals, and the last ones to green as could be. But the guys in Pantera were so cool, they just
leave. We could tell that not only could each of us play, but we were took us under their wing. Not only did they teach us early on what
dedicated enough to show up early for rehearsals. And we have music should sound like on stage and how tight a band could be.
been together ever since. But then they taught us how to be on the road. It wasn’t about ego,
MD: What a valuable point. You guys bonded over your dedication it was a brotherhood, it was a family. They were great mentors to us
to music and your respective bands. That’s very cool! You in Disturbed.
mentioned seeing Pantera when they played after you had listened We have tried to carry on that tradition. You can ask any band
to them a lot. What did seeing them play provide that listening to that has ever come out with us, and I think they would say the same
records and tapes didn’t? thing about us. I hope they would talk about how well we treated
MW: We saw them at The
Aragon Ballroom in Chicago.
That was a 4,000-seat
ballroom, it’s where everyone
played. When they played
first their first note it caused
this massive explosion of
I got really serious about listening
energy, it reverberated
through every cell of my
body. I knew that if I could
to Motley Crue records,
ever get to that level of
playing, it would be a dream
come true. Dan and I saw
I was watching what Tommy Lee
that show together and we
still talk about it like it was
yesterday. The energy and
was doing, and trying to do that.
the power of that show was
amazing. I felt like I wasn’t
just going to see Pantera play
a show, I felt like I was there
as a student, to be taught, it
felt like music school.
MD: Expand on that a bit. It’s
cool to hear that you felt like
seeing a show was like going
to school. What else did
you learn from seeing and
hearing those guys live?
MW: When you are younger
and you are rehearsing
with your band, you have
moments that you look at
each other and think, “We
are kicking ass, this is IT!”
You start to puff your chest
out a bit, you think you are
pretty good, and your band is
playing great… Then you go
and see a concert by legends
like Pantera, and you watch
what they are doing. Then
you look at each other and
say, “Man, we really suck,
we have a lot of work and
practicing to do!”
MD: That’s what it’s about,
learning to do something by
watching the masters.
MW: Then, ten years later
Rafa Alcantara

when we got signed and we

played Ozzfest, Pantera was
headlining, and we were a
mere second stage act and

December 2022 Modern Drummer 35

 them. That was ingrained on us early on by Vinnie and Dime, and it When Disturbed works best, we have to be in the same room
just became a part of who we are. We didn’t try to do that, it is just together, we have to be able to see the expression on each other’s
who we are. Sure, we love to have a good time on the road, but it is faces. We have to feel the hair on the back of our necks stand up.
always about camaraderie and music. We have done it both ways, but being in the room together is how
MD: I always say, “If you are trying to be a nice guy, then maybe you we work best. Danny was writing riffs for two years, so when the
really aren’t a nice guy.” travel restrictions lightened up, we could not wait to get into a room
MW: You can’t force it, absolutely! The Pantera guys were some of together and jam. The central location for us all to meet, jam, and
the best in the business! record was in Nashville, so that’s where we went. All it took was us all
MD: What of the other masters were you influenced by? being there together, and everything started to pour out of us. We
MW: Iron Maiden, are pissed off, the state of the world is pretty ridiculous right now.
Judas Priest, Black And because of ALL of that, Divisive sounds like the older Disturbed
Sabbath, those are the
bands that laid the
I felt like I wasn’t records.
MD: Why record in Nashville?
groundwork for bands
like us to do what we
just going to see MW: The band is generally based out of Chicago. I’m in Wisconsin,
producer Drew Fulk lives in LA, some guys in the band are in Florida.
do today.
MD: You mentioned Pantera play a show, Because we all have families and younger kids, logistically Nashville
was a perfect central location to meet and record. It’s also a music
Black Sabbath, I
have been on a Black I felt like I was there hotspot now with a ton of amazing studios, so that helped too.
MD: What drums did you use on the record?
Sabbath-Bill Ward MW: I’m not a huge gearhead, I play today what I have used my
binge for the last
few years. For some
as a student, to be whole career: Pearl, Sabian, Evans, Vater, Humes and Berg. When
the companies offered me endorsements and to join their roster of
reason I never listened
to him much when I
taught, it felt like artists I did. I feel most comfortable playing the set that I play every
day in the studio.
was a kid, what is it
about Bill Ward that music school. When we record, producers like to stack drum sounds anyway.
They all have their favorite samples. I try to find a happy medium.
you like? My drum sound doesn’t have to be the most organic drum sound,
MW: Unfortunately, but I don’t want it to sound overproduced either. For me it’s about
I was sort of the same way. I didn’t really appreciate his style when getting the best tone and sound, for the record.
I was young. He was pretty “jazzy.” I was into more foundational MD: What would you say is the percentage of real drum sound vs.
and groove stuff. Bill Ward went over my head when I was young. samples?
I respected him, but his approach was a little beyond me (at the MW: I don’t think that Drew will ever tell me the answer to that
time.) As I got older and matured, I guess I got to the point where I question. I’d like to think that there are more live drums in there, but
understood his playing more. Now I go back and listen to the older producers are like magicians they don’t share their secrets.
Sabbath stuff, and I am amazed. I can’t believe that he didn’t get MD: Let me ask about a few tracks from the record. What is going on
more respect. He was playing circles around guys, many years ago. in the powerful “Hey You?”
For me, I almost think like a part of my brain was lying dormant MW: That tune came from one of Dan’s guitar riffs? He started
until I became musically equipped enough to open that door playing a riff, and boom,
so I could let that information in. Otherwise, if I tried to let that we all jumped in. I like
information in, it would just bounce off the door.
MD: Were there any other major drumming influences back then?
Danny was writing to lock in with him and
play syncopated kick
MW: Scott Travis, who is now in Judas Priest. As I started listening
to heavier and more complicated music, I started listening to the
riffs for two drum ideas with his
syncopated riffs.
Mike Varney Shrapnel Records stuff. I was listening to a lot of the
instrumental guitar players like Vinnie Moore, Jason Becker, Marty years, so when the MD: I’m glad that you
brought up rhythm

travel restrictions
Friedman, and of course Racer X. I first heard Scott Travis when he guitar. I love to ask
was in Racer X, they were HUGE for me. When he joined Priest, it was drummers about the
a dream come true for me. I already loved Judas Priest and now they importance of rhythm
had one of my favorite drummers in the band. When I heard him
playing the drum intro for the song “Painkiller,” forget about it! He
lightened up, we guitar.
MW: For me personally,
just elevated the whole thing.
MD: How is your new record Divisive different than previous records?
could not wait to sure you have to lock
in with the bass player
MW: We have kind of (in a way) come full circle. They always say that
you have your whole life to write your first record, then the records get into a room no doubt. But I came
up listening to rhythm
that follow the first one might lack motivation or material. For us, guitar. Mick Mars
there was never a shortage of motivation. We have spent 25 years
building a career as a band, then Covid pulled the rug out from
together and jam. from Motley, Dime
from Pantera, they
beneath us (and everyone else.) We felt like we had something taken were serious rhythm
away from us, we were upset, everyone was. We were not able to do guitarists. When we play live, the rhythm guitar is the loudest thing
what we love and what we live for, for the two years of Covid. I know in my mix. The bass is just underneath the rhythm guitar, but I have
it could have been much worse, people were dying, but that’s how to lock in with the rhythm guitar first.
it hit us. Dan and I have been playing together for a long time, and we

36 Modern Drummer December 2022

started out leaning on each other and connecting with each other. doesn’t always free up my hands to play a closed hi hat pattern. Of
That meant when the bass was introduced, we were already hooked course, I have a closed hi hat on my right, but that usually used just
up and the bass sort of met us in the middle. for straight quarters or eighth notes. So that song freed me up to
MD: That’s a great way of explaining it. What’s going on in “Bad play a slightly different hi hat pattern than I usually do.
Man?” MD: Aside from creating beats and grooves, how involved are you in
MW: That was a fun one, it’s one of the heavier songs on the the writing process?
record. We can’t wait to play that live. Unfortunately, we haven’t MW: It’s pretty collaborative. Songs usually come from one of Dan’s
had a chance to play it live, because we don’t want a song’s first riffs. But sometimes I come up with a beat first, and we go from
impression to be from someone’s little iPhone video from a show. there. We will always go back and lock parts in a little more, or
I’d rather someone hear a song for the first time from the recording switch things up. Lots of times the instrumental parts are easy, but
that we spent month’s making. then we have to make adjustments to fit the vocals in.
MD: How about the title track “Divisive,” that’s pretty funky. MD: How do you do that?
MW: There is a hi hat pattern on that tune that I don’t usually play. MW: You have to “sparse” things up a bit. Pull different sections back
MD: What do you mean? because you don’t want to step on the vocals. It’s a process. When
MW: When I am playing hi hat, I am usually playing a syncopated we are writing and after we get the first rendition of the song, we go
kick drum part, and I often lead my double bass drum playing with through and dissect it. We really analyze every note and every beat.
my left foot. The way I taught myself was if I am playing a down-beat We make sure there is enough space, and we make sure it’s locked
it’s a right foot, if I am playing an up-beat it’s a left. I also like to play in. Then when David is tracking his vocals, I like to sit in the back
all of my parts with a double kick, whether it’s a fast part or not. That room alone, and come up with higher harmonies for him. I like older

Rafa Alcantara

December 2022 Modern Drummer 37

 music with great harmonies, so I naturally hear those parts. MD: What are your favorite recording and live snares?
But that goes both ways because when I am tracking drums MW: Live, I used to use the Pearl Steel all of the time. But now they
sometimes the guys will make suggestions about beats and fills. have a hybrid Kapur and Fiber shell. That is a great live snare. I like
It’s always fun when you have a non-drummer tell you how to crack and response from a snare, so I tune really tight and high. I
play something. Seriously! Sometimes some really cool stuff can have started using that in the studio too. It just works really well.
come from non-drummers. But other times I have to say, “I’m not I bring a bunch of snares with me every time we record, but we
an octopus, I don’t know how you expect me to play that, but I’ll usually end up using either the Ludwig Black Beauty, the Tama Bell
certainly give it a shot. Brass, or (now) the Pearl Hybrid. But every
MD: When you are coming up with a part to
match a riff, are you filling in the blanks between
For me it’s not about drum will sound different depending on who
hits it.
and complimenting Dan’s notes, or are you
generally thinking about playing basically the
ego, lots of fills, MD: Do you remember what snares that you
used on what songs on this new record?
same rhythm as Dan?
MW: As we all know, the drummers most or whatever. It’s MW: No. I’ll be truthful with you. I love to
create songs, and I love to see a song grow,
important job is keeping time. You have to be I love to groove, but when it comes to
aware of time and space. Some riffs call for me
to emulate the riff and to really lock in with the
about what’s right recording, I don’t really like that process. Going
for take after take… That is not enjoyable to
kicks. Other times if the guitar is playing more
open, I will do the same thing and keep my part
for the song! That’s me. There is always a technical problem, or
a drum goes out of tune, or something… I
more open.
When Dan and I jam, I know that once other my thing. I’m not a can’t stand the start-stop-start-stop aspect
of recording. There is no such thing as
parts or elements come it, I’ll have to take some
parts out. I’m not the biggest “chops” guy. For soloist, I like groove. momentum for me when I’m in the studio.
MD: No one has ever been truthful enough
me it’s not about ego, lots of fills, or whatever. to say that to me. What you are saying is
It’s about what’s right for the song! That’s my you aren’t going to retire from Disturbed to
thing. I’m not a soloist, I like groove, I like the people in the audience become a session drummer?
to be able to bob their heads to our music. MW: Never! I play drums because I love the band, and I love the final
MD: Who are some of your favorite groove players (besides Tommy musical product that we create, but I don’t think I would have the
Lee and Vinnie Paul?) patience to do this with anyone else.
MW: I really don’t listen to a lot of new music these days. I don’t want MD: When you tour, do you play to a click live?
to insult any of the newer bands because there are a lot of great MW: Yes. But I am the only one with a click in my mix, and the rest
bands and talented players out there. I live in the world of metal of the band plays to me. I just keep it on for a reference, I’m not
when we are writing and touring, but I like to change things up. burying the click for the entire show, but it does help me stay locked
The thing that gets me grooving is the old classics. I love 70’s rock. I in with some samples that we use during the show. I lay back on
like all the “geographically named” bands like Chicago, Boston, and some sections of certain songs, and I will play on top sometimes too.
Kansas. I like the Eagles, their harmonies are fantastic. Those are I like to sound human. Sometimes we will put a click in everyone’s
all legendary bands. But I think that unfortunately if a lot of those ears instead of me counting off a tune, it makes it look like we are all
bands were young today, they might not even get a record deal. Too magically in sync.
much music today is repetitive, similar, and
sort of homogenized. In my opinion, there
isn’t a wide range of identity out there.
MD: You have a nice room here with a lot of
equipment, can you tell me about some of the
drums on these shelves?
MW: This hand-painted set is the set from
our Indestructible tour. It was airbrushed by
Nubbie from Orange County Choppers. That
kit stays here at home. The rack of snare drum
rack has a newer Black Beauty, a Tama Bell
Brass, a bunch of Pearl wood snares, a Pearl
Steel shell, a DW Steel, and a Ludwig Epic
wood. The drum kit on top is the first drum kit
that I ever played. My uncle played drums in
a wedding band. When I was about eight, we
would go to his house, and I would sneak into
the room where he had that kit set up. One
day, he came in and caught me looking at his
drums. Instead of yelling at me, he said, “Why
don’t you show me what you got?” He wanted
me to play them! Then he started giving me
pointers. Many years later, I bought him a new
kit as thanks, and he gave me his old kit.

38 Modern Drummer December 2022

 MIKE’S GEAR
Pearl Reference drums: two 18x22 Bass Sabian Cymbals: from left to right: 14” AAX Evans Heads: Toms, Clear EC 2 on tops,
drums, rack toms in 8, 10, 12; suspended Stage hats, 18 AAX Metal Crash, 18” Holy and G1 on bottoms, bass drums have Clear
floor toms in 14 and 16 on my right, and an China, 19” AAX Metal Crash, 19” AA Rock Emad 2, snare ST Dry.
18” floor tom on my left. That is what is in Crash, 19” AA Rock Crash, my remote hats
the picture, but on this new tour I might be are 14” AA Metal X Hats, 17” AA Rock Crash, Vater Sticks: Mike Wengren signature mod-
going with 10, 12, 13 rack toms, and 16 and 19” AA Xtreme Holy China, and my ride is a el, and Humes and Berg Cases have been
18 floors and maybe a gong drum on the 23” Vault series Override. That ride is one of with me for a long time.
left, we are still figuring that out. my favorite cymbals ever, especially in the
studio. I also love the AA Rock Crashes.

MD: Do you like playing with a click? musicians.

MW: It’s second nature for me. Dan kids me that when we are in a MD: Speaking of covers, Disturbed has done some fantastic covers
car, and I turn on the turn signal, I subconsciously start playing a like Simon & Garfunkel’s “Sound of Silence” and Sting’s “If I Ever Lose
beat along with the clicking of the turn signal. My Faith in You.” Who brings in the cover suggestions?
MD: I do that with the windshield wipers or with ticking clocks. MW: We all do, when we decide to do a cover, we each bring in a list
How about the song “Don’t Tell Me” from the new record, I hear of tunes, and then it gets decided from there. “Sounds of Silence”
something different in there. was actually my idea. Growing up, my father was a huge Simon &
MW: You are hearing Ann Wilson from Heart singing on the track. Garfunkel fan. On Sunday’s we all had our chores to do, and while
David thought we should do a vocal collaboration on that tune, we cleaned the house, he would have Simon & Garfunkel playing in
and he didn’t even entertain the question of “who should it be?” He the background. After I suggested the song, (our singer) David took
called Ann, and she was down for it. We were blown away! It was a it to another level, and we went orchestral by adding some piano
proud moment for us. and strings.
MD: Coming from Chicago, has the Chicago musical tradition played MD: I know that the new record just came out. But you mentioned a
a part in you or the band’s sound or development? new tour, when are you guys heading back out?
MW: When we came up there was almost two different scenes, there MW: It will be in 2023, everyone is out touring right now, some
was the downtown pop scene with Smashing Pumpkins, Veruca people are doing well and some aren’t. There is a whole new set of
Salt, and Local H, but we were considered to be too heavy to be logistics now. Gas is still really expensive and tour buses are tough
a part of that, so we played on the southside and in the suburbs. to get. But we’ll be going out early next year.
That was a great and very supportive scene. We all supported each
other. If you didn’t have a gig one night, you went to someone
else’s gig to support them, it was great. I live in Milwaukee now, and
Check out Mike's drummer profile page,
there are some great cover bands up here, and some really talented
at modern drummer.com

December 2022 Modern Drummer 39

 Emilio Herce

40 Modern Drummer December 2022

Philo:
Resolving into Comfort
By Mark Griffith

The Mars Volta has been an influential

band for a long time. Throughout that
time, they have had quite a few influential
drummers in the band. Blake Fleming,
Jon Theodore, Deantoni Parks, Thomas
Pridgen, Dave Elitch, Willie Rodriguez
Quinones, and now introducing…
Linda-Philomène Tsoungui (also known
as Philo.) So who is Philo, and where did
she come from?
The answer is a long and very
interesting story. Philo is a 30-year-old,
highly educated drummer from Germany,
with a very interesting and tumultuous
background in classical percussion that
resolved in a career playing drumset.

December 2022 Modern Drummer 41

 MD: It’s rare that a drummer that we have not heard much about didn’t want to be average. I kept studying classical percussion for
bursts on the scene with such a big and influential band like The the next three years before I went to university. There I wanted to
Mars Volta. Your road to that gig is a very interesting, with some study with Peter Sadlo. He had a big reputation, and he was known
interesting twists and turns that some of us can relate to. Can we as a soloist and an educator. I wasn’t put into his classes when I
talk about the road that led you to The Mars Volta? made it into university, but that didn’t stop me. I still sought him
PT: I played mostly classical percussion until I was 24 years old. out, I would sneak in lessons, I was asking him questions, I was
My mom found a teacher who was a classical percussionist. He always asking to be a part of his projects. Over a course of four
taught his students to become classical soloists or percussionists. years, I think my determination helped me play a way into his heart.
Fortunately, I was drawn to classical music, and I was listening to That was a very hard four years. People always ask me about the
it a lot at the time. It is the only type of music that I can always Whiplash movie, and I tell them, “That’s sort of how it is.” I dedicated
listen to. At the time the prestige and the elite vibe around classical my whole being to playing music and school was intense. It was
percussion and music was quite appealing to me. When I seriously a constant sequence of practicing a piece, playing it for a teacher,
got into it, I was 14 and in the process of finding myself, so that getting hardcore feedback, practicing it more, receiving more
Emilio Herce

all made sense. I was trying to find out where I belonged, so the hardcore feedback, giving a small concert of what we had learned,
feeling that your ability on the instrument was the only thing that and then put that in our repertoire and move on to the next piece.
really mattered was very appealing to me. In school you had to choose whether you wanted to become a
Early on I was aware that I had to make a choice. Music and soloist, play chamber music, be a classical percussionist for an
drumming was either going to be my hobby, or I was going to take orchestra, or be an orchestral timpanist. The classical scene is very
it very seriously. I made the decision that I was going to be all about competitive, and the places where you can get a job in an orchestra
music, and classical music and percussion would be my future. I are super limited. In an orchestra there are maybe five or six

42 Modern Drummer December 2022

percussionists who are employed, and those positions don’t open still trying to figure out how the drumset actually worked. I put a
up regularly. When they do, the competition is crazy, you have to lot of time in focusing on coordination and sound. They were the
hold yourself to the highest of standards. things that were the most different from my classical percussion
MD: I can absolutely relate. When I was young, I was briefly thrust background.
into the classical percussion world as well, but I realized very MD: Did you have any experience with playing drumset before you
quickly that I wanted to be a part of the drum set world, and I started pursuing playing the set at Popakademie?
pursued the drumset. PT: Not really. People always ask me if I had played drumset before
PT: It’s good to know that you know the drill. The jazz department going to Popakademie and my answer is kind of strange. At college
was next door to the classical department, and after 3 years of I had sat at the constellation of instruments called the drumset, and
coexisting with it, I was beginning to get very interested in it. I was I had played it. I had read sheet music, drumset parts, and charts…
in the beginning of my twenties when one day a jazz major came But essentially I had no idea how to play THE DRUM SET.
up to me in the halls of the practice building while we were each I grew up in the small conservative Bavarian town of Hof. We had
taking a break. He told me that this guy named Robert Glasper was a theater, an orchestra, and a ballet. The presence of that culture
playing in Munich. I wasn’t familiar with Robert Glasper or drummer made me want to be a part of it. At the same time my mom was
Chris Dave at that time, this was around the time of the first Black very into Erykah Badu and she tells me that as a kid I loved the
Radio record. At the time I had gone to very few pop or pop culture Soulquarian music that Questlove, D’Angelo, and Erykah Badu were
concerts or events, up until that time I would only go and hear making. That led me to ask my mom about the drums. But since
classical music. These jazz majors had an extra ticket so I went the music scene in my town is so tied to the theatre and orchestra, I
to the show with them. I can easily say that night and that show ended up going to a classical teacher.
changed my life!!! MD: It’s interesting that you mention that your mom remembers
That was the first time I had seen only black people on stage in you liking the Soulquarian music when you were very young, and
real life, that was a profound experience. But the way the musicians then the show that changed your life was Robert Glasper. Because
on stage were acting was profound too. They were so loose, so into that is all coming from the same musical place. It’s possible that
the music, they were enjoying themselves, the people on stage and without even knowing it, your mind subconsciously made that
the audience was having FUN! I always
viewed a classical music concert like an
athletic competition. The harder it looked “Whenever I found a drum pattern in
the better. The fact the Robert Glasper’s
band was so relatable while they were
on stage was mind blowing to me. There
a song that had to be there no matter
wasn’t that weird hierarchy between the
people on stage and the people in the
what, I would practice it with a click
audience. There was an interaction, the
entire club was one symbiotic organism,
away from the music, just to get it down”
I had never felt that. That night my entire
idea of performing classical music just
collapsed. I made up my mind when I was 14 that I wanted to association. But it’s amazing that between those two events that
play classical music. But at the age of 22 I had changed my mind. I were years apart, you had didn’t have much experience in playing
wanted to be a drummer in a band. I wanted to be a part of that, I the drum set. You said that when you finally got to Popakademie
didn’t want to feel like I was on an island playing super-hard music, and started studying the drumset, you started studying
I wanted to be a part of that interactive thing that I had felt seeing coordination and sound What do you mean by that?
Robert Glasper. PT: In classical music you don’t have to deal much with
That year I asked the college to help me make the transition coordination. I had good technique, but not drumset technique.
into the jazz department, they offered me drumset lessons for 30 I had to apply what I had learned from classical technique to the
minutes every other week, and the school said that was the best drumset. I also had to figure out sound and tuning. In college, I
they could do for me, but I took whatever I could get. I took it as would take out a snare drum from the storage area and practice my
another fight worth fighting to get where I wanted to be. snare drum stuff. If I didn’t like how it sounded, I would take it back
MD: What an awful way to treat a student in today’s world. to the storage room and grab another snare drum. I had to learn
PT: After I practiced classical percussion all day, I would wait until to tune the drums in both the way that I liked the drums to sound,
everyone else had gone home, and I would have the opportunity and in the more accepted (and generic) way that drums should
to practice drumset for an hour, and it was FUN! During those sound for studio gigs.
years I started meeting and hearing drummers like Jost Nickel, At Popakademie I started with super basic stuff. Ted Reed
Anika Nilles, Claus Hessler, Benny Greb. I was immediately struck by “Syncopation,” the Jim Chapin book. Then I went to the Gary
the fact that these super top drummers were very down to earth Chaffee and Gary Chester books. With those books, you have to
people. They were nice and super into sharing ideas. I realized that think creatively. That was new. The biggest lesson that I learned was
all of those drummers had a link to Udo Dahmen who started the practice wasn’t about showing your teacher that you could play
Popakademie in Mannheim. something. It was about figuring things out for yourself, figuring
MD: That is like the German version of Berklee right? You can go out what and how you wanted to play. The teacher is there to
there and study popular music. tell you if you are on the right track, and to give you inspiration.
PT: Yes. So I got out of Munich, and went to Mannheim to the Practice is not only about getting better, it’s about figuring out
Popakademie to study the drumset. When they accepted me, I was what you want to do. In classical percussion you never have really

December 2022 Modern Drummer 43

 think, you always have someone telling you what to do, what to PT: Stickings and Time Functioning. That’s what I spent the most time
think, and if something is good or not. But at the Popakademie I was on. It blew my mind and was very helpful.
left alone to figure out what I wanted to do. MD: Once you started studying drumset, did everything come and
Then I started studying with Claus Hessler. He is the best teacher progress quickly?
that I ever had. His realm of knowledge is so huge. He knows PT: It didn’t feel like it. I am very self-critical, and I was pushing
everything about the drums and he knows everything about the myself really hard. But as I look back, I started getting gigs after
body. All of his students can play the craziest stuff and look super my second year in Popakademie, so maybe I sounded better than I
relaxed while doing it. He teaches a lot of Moeller technique which thought.
helped me a lot. His collapsed rudiments help you really squeeze MD: Were you listening to a lot of music and drumming during that
everything out of every rudiment and idea. He stresses that until time?
you have done everything there is with a paradiddle, you haven’t PT: I listened to my teachers because they were all very good
really mastered it. players. And whenever someone was coming through town to play,
MD: That is so true. When you come upon a nice musical idea, you Udo would always try to get them to give a workshop or a clinic at
can play it “as written,” backwards, inside out, shift the accents, the school. I remember seeing Richard Spaven; Chris Colenburg,
and Zach Danziger to just
name a few. I also shared
an apartment with another
drummer and he was into
Ronald Bruner and Mike
Mitchell. I was more into Brian
Blade, Marcus Gilmore, Mark
Collenberg, and Justin Tyson
at the time. We would sit in
our kitchen and watch all of
those guys on YouTube.
MD: What did you learn from
watching them?
PT: All of them have very
conscious use of dynamics
and vocabulary. None of them
uses too much or too little
of anything. And they can
move and shift between all
of the subdivisions easily and
smoothly.
They all seem to
incorporate the soul of Elvin
Jones in their playing. But it
wasn’t in what they played,
it was how they played that
inspired me. I could always
tell that all of those guys really
“mean it.” And that’s what Elvin
Emilio Herce

represented to me. He “meant”

everything he played. Whether
it was the simplest subdivision
or the most complicated
polyrhythm, he meant it. That’s
what speaks to me the most. I
whatever… You can (or should) spend a lot of time really exploring love when drummers speak through their instrument, and when their
a single idea. playing becomes truly inexplicable. When all of those guys play, they
PT: Claus has also really brought odd subdivisions, polyrhythms, and are always staying true to the “heavy beat.” But that heavy beat isn’t
odd times to the next level. But as a student, the trick is to filter what always some external thing that is generated by a metronome, it is
you want, for how you want to play. I knew that I didn’t want to be a internal and in comes from deep inside.
super complicated fusion drummer, but Claus’ stuff still helped with MD: The inner clock is essential for a great drummer. How long was it
coordination. from when you first started at Popakademie and when Covid began?
At Mannheim, overall it was really about the community of PT: Roughly three years of studying and doing gigs.
the drum class. Everyone was showing everyone something, and MD: Then during Covid you buckled down, what did you focus on
everyone was inspiring everyone else. Everyone was pushing during Covid?
themselves, but it wasn’t in a competitive way. It was a supportive, PT: When Covid hit, I had the time to zoom out and look at what I
positive, and loving environment. had been working on, reflect on who I had been working with, and
MD: The Chaffee stuff is far reaching, what did you do specifically? examine everything that I had been doing at the drumkit. I had been

44 Modern Drummer December 2022

so busy preparing for the next gig that I didn’t have any time to really MD: We have finally worked our way up to present day. How did the
improve. But during Covid, I rewired myself to how I was when I was Mars Volta gig materialize?
first studying classical music. I found what I needed to work on, and PT: The CEO of the label that Mars Volta is signed with, Johann, found
how I needed to improve during that time. me on Instagram, and he texted me. He was looking for new people
I thought that I wanted to focus on chops. But what I wound up to work with so I went to Hamburg to meet with Johann and we got
working on was sound and my internal mix at the drums. And I really along great. I think he saw similarities between Omar and me, and
focused on how my body actually feels while I’m playing and how I eventually he introduced me to Omar. Omar flew to Hamburg, and we
wanted to set up my kit. Up until that point, I had never really paid hung out for about ten days jamming and recording stuff. We got to
much attention to how I set up my drums, what sticks
I used, none of that. I set up my kit like everyone else
did and I used 5As because that was the first pair of
sticks I ever got introduced to. During Covid I spent
time trying to figure out what truly felt comfortable.
I really wanted to find out how I could be even more
comfortable at the drums, and what my body type
was dictating to how I should set up my drums. I
experimented with seat height, bass drum spring
tension, and the height of my snare drum.
MD: What kind of adjustments did you make?
PT: When I sit at my drums, I want it to feel like I am
sitting in my comfortable chair in my living room. I had
been sitting too high, and psychologically that always
made me feel “on the spot.” I lowered my throne and
raised my snare drum. I wanted to be able to play a
rimshot at any time without raising and shrugging
my shoulders. I now sit relatively low, I have my snare
@Emilio Herce

relatively high, and I can relax my shoulders and play

consistent rimshots. If I want to play something more
delicate, I only have to make a very slight adjustment
and lift my hands slightly higher.
I learned that if you have one tense part of your
body, it effects how your entire body feels. I think that’s
a very important thing for drummers to know. I started
to try and eliminate all of the tension in my body. Sure, when you know each other. They had already completed the new record, and he
get nervous you might tense up. But I wanted to have a foundation asked me to play drums on the tour.
of no tension. I want my position at the drums to be inviting for all MD: What music are you playing on the tour?
of my muscles to be relaxed. That opened a whole universe for me. PT: We are playing two new songs and lots of older stuff.
If everything is relaxed, my posture is good, and everything is “in MD: How did you learn their music? It’s pretty complicated music, did
flow,” all of the harder coordination stuff suddenly starts to work and you write out charts?
become easier. PT: No I didn’t chart the music out. I do that sometimes, but with
Through setting up my drums differently and making sure my harder music, I would rather listen to the music until I know it, and
posture and my body was in flow, I had better control over my then start playing along to it. I made a huge playlist of songs, and
muscles, and that made me a better player. It seems super simple, I rated their difficulty from 1 to 10. I didn’t want to overlook any of
but it’s not the type of thing that you get taught at school. When we the songs, and I wanted to prioritize the harder songs. Then with
had special workshops about that at school, they were only one day the harder songs I identified the hardest parts of the songs, then I
events. We were all young and silly and just said “Yeah whatever, I just listened to those harder parts over and over from both the studio and
want to play drums.” But that bodywork is really important. the live recordings.
MD: How low are you sitting? Through listening and talking to Omar, I realized that he had asked
PT: If you have the highest point and the lowest point on the throne; me to do the tour because he wanted me specifically, not a replica
I sit a little lower than halfway between those two points. I didn’t do of someone else. That gave me the self-confidence to figure out
anything extreme. I always try to keep the angle between my hips what parts had to be the same, and what parts could be different.
and my leg a little more than 90 degrees. Whenever I found a drum pattern in a song that had to be there no

The biggest lesson that I learned was practice wasn’t

about showing your teacher that you could play
something. It was about figuring things out for yourself,
figuring out what and how you wanted to play.
December 2022 Modern Drummer 45
 matter what, I would practice it with a click away from the music, just little bit of everything condensed into a one- bar drum pattern. It’s
to get it down. I also prepared myself to play the songs faster than the super repetitive and that can be difficult. Though all Mars Volta songs
recordings as some live recordings on YouTube were a lot faster than seem to have hard sections that get resolved into something very
the studio versions. comfortable.
MD: What are some of your favorite tunes to play, and why? MD: How are you approaching these songs differently from Deantoni,
PT: “Eriatarka,” “Cicatriz,“ “L’Via,“ and “Cygnus....Vismund Cygnus.” I like Thomas, and Jon?
how “Eriatarka” let’s loose at the end, after having a difficult drum PT: I approached the music with respect to the legacy of all of the
pattern during most of the tune. We get to jam during “Cygnus” and drummers that have played before me in The Mars Volta. After that,
Emilio Herce

“Cicatriz“ and and we love doing that. I have the opportunity to give it my own touch. We all have different
MD: How comfortable are you improvising? sounds, and I think we all feel dynamics in a different way. I am always
PT: I am very comfortable improvising with that constellation of balancing serving the music with being given the freedom to express
musicians on stage. And I love accompanying Omar’s solos. I think myself within the music. For me, that freedom often comes from
we perceive things in similar ways. When he plays, I know what he’s dynamics and nuance; for other players it might be something else
“saying” and what he’s going to “say next.” I know when he wants me that is also completely legitimate and most likely perfect for whatever
to push, and I know when he wants me to give him space. Everyone in the music wants in that moment.
the band is incredible, and everything is working so well on and off MD: How has your early musical training prepared you for this gig?
stage. I‘m so happy to be in a situation with such a wonderful family PT: I have played under pressure a lot during my musical life. All of
of musicians, we have a lot of trust and love for each other. those situations have helped me prepare for this gig. Before this tour,
MD: What was the hardest song to learn, what one really kicked your everyone wanted to know who was playing drums in the band, it was
butt? a big deal. I knew everyone would be watching very closely. But all of
PT: I guess “Cicatriz ESP.” I have a lot of respect for that song. It has a the previous musical situations have prepared me for this.
very stoic groove, but it’s also very delicate and super busy. It has a MD: Speaking of pressure, you actually played “Music for 18

46 Modern Drummer December 2022

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December 2022 Modern Drummer 47

 Musicians” for Steve Reich didn’t you? depth won’t interfere with placement. My small tom is over the
PT: Yes! The Bavarian Radio Symphony Orchestra was curating a series bass drum a little bit so that one inch less makes a difference in
of concerts for Steve Reich’s 80th birthday, and we played that piece positioning. I might also move to a 22” bass drum for this gig, so the
in one of them. He gave us feedback during the rehearsals and sat in seven-inch depth will help in tom positioning if I start using the 22”
the audience for the concert. THAT was a lot of pressure! After that I bass drum.
knew I could do anything. I am using the Evans Hybrid snare heads on both snares. When I
MD: After this tour what’s coming in the future? tune those heads super low, they are really fat, but if I tune them up
PT: I will live in the momentum of this tour and experience, and high, they still have a nice crack. The kick head is an Onyx, and the 12
will most likely do some creative work with my new found friends and the 14 get EC Reverse dots. My 16 has a 16” bass drum head on it.
and family. I have also been doing some producing. I have created My cymbals are usually Meinl Byzance and I like the driest cymbals
a bunch of electronic music with my modular setup, and I have the they make. But for this tour I switched to the Byzance Duo. Going
Sunhouse triggers that I use from left to right, I have a
with my music. I have just Benny Greb Sand Crash for
done a remix project of a jazz
duo that will be released in I thought that I wanted to focus rolls and delicate stuff. I use
16, 18, and 19 Byzance Duo
December, but other than
that I just haven’t found the on chops. But what I wound up crashes. My rides are a 20
and a 22 crash-rides, and
time to finish and release then I have the new Smack
some of the projects that
I have been working on. I
working on was sound and my Stack, and the Matt Gartska
Stack above my hi hat and
would like to do some film or
TV music too. I am generally
internal mix at the drums. And I the Matt Gartska 18“ Fat
Stack above my floor tom.
open and willing to do
anything musically.
really focused on how my body My sticks are ProMark 7a
Rebounds, with an acorn
MD: How do you compose?
PT: I come up with things on actually feels while I’m playing tip.
MD: Are you still living in
the modular. That instrument
has opened up a creative and how I wanted to set up my Berlin? What’s the music
scene like there?
realm that I haven’t had PT: It’s a diverse and
before. You can feed it (for
example) harmonic and
kit. Up until that point, I had vibrant music scene. Berlin
is getting gentrified like
melodic information. Then
you can twist some knobs or
never really paid much attention every other major city, but
compared to other big
change some patch cables
and enter unknown territory.
to how I set up my drums, cities in the world, artists
can still afford to live there
So I will find a sound, or a because it’s relatively
melody, or a sequence that I cheap. We have a big
like, and I record it, then mess around with it. When I like it, I take it to underground music scene. There are lots of places to play. As an artist
my practice space and jam to it. Then sometimes I put the recording it’s getting harder and harder, but there are a lot of art spaces and
back into my modular and start the whole process again. That’s why gallery’s that you can play.
it’s so hard to finish stuff, it just keeps going. MD: What recordings can we check you out on?
MD: What modular components are you using? PT: I played with Zouj on his record Tagat, and I did Teri Gender
PT: My go to is the Make Noise Morphagene Granular Sampler and Bender’s last record. Those are the two latest releases that I have
the Make Noise Maths. done.
MD: Who are some of your favorite composers? MD: What are some of your favorite records to listen to?
PT: Steve Reich, John Cage, Johannes Brahms, and there is an endless PT: Robert Glasper Black Radio, Bloc Party Silent Alarm, Flying Lotus
number of contemporary composers that I like, I’m afraid I would miss stuff, and Moses Sumney with Ian Chang on drums. I also love the
somebody. But I have to mention OneOhTrix Point Never is doing James Farm record with Joshua Redman and Eric Harland. That is the
some really exciting stuff. first CD that I listened to constantly and everywhere. I love listening to
MD: Who would you like to work with in the future? The Meters, and I love two artists called Contour and L’Rain that I just
PT: I would love to work with Erykah Badu someday. I like the saw recently in Washington DC.
humanness, the purity, and the spirituality of her and her music. As MD: What drummers have you heard recently that have blown your
you can probably tell, I thrive on positive human interaction. I also mind?
would love to play with Esperanza Spalding because of all of those PT: Jharis Yokley from New York City and a German drummer named
same reasons. Silvan Strauss. Silvan puts his whole being into his playing. Seeing
MD: What kind of gear are you playing? him play is a beautiful thing to watch. I’ve known him for a long time,
PT: Tama built me a Star Maple kit in a gold finish, and it’s the most and he’s always been inspiring to me. Whenever I get too tense, or
beautiful kit ever. I have a side snare that is 8x14, my main snare is stuck in my own head, I just imagine Silvan playing. He’s incredible!
6x14, both snares are Maple. My set is a 7x12 small tom, 14 x 14 and MD: And so are you!
16 x 16 floor toms, and a 14 x 20 bass drum.
MD: Why the 7” deep tom?
PT: The shorter depth means that I can move it anywhere, and the Check out Philo‘s drummer profile page,
at modern drummer.com
48 Modern Drummer December 2022
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 Rodney Elkins
The Food Stamps/Tyler Childers
By Bob Girouard
Emma Delavante

50 Modern Drummer December 2022

 Emma Delavante
P
ure and simple, Rodney Elkins is a groove merchant. Like James Barker, Chase Lewis, Craig Burletic and Rodney Elkins) on
many southern drummers he plays a little behind the beat; the recording Can I Take My Hounds To Heaven? It is Childer’s latest
creating a deep pocket, perfectly embellishing critical release (Hickman Holler/RCA), and comes with an infectious blend
points in the song, but never playing more than the song needs. of traditional country, folk, bluegrass, gospel, and even New Orleans
Considering his young age, his maturity on the instrument is influenced jazz. Can I Take My Hounds To Heaven? retains a spiritual
impressive. Stylistically, his playing echoes rhythm masters like edge without being overly religious, and according to Rodney,
Booker T’s Al Jackson Jr. and The Band’s Levon Helm. At the same “Tyler’s songs are just too good to ignore.” Furthermore, with a
time, Rodney retains his own musical identity. Rodney’s use of rhythm section that’s known each other forever and are at home
dynamics is also notable, and the fact that his training on the kit is with the nuances of Childers’ writing, it’s a win-win for everyone.
both formal and feel oriented, represents the best of both worlds. Can I Take My Hounds To Heaven is currently on Billboard’s top 100
Singer/songwriter Tyler Childers received a Grammy nomination country albums chart, peaking at #3.
for Americana Emerging Artist in 2018. Today he is expertly backed If this sounds like a good old American success story it is. And
by Rodney’s band The Food Stamps (consisting of Jesse Wells, whether success is measured in dollars or notoriety, it is always

Emma Delavante

December 2022 Modern Drummer 51

 gratifying to watch the artistic
growth of performers who
not only remain true to their
roots, but who also refuse
to be pigeonholed by labels
or formulas. I have a distinct
feeling that Rodney, The Food
Stamps, and Tyler Childers will
personify that objective for a
long time to come.
MD: You originally hail from
West Virginia. What was the
Emma Delavante

music scene there like and who

were your influences?
RE: We actually had a thriving
music scene in Huntington,
West Virginia. Around 2009-
2010, me, James, and Craig
from The Food Stamps started
a trio called “Deadbeats and could take all the music classes in school that I wanted.
Barkers.” We were just one of many groups playing music that we MD: Your very first performance was a memorable one for sure. It
loved. At the time, Huntington was predominantly a heavy metal was at the Barboursville Senior Service Center dance, you made
town, but the scene’s hipness was created by the diversity of the $150 at age 12… Not too bad! What do you remember about that
people playing music. gig?
MD: Rodney, you grew up in a musical family, playing in a band RE: {Laughs} September 2000! The first thing I remember was
with your dad and uncles. Was the first instrument you learned to getting to my uncle’s house where they kept all the gear. I was
play the guitar? automatically designated roadie for the night. I remember being
RE: My dad taught me a “boogie-woogie” line on guitar and that told, “Boy we need to get all this gear into the truck.” “Yes sir,” I
was it. Honestly, I learned a lot from the 1991 Allman Brothers replied. That was my introduction, better yet, my baptism into
album, Live at Great Woods, with Warren Haynes playing that red “show-biz.”
Stratocaster. My father’s band was (and still is) called The Elkins MD: Drum Corps also played an important role in your drumming
Brothers Band. They’ve been a band since the 1950’s. They were my development. What did you learn from playing rudiments in an
first music education. It was kind of like a “free country-western ensemble?
college.” When The Elkins Brothers Band plays, various members RE: Yeah, I played in drum corps in high school and college.
of The Food Stamps come by to help out from time to time, just to It’s where I learned the inner workings and intricacies of my
keep The Elkins Brothers Band legacy intact! instrument.
MD: You were always drawn to rhythms, and you learned to play MD: Did your classical and jazz training in college help in your
drums by trial and error. Does that mean that you learned by approach to the music you’re playing now?
playing live on the gigs? RE: Absolutely. It gave me the discipline that I didn’t have. It also
RE: Yes, pretty much at first that’s how it happened. Then I realized I helped me appreciate many different styles of music.
MD: Rodney, can you give us the skinny on how you and The Food
Stamps got the gig with Tyler Childers? What are the origins of the
band The Food Stamps, and what’s the current music scene like in
Nashville?
RE: I can’t speak too much on the current scene in Nashville. I do
know that the places that I frequent are filled with monster players.
It’s inspiring, but there’s a bit of a “machine” mentality and a lot of
folks get lost in it.
MD: I think the band’s name “The Food Stamps” is very cool. How
did that come about?
RE: Our friend, Jack Browning, was kind of the mayor (not officially,)

Rodney’s Gear:
Drums: Ludwig, Three different kits, all in sizes: 14 x 20, 8 x 12, 14 x
14; and 6 ½ x 14 bronze snare drum. The three sets are finished in:
Classic Maple, Vintage White Marine Pearl, and Black Sparkle (with a
16 x16 floor tom added.)
Cymbals: Bosphorus, 14” hats, 20” ride, 22” ride.
Sticks: Pro Mark 5-A.
Heads: Remo Coated Emperor.
Hardware: DW 6000 flat base stands, 5000-foot pedal.

52 Modern Drummer December 2022

of Huntington. He was the bartender at a club we played called RE: Man, it was wonderful. It felt super comfortable.
Shoop’s. It was our one-year anniversary there and he christened MD: Right out of the box The Food Stamps sound like they’ve been
the name after suggesting that we should be Tyler’s backing band. influenced by The Band. In fact, the first cut, “Old Country Church,”
MD: You once stated to a fellow band member at a Marty Stuart sounds like you’re channeling Levon Helm. The groove reminds me
concert that you wanted to, “Play country music for the rest of your a little of “Up on Cripple Creek.” It also sounds like Garth Hudson
life.” I would imagine that desire comes down to your innate love of could have played organ on that song. Your drumming is very
the style of the music itself right? organic throughout the whole album. No frills, but a groove as wide
RE: Playing country music changed my life. I decided right then and as the Grand Canyon. The song “Can I Take My Hounds to Heaven?”
there that I was going to play country music in some capacity for left a major impression on me. “Purgatory” has The Band’s influence
the rest of my life and I wanted it to be with Tyler. all over it, the opening horn lines remind me of The Last Waltz. That
MD: Let’s talk a bit about the new album, Can I Take My Hounds to song also comes complete with a bass and organ solo. The way
Heaven? The album is recorded in three parts, with 24 tracks on the horn section is arranged has a decidedly New Orleans feel to it.
three discs. There are eight songs that are are done differently on Finally, “Way of the Triune God” takes us to church with finely tuned
each disc. The different discs are called the Hallelujah version, the gospel harmonies. This is damn good stuff!
Jubilee version, and the Joyful Noise version. What does each version The music that you play has often been described as neo-
of the music mean to the listener? traditional country. Is this a sound that just evolved or were
RE: Hallelujah was played live in the studio. Jubilee is that same you aiming for a particular sound? In other words, your music
session with horns and other musical goodies added, and Joyful encompasses country, folk, bluegrass, and gospel. With such
Noise is a re-mix of everything. All the music was done live on the diversity, it feels like you might be uncomfortable with any kind of
spot. My part was to stay out of the way and just compliment and “tags” attached to your music?
not overplay. RE: Speaking of The Band, we are all huge fans of them. In fact,
MD: In preparing to record the album, did you do a lot of pre- when we first started playing together, we bonded over their live
production or had you already been playing the songs in concert? record Rock of Ages. With regards to “tags,” they’re just labels that
RE: No, the first time was in the studio. help people understand the music we play. Today, everything is
MD: When you were in the process of recording did you have the so formulaic and it’s hard to remain objective. I don’t like saying,
freedom to create your own drum parts? “I don’t care for someone’s form of expression.” But at the same
RE: Absolutely. We’re all friends, we all talk about parts. We time, there’s good music in every genre and I try not be too
scrutinize, correct, or complement each other accordingly! discriminatory.
MD: This is the first time Tyler utilized you and the other “Stamps”
Check out Rodney's drummer profile page,
on a record? How did you like recording in West Virginia.? at modern drummer.com

December 2022 Modern Drummer 53

 BASICS

The 4 Practice Pockets: The IREC Model

By Chris Lesso

“There is no right or wrong, flow zone takes zooming way in to painstakingly work out the finer
points. There’s no way around it, this is THE WORK. That’s why we call
only consequences.” it ‘the no fun zone!’ Greatness lies in the details; it takes patience to
smooth out the wrinkles and to release anything that’s not working
for you. I call this ‘the no fun zone’ because you need to accept that
It’s so challenging to know just what to practice when we sit down
this is the part of your practice you’re going to ‘embrace the suck’.
at the kit. There is no exact right way, as long as we PLAY. Treat
Discomfort is GOOD because that’s when you’re stretching
yourself as the ultimate life experiment! Try the model below,
yourself into the superunknown. You’re now a fumbling beginner
see what works and mold it to your own connection with your
all over again, so don’t expect to sound good (yet!) It’s scary to dive
instrument. The journey is different or everyone. There’s a flow
in here, because this is where we face
as you go from one pocket to the
our deficiencies. And who wants to
next, but you can try changing the
sound bad on the drums? No one.
order or try doing a deep dive into
But this is true practice, because
only one zone. Use what works
everything we’ve mastered today,
and discard the rest. Every day is
was once unfamiliar and painful.
different, because you are a new
you every time you sit at the kit.
This model is only a guide for you
Celebrate (Feed Your Heart)
Now it’s time to celebrate! We don’t
to spark your best self through
‘work’ the drums, we play the drums.
drumming!
You’ve earned this moment, and
this section of the IREC practice is all
Intution (Your Creative Flow)
for you. Reward yourself! This is our
What’s the first thing you can play
chance to dance in the playground
on the drums, right now, straight
and have fun like we’re meant to
from the gut? What’s in your soul
do. So many adult drummers have
that you want to express at this
a challenge with this, this is where
very moment? Can you tell a story
we live out our inner child and let
through the drums with clarity,
loose. Don’t neglect this part of your
heart, and emotion? Trying not to
practice! Tap into the joy of WHY
think but to just PLAY is a great way
you chose to play this instrument.
to start your practice and connect
You’ve done the work, and now we
to your instrument. This process
circle back to where we started; not
mimics real life expression; music is
thinking, but exploring with a sense
a language, we want to speak from
of play.
the heart in real time, authentically
Curiosity and enthusiasm is the
and clearly. I like to record myself
fuel. Just jam! How much time should
telling (playing) a short story on
we put out in each pocket of IREC?
the drums. Listening back always
That depends. When I’ve had a
reveals what I need to focus on,
challenging day and need a lift from
clarity, dynamics, time, simplicity,
my drums, I’ve had entire practices of
beginnings and endings, and
‘heart’ where I just jam and celebrate playing my favorite music. If
creativity.
I’m working on a big project with a deadline, I push my edges doing
mostly ‘mind’ work. If I’m in a highly creative space I flow into my
Reps (Train Your Body)
‘creative’ pocket. If I’m delegating whole new movement to muscle
Drums are physical. You are an athlete! This part of the IREC
memory, I give a lot of time to doing reps in the ‘body’ pocket.
practice model is where we refine the movements that serve our
Remember, the drums are there for YOU. They can be anything you
greater transformation. Our sound is created by movement, and for
need them to be. The goal is always LONGEVITY when we play the
our motions to be automatic we must program the most efficient
infinite game. There is no right way for everyone. Even when you’ve
ones into our muscle memory. This is the conditioning that serves
found a balance that works for you, expect it to constantly change
us best when we need it in the moment. By expressing our ideas
as you evolve. Keep it fluid, keep it open, challenge yourself, and
and thinking as little as possible, we can drop into ‘the zone’ any
have fun on the drumming path!
time we like, that is the special place where our drumming comes
alive.
To find your transformation through drumming, connect with Chris at
chrislesso.net/ltrdrumming
Edges (Stretch Your Mind)
This is the pocket where we move mountains. When you drop
into rhythmic flow there’s not much thinking going on, ot similar Check out Chris’s Modern Drummer profile page
to when when we walk or speak. But to learn how to get into the
at moderndrummer.com

54 Modern Drummer December 2022

 Presents:
Carl Palmer’s Applied Rhythms

Buy from your favorite retailer

check out more at moderndrummer.com
December 2022 Modern Drummer 55
 LESSONS
It’s More Than Beats, Fills and Patterns
By: Thomas Pridgen
Thomas P ridgen
T Life Experiences
here’s a Mars Volta song called Teflon that has a weird hybrid version of a paradiddle. A lot of Mars Volta songs have
ghost notes with hybrid versions of a paradiddle. I use a lot of the rudiments and grooves.

1 Mars Volta "Teflon" Groove Thomas P ridgen

R L R R L R L R L R R L L R L L
> > > > R L R Life R L R Experiences
> L R L R R >L R R >L >L
4O OO O O OOœœOœœ OœOOœOœOœOOœOOœœ
/ 4 œ œ œ œ ≈œ œ œ œ 1≈œ œMars œ Volta ≈ œ™ J
"Teflon" ‰ Groove œ œ ≈ œ œ ≈ œ œ ≈ œ™ J
R L R R L R L R L R R L L R L L R L R R L R L R L
> > >> >
The reason I show people rudiments is that playingOdrumsO is essentially
O O doubles
O and singles.
O O Most people
O don’t play
O O O OœOœ
triplets with one hand, they play doubles and singles,
4 œ
A lot œ
of times, drummers
/ 4 playing œcertain œ mightœsay, ‘I don’tœneed
œ œ
to learn œ
rudiments,œ
’ œ
but learning rudiments sharpens the way you sound œ œ ≈things.
œ Whenœyou≈ watch
œ œpeople≈onœ™ the internet, ‰
you œœ≈œ œ≈
J
hear them playing but you can’t hear every note. They’re not as articulate as drummers who sit there and practice a long
time. Incredible teachers like Tony Williams and Ndugu Chancler would make you do double-stroke rolls in class for almost
2
a year before you actually
Triplet got to touch
Bass Drum ExerciseThomas P ridgen 3
a drum set and that’s so you know how16th
to have articulation
Notes and Stroke
Single not overlook
BasstheDrum
Exercise
Thomas P ridgenLife Experiences
little things. It’s easy to explain things from a rudimentary level. The rudiments were written based on what other people
3
were already playing. When 3I went to Berklee
3 3
I sharpened my rudiments. Rudiments give you so much more to practice and
Life Experiences
so much to strive for.
¿ ¿
œ
¿ ¿
œœœœœœœœœœœœœœœœ
/ MarsœVolta œ œ œ œ œ œ œ /
1 "Teflon" Groove 2 Triplet Bass Drum Exercise R F R F R F R F R F R F R F R F
3 16th Notes Single Stroke
Teflon" Groove R F F R F F B F F R F F3
R L R R L R L R L R R L L R L3 L R L3L FR LR F3L L R F L L R F L L R F R L L F RL RF LL LF
> > > > > > >>
>L R L R L4 RO Rœ>LO LO Rœ>LO>Lœ OR œL/OR ¿OR œ>L œR O¿L œR œL œR¿O Rœ>LO R¿O Rœ>LO>Lœ O œ O /O œœ O Oœ œ œœ œ œ
œ œœ œœ œ œ œ
œ O œ O/ œ4OœO œœœœO≈œœœ œO ≈œ œO œO œ ≈O œ™ œJ O œ O‰ O œœOœO≈œœœ œ ≈ œ œ R ≈F œ™ JR F R F R F R
≈ œ œ ≈ œ œ ≈ œ™ J ‰ œ Rœ ≈F œF R œF ≈F œB œF F ≈R œ™ JF F L F L F L F L F L
4 Paradiddle Bass Drum Exercise
Regarding learning to play fast, I learned in church how to play fast doubles. After practicing a lot, I would do the oppo-
site side of the beat. Then I would do triplets, the upbeat, and then I would do the downbeat, you could just keep moving
up the numbers to fours, to fives, to sixes, and then you can actually put them together. Every time I heard a place to put a
double I would put it. There’s not just one way to practice playing faster.
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ex. #3
2 Triplet
F Bass
L Drum
F F L
4 F L L 3 F 16th LNotesF SingleF Stroke
Exercise
Paradiddle Bass Drum Exercise
L Bass
F DrumL Exercise
L
Drum Exercise F 3 R 3F 3 16th
F 3 R Notes
3F
Single
R Stroke
R Bass
F Drum
R Exercise
F F R F R R
3 3 ¿ 3 ¿ ¿ ¿ œ œ œ œ œ œ
¿œ / ¿ œ œ œ œ œ œ œ / œœœ œ œ œ œ œ/ œ œœ œ œœ œœœœ œ œ œ œ œ œœ œ œ œ œ œ œ
œ œ œ œ R œF œF R F F B/F F œR FFF œF RLœ FFœ FFœ R FœRL R FœFF R FœRL R F RLR F FFR F RRL F RFF F FF L
R
R F R F R F R F R F LR FF LR FF LR FF L F L F L F L F L F
F F B F 5F REgg F Beaters
F
L F L F L F L F L F L F L F L F
I have a practice pedal pad at home and would do singles between the right hand and the bass drum and then you can
¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿
do the left hand and bass drum.
¿ ¿ œ¿ œ ¿ œœ ¿ œœ
5 œœ œœ
/ 4 œ œ œ œ œ œ œ œ œEgg Beaters œœ œœœ œœ œœ
/ œ œœ œœœ œœœ œœ œ
4 Paradiddle Bass Drum Exercise5
ass Drum ExerciseR R R L L R R R L L R R R L L R R R L L
¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿ œ¿
5 œœ œœ œœ œœ œœ
/œ œ œ œ œ œ œ œ /œ 4œ œ œœœ œœœœ œœ œœœœœ œ œœ œœ œ œ œ œ/ œœœœ œœœ
œ œ F œ L F F œ L F Rœ R LR œL L LR R RF LœL RL R R LF L R RF R L LL F L L
Copyright © D rum Channel 2022
F F L F F R L F L F F R L F F R F R L F F R L F L F R F R R
F F
56 R Drummer
Modern F R R 2022 F
December R F F R F R R
 Thomas P ridgen
Life Experiences
1 Mars Volta "Teflon" Groove
R L R R L R L R L R R L L R L L
> > > > R L R R >L R L R L R R >L R R >L >L
4 OœOOœOœOœOOœœOœœ OœOOœOœOœOOœOOœœ
/ 4 œ œ œ ≈ œ œ ≈ œ œ ≈ œ™ ‰ œ œ ≈ œ œ ≈ œ œ ≈ œ™
J J

2 Triplet Bass Drum Exercise 3 16th Notes Single Stroke Bass Drum Exercise
3 3 3 3
¿ ¿ ¿ ¿
/ œœ œ
œœ œœ œœ / œœœœœœœœœœœœœœœœ
R F R F R F R F R F R F R F R F
R F F R F F B F F R F F
L F L F L F L F L F L F L F L F

Courtesy of DW Drums
4 Paradiddle Bass Drum Exercise

/ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
F L F F L F L L F L F F L F L L
I would sit
F thereRall day and
F come F up with
R ways to
F do a paradiddle
R R between
F the Rbass drum.F I literally
F have R no wayF to tell R R
you to do this besides to struggle with it. Practicing is one thing and foot placement is the other thing. I play with my heel
up. It’s like I’m tapping the footboard. The DW logo is at the ball of my foot. I’m not by the chain, but I’m not too far back. To
find the right spot do sixteenth notes and slide your foot up and down the pedal plate. The place where you feel the most
balance is where your foot goes. Seat placement also matters. I sit with my legs at a right angle.

5 Egg Beaters

¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿

/ 4 œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ / œ œœ œœœ œœœ œœ œ œœ
œœ œ œ œœ
5
R R R L L R R R L L R R R L L R R R L L

When it comes to playing linear patterns and phrases, I don’t think about music like that. I think more like a horn player
– these are expressions coming out of me. I look at drumming as phrases and melodies. The majority of the things I think
about are figuring out how to play the phrases in my mind. For example, the egg beater is in 5. It’s 3 on the right hand and
2 on the left. So, what I would try to do is put the bass drum with it. The thought is I’m developing these little things from
Copyright © D rum Channel 2022
a rhythm and a melody. When I play fills and I throw in the 7, this is not a lick or a pattern. This is me developing a thing off
a rhythm and a melody. I’m building off something I’m hearing in my mind. You build a lot of vocabulary because no one
is going to think about phrasing the way that you do. When everyone plays the same it takes the music out of it. Do the
rudiments, learn the different styles, and then when you go on stage, you put yourself out to the world, because no one is
going to hear the phrases and thoughts the way you do. I encourage you to sing on the drums and make music.

December 2022 Modern Drummer 57

 ROCK PERSPECTIVES

Realistic Linear Rudiments DIG

DOWN ITAL

By Carmine Appice
LOA
D
INSIDE CODE

M odern Drummer is concluding the year-long celebration of the 50th Anniversary of Carmine
Appice’s legendary book Realistic Rock, which has been re-issued by Modern Drummer with even
more sections and is now called The Ultimate Realistic Rock. We are presenting one of those new sec-
tions called Realistic Linear Rudiments that Carmine added to the new book.
In August’s Modern Drummer we interviewed Carmine about his book, and this new Linear section.
This is what he had to say, “Rick Gratton sent me his book called Rick’s Licks, and when I tried to read
through it, I really couldn’t follow it. The way it was written was very confusing to me. Rick and I did a
clinic together up in Canada, and when I saw what he was doing I told him that we should release a
video together with my video company. I told him that his stuff was cool, but the way he explained it
was just too complicated. We did a video together, but I helped him break down his ideas to make them more under-
standable. In the process, I came up with the Linear Rudiments: RLF, RLLF, RLRRF, RLRLRF. Groups of three, four, five, and
six notes. Then you
combine different combinations of them to create groups of 16 (one bar of sixteenth notes) or 32 and put them all over
the drums. I just clarified Rick’s ideas and made them easier to learn. Then I began playing those ideas in clinics and on
gigs. I saw how well they worked in a “realistic” setting. Then I incorporated those ideas into The Ultimate Realistic Rock
book… Rick and I have since become good friends.”

Realistic Linear Rudiments

The definition of linear is, nothing hits together. Until now we’ve played patterns where different limbs play at the same
time as other limbs. The following exercises will give you a new outlook on playing and will open many new concepts for
you to use.
These rudiments should be practiced slowly at first, and gradually speed them up. These could be called linear group-
ings as well as rudiments. A grouping is a group of notes that when played, create a phrase or a melody.

R= Right Hand L= Left Hand F= Foot

A. The three-note grouping is played RLF.

B. The four-note grouping is played RLLF.
C. The five-note grouping is played RLRRF, if-when it’s repeated it alternates to LRLLF.
D. The six-note grouping is played RLRLLF.

Putting It Together
Let’s put some of these rudiments (or groupings) together so we can use them as grooves and fills.

E. The seven-note grouping is played RLLFRLF. This is simply the 4+3 note groupings added together.
F. The nine-note grouping is played RLRLLFRLF. This is simply the 6+3 note groupings added together.

Then we can combine the 7 and the 9 to equal 16 (or a bar of 16th notes.) Repeat all of the above groupings over and
over and very seriously because these groupings-patterns are the building blocks and the foundation for linear playing.

Use a metronome playing quarter notes to practice these examples!

All linear rudiments can be played as follows to create further independence. Practice all of them the following ways.

1-Rights are played on the bass drum (right foot when you see the F.)
2-Lefts are played on the bass drum (left foot when you see the F.)
3-Alternate feet or bass drums (if your first hit is a right the next bass drum hit, or F, is a left)
4-When alternating your feet, you can also use your left foot on your high hat.

How To Use These Rudiments

In 4/4 time there are 16 sixteenth notes to a bar. So let’s start to count our linear groupings as 16 sixteenth notes. To do
that we need two groupings that would equal 16. A good one to start with is the 7 and the 9. Together they equal 16
which equals one bar of sixteenth notes. The syncopation created by this combination is what makes this stuff interest-
ing, fresh, and new. Below are some examples of this concept. Play them slow at first, then build up speed.

58 Modern Drummer December 2022

 1 e by
ated & this
a 2 combination
e & a 3 e is& what
a 4 makes 9+7=16
e & a this stuff notes Repeat
interesting, etc.
fresh
and new. Below are some examples of this concept: play them slow
at first, then build up speed.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R1 Le R& La L2 Fe R& La F3 Re L& La F4 Re L& Fa 9+7=16 notes Repeat etc.
1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Two-bar phrases sound great doing these patterns. Here are some
two-bar combinations. Thirty-two sixteenth notes.
R L R L L F R L F R L L F R L F
2-
1 Repeat
2 3 4 #1 5 6for7 two 8 9bars 1 2= 9-7 3 4 9-7 5 6and 7 play over and over. Put two
bars of straight time in between the LINEAR GROUPING patterns.
Two-bar phrases sound great doing these patterns. Here are some
2a-
two-bar
9 + 7 = 16 notes, You
or one can donotes.
bar ofcombinations.
sixteenth 9-7 or reverseThirty-two it tosixteenth
7-9; It still has the same total of
notes.
notes. (1 bar = 16, 2 bars = 32.)
Two-bar phrases sound great using this same pattern. Here are some two bar combinations. These ideas consist of 32 16th notes.
2- Repeat #1 for two bars = 9-7 9-7 and play over and over. Put two
Here of
bars is the 9-7 (A), and 7-9 (B) Sequences. LINEAR Play A & B together as
1-Repeat the above examplestraight
for two bars:time
9 + 7 plusin9 +between the
7 and play over and over. GROUPING patterns.
a two-bar phrase.
2-You can reverse this pattern to 7 + 9. It still has the same total of notes (16.) One bar equals 16 notes, and two bars equals 32 notes.
2a- You can do 9-7 or reverse it to 7-9; It still has the same total of
notes.
1 e &(1a bar 2 e & = 16,a 3 e2 &bars a 4 = e &32.)a 1 e & a 2 e & a 3 e & a 4 e & a

A) Here is the 9-7 (A), and 7-9 (B) Sequences.

B) Play A & B together as
a two-bar phrase.
œ œ œ œœœœ œœœ œœœœ œœ œ œ œœœ œœœ œ œ œ œœœ œœ
R1 Le R& La L2 Fe R& La F3 Re L& La F4 Re L& Fa R1 Le L& Fa R2 Le F& Ra L3 Re L& La F4 Re L& Fa
1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7
A) B)
œ œ œ œœœœ œœœ œœœœ œœ œ œ œœœ œœœ œ œ œ œœœ œœ
Here is the 9 + 7 (A) and 7 + 9 (B) sequences. Play A and B together as a two-bar phrase.
Try putting two1-Once you
bars of straight timeget these
in between down,
the two-bar put
linear yourpatterns.
grouping right
hand on the Hi-Hat, the
left
R Lhand
R L LonF the
R L snare
F R L Ldrum
F R Land
F playR the exercise.
L L R L FR L R L LFR LF
F
Once you get these patterns down, try putting your right hand on the high hat, and your left hand on the snare drum, and play the same
exercise. Then try 1putting
2 3 your
4 left
5 6hand
7 8on 9the1high
2 hat
3 4and
5 your
6 7right hand 1on the
2 3snare
4 5and-or
6 7 toms.
8 9 This
1 will
2 3create
4 5 a 6different
7 variation
2-Put
of syncopated sounds. your left hand on the Hi-Hat and your right hand on the snare
and Toms. This will create a different
put your variation ofon
syncopation.
More Linear1-Once you get these
Grouping Combinations down, right hand the Hi-Hat, the
left hand on the snare drum and play the exercise.
One bar, 5 + 5 Here arebarsom
+ 5 + 1 (one more
of sixteenth LINEAR GROUPING combinations to try. (2 bars)
notes.)

2-Put your left hand on the Hi-Hat and your right hand on the snare
Two bars, 9 + 9#5)
+ 7 + 9-97-7
7, or 7 + 7 + 9#6)
+ 9, or7-7/9-9
7 + 7 + 2 + 9 #7) 7-7-2/9-7
+ 7 (each #8)
adding up to 32
and Toms. This will create a different variation of syncopation. 5-5-1
notes, (one
or two bars bar) notes.)
of sixteenth

Four bars, 7 + 7 + 7 + 7 + 7 + 7 + 7 + 7 + 7 + 1 (or 9 x 7 + 1) adds up to 64 notes or 4 bars of 16th notes.

#9) 4 are
Here barssom
64-16 notes:
more 4 bars
LINEAR 7-7-7-7 7-7-7-7-1
GROUPING = 4 bars
combinations to try. (2 bars)
9 x7
The possibilities are endless! Always use a metronome playing quarter + to1=64
notes practicesixteenth notes
all of these combinations.
It is always a good idea to write down your own linear combinations of patterns and groupings. Good luck and have fun!
#5) 9-97-7 #6) 7-7/9-9 #7) 7-7-2/9-7 #8) 5-5-1 (one bar)
NOTE:
#9) Use64-16
4 bars a metronome
notes: 4 playing quarter
bars 7-7-7-7 notes to =practice.
7-7-7-7-1 4 bars
9 x7 + 1=64 sixteenth notes

Check out Carmine’s Modern

NOTE: Use a metronome playing quarter notes to practice.
Drummer profile page
and his book collection at
moderndrummer.com

December 2022 Modern Drummer 59

SPECIAL THANKS:
 JAZZ?DRUMMER’S œœœœœœŒ
c œ œ œ œ œ œWORKSHOP
11
œœœœœœœœœœœœŒ ..
RRRRRRRRRRRR L L L L L L L L L L L L

On12Technique and Progressive Accents

? c œœœœœœœœœœœœœ
By Joe Morello œœœœœœœœœœœœœ ..
RRRRRRRRRRRRR L L L L L L L L L L L L

T his month Modern Drummer is providing another excellent example of Joe Morello’s masterful teaching

?c œœœœœœœœœœœœœœ‰ œœœœœœœœœœœœœœ‰ ..
from his essential book Master Studies. Both Technique, and Progressive Accents deal with the vital
aspect13
of developing (and improving) your control while playing the drums.

On Technique RRRRRRRRRRRRRR L L L L L L L L L L L L L L
Master Studies is not intended to be a how to book. By that I mean that it’s not an instruction book that will
teach you various hand and stick positions, nor does this book have anything to do with any style of playing,

?c ..
nor is it intended to give the drummer some “hot licks.” Master Studies is a workbook of material to use in developing the
hands 14
œœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœ
for accenting, and for controlling the different pressures used in single strokes, double strokes, and closed rolls. You can
go through this book using whatever techniques you’ve been taught, and you can apply the ideas in this book to any style of
music you want. Furthermore, R R Rthis R book R Rdoes R Rnot R haveR RtoRbeRpracticed
R R in anyLparticular
L L L order.
L L YouL LcanLskip
L around
L L Land L work
L
on whichever exercises are most appropriate to your needs at any given time.
Technique is only a means to an end. The goal is to play musically, but some drummers lose sight of this and approach the

?c ..
Biography drums strictly from a technical standpoint. Often, they become so fascinated with

œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
15 speed that they miss the whole point of music. So just studying this book for the
technique alone doesn’t make any sense. You have to apply the technique to the
RRRRRRR musicR RyouRare R playing.
R R RIf R youRneed L to use
L Laccents,
L L L for L
example,
L L LthisLbook
L Lwill
L help
L L
you develop the ability to put an accent wherever you hear one period but when
you are playing. You should not be thinking, “Well now I’m going to play page such-
and-such from Master Studies. The ultimate goal is to be able to play what you hear
in your mind and to be able to play it instantly.
Although I am known as a jazz drummer, I never study jazz drumming with
anyone. My teachers were Joseph D. Sefcik, George Lawrence Stone, and Billy
Gladstone, who were not jazz drummers by any means but who knew how to get
a good sound out of a drum. In my travels around the world, I’ve run into many

progressive accents different approaches and techniques. I think it would be presumptuous of me to

declare my way of playing as being the “end all” of techniques. However, there is one
thing that I want to make clear. I’ve come to the conclusion that everything is done
with natural body movement. The wrist turns and everything have to be natural,
The idea of this is to give you the ability they have to accent anywhere
to fit the way the body isinmade.
the You
barmust
thatuseyou
everything in a natural way.
want. After I would you have suggest
been playing that ayou while,start you will bydevelop
playing this mf andstyle,
an individualized really
and hitting
each stylethe
has its place.
accentsSome hardof (about the thingsff). in thisPlay book each are unusual,
bar eight and they might
times givethen
and you different ideas aboutgo
immediately things
to you can do. For example,
the next bar until you have reached the end. After you are comfortable with this, But ultimately, it’s
some of the accents are in odd places, and in that
Joe Morello was born on July 17, 1929. in Springfield Mass. any job he was called for. As a result, his musical experiences
respect, it might open your mind to different patterns.
Having impaired vision
ndoorpractice
upsincetobirth,
your imagination
he devoted himself to rangedtofromdevelop your
rudimental military playingown creativity.
to weddings and So this book is just to help you develop your facility, keep yourself in
with
activities. At the age of six, his family’svarious dynamic
encouragement social occasions. Eventually,levels,
Mr. Sefcik decidedfor example:
it was time

shape, and help you become aware of what

ed him to studying the violin. Three years later, he was for Joe to move on. He recommended a teacher In Boston,
eatured with the Boston Symphony Orchestra as soloist the great George Lawrence Stone. your hands are doing and how they’re working. How you use the technique is up
toappearance
you. with this orchestra. But tools for developing technique. He taught Joe to read. But
n the Mendelssohn Violin Concerto. At the age of twelve, Mr. Stone did many things for Joe. He gave Joe most of the
he made a second solo
upon meeting and hearing his idol, the great Heifitz, Joe felt
unaccented notes p; accents mp
he could never achieve “that sound.” So at the age of fifteen,
Joe changed the course of his musical endeavors and began
probably most important of all, he made Joe realize his future
was in jazz, not legitimate percussion as Joe had hoped.
Through his studies with Mr. Stone, Joe became known as
o study drums
Progressive Accents
Joe’s first drum teacher, Joe Sefcik, was a pit drummer for
the best drummer in Springfield, and rudimental champion of
New England.
all of the shows in the Springfield area. He was an excellent Joe’s playing activity increased, and he soon found himself
The idea of
unaccented these exercises
notes is to givefff
mp; accents
eacher and gave Joe much encouragement. Joe beganyou the ability to accent anywhere in the bar that you want. I would suggest that you
sitting in with any group that would allow it. When he was not
on the road with several groups. First there was Hank
Garland and the Grand Old Opry, and then Whitey Bernard.
start by playing this mf and really hitting the accents hard about f. Play each bar eight times and then immediately go to
sitting in, he and his friends, including Teddy Cohen, Chuck
Andrus, Hal Sera, Phil Woods, and Sal Salvador, would get
After much consideration, Joe left Whitey Bernard to go to
New York City.
ogether and jam in any place they could find. Joe would play A difficult year followed, but with Joe’s determination and
the next bar until you have reached the end. After you are comfortable with this, practice with various dynamic levels, for
unaccented
example: notes f; accents ff, etc.

Another way tonotes

Unaccented playp,these
accents exercises
mp. is with accents on the first four 8th notes,
Unaccented
throughout. notes mp, accents fff.
Unaccented notes f accents fff, etc.

>>>> > >>>> >

Another way to play these exercises is with accents on the first four eighth notes throughout.

. œ œ œ œ œœœœœœœœ. .œ œ œ œ œœœœœœœœ.
1. 2.

etc.

Practice these exercises using alternate sticking (RLRL,) starting with either your right or left hand.
Practice these exercises using alternate sticking, starting with either hand.
60 Modern Drummer December 2022
 49

> >
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1 2
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> >
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9 10

> >
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3 3 6 6 3 3 6 6
11 12

> >
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3 3 6 6 3 3 6 6
13 14

> >
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3 3 6 6 3 3 6 6
15 16

> >
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3 3 6 6 3 3 6 6
17 18

> >
? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 6 6 3 3 6 6
19 20

December 2022 Modern Drummer 61

50

> >>
? c .. .. .. œ œ œ œ œ œ œ œ œ œ œ œ ..
1 2
œœœœœœœœœœœœ

> >> > >> >

? c .. .. .. œ œ œ œ œ œ œ œ œ œ œ œ ..
3 4
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> >> >> > >> >>>

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5 6
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> >> >>>> > >> >>>> >

? c .. œœœœœœœœœœœœ .. .. œ œ œ œ œ œ œ œ œ œ œ œ ..
7 8

>> >>>> > > >>>> >

? c .. œœœœœœœœœœœœ .. .. œ œ œ œ œ œ œ œ œ œ œ œ ..
9 10

>>>> > >>> >

? c .. .. .. œ œ œ œ œ œ œ œ œ œ œ œ ..
11 12
œœœœœœœœœœœœ

>> > >>

? c .. .. .. œ œ œ œ œ œ œ œ œ œ œ œ ..
13 14
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>
? c .. ..
15
œœœœœœœœœœœœ

> >>
? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 6 6 3 3 6 6
16 17

>>> >>>> 6

? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 6 6 3 3 6
18 19

62 Modern Drummer December 2022

 51

>>>>>
6
>>>>>>
6

? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 6 3 3 6
20 21

>>>>>>>
6
>>>>>>>>
6

? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 6 3 3 6
22 23

>>>>>>>>>
6
>>>>>>>>>>
6 6

? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 6 3 3
24 25

>>>>>>>>>>>
6 6
>>>>>>>>>>>>
6 6

? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 3 3
26 27

>>>>>>>>>>> 29
6 6 >>>>>>>>>>
6 6

? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 3 3
28

>>>>>>>>> 31
6 6 >>>>>>>>
6 6

? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 3 3
30

>>>>>>> 33
6 6 6>>>>>> 6

? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 3 3
32

6 >>>>> 356 6 >>>> 6

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3 3 3 3
34

>>> 37
6 >>
? c .. œ œ œ œ œ œ œ œ œ œ œ œ 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 3 6 3 3 6 6
36

> Check out Joe’s Modern

? c .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3 6 6 Drummer profile page and
38 get your copy of Master Studies
at moderndrummer.com

December 2022 Modern Drummer 63

 ROCK AND JAZZ CLINIC

Mixed Sticking Patterns over the Double Bass Roll

by Joe Franco

T his month we will continue with another excerpt from Joe Franco’s groundbreaking book, Double
Bass Drumming. This month Modern Drummer is including Joe’s explanation of soloing over the
double bass roll by playing mixed stickings with the hands.
The double bass roll is written at the bottom of each group of examples, to make the hand pattern
clearer and easier to read. Although it is not mentioned in Joe’s book, I would suggest practicing the
hand patterns (stickings) alone first. Then put them over the double bass roll. Make sure to avoid any
“flamming” between the hands and feet, and as always start slow!
In this section of his book, various hand patterns are played over the double bass drum roll. This
month these patterns will be mixed sticking patterns, consisting of various combinations of single and
double strokes. This article deals with both the sixteenth notes and triplets and is designed to:

-Present different hand patterns that are useful in soloing or developing beats.
-Develop hand independence over the double bass roll.
-Develop balance, control, and stamina on double bass.

There are many more examples of sixteenth notes and triplets played with mixed stickings included in Joe Franco’s outstand-
ing book entitled Double Bass Drumming. This is just the tip of the iceberg. Have fun!

Mixed Sticking Patterns

Mixed sticking patterns are played over the double bass roll. These patterns can be used in soloing as well as in creating counter
rhythms and fills. The patterns are written as R = right hand and L = left hand. Every pattern is presented with its mirror image (or
reversed) in which R = L and L = R. It is important to play both.
All of these patterns are composed of combinations of single and double strokes. All of the fundamental sticking patterns are
included. The single and double stroke roll, the single, double, and triple paradiddle, the paradiddle-diddle, and many inversions
of each. Since there are never more than two consecutive strokes with one hand, they should be able to be played with a con-
stant flow.
Besides practical applications, these patterns are helpful in developing hand independence over the feet. You will be playing
different combinations of hands and feet together. When working out these hand patterns, it may be helpful to play them on two
different surfaces so you can hear the rhythm that each hand is playing. Keep in mind that these patterns are written without
accents. Experiment with some of your own accents.
Besides using these patterns in soloing, try using them to form beats by playing R on the ride and L on the snare. For example:

64 Modern Drummer December 2022

December 2022 Modern Drummer 65
66 Modern Drummer December 2022
Check out Joe’s Modern Drummer profile page and get your copy of
Double Bass Drumming at moderndrummer.com
December 2022 Modern Drummer 67
 CREATIVE PERCUSSION CONTROLLERS

Hybrid Drumming / Bass Drum Trigger Exploration

By Tony Verderosa

E xploring creative
possibilities with just
one bass drum trigger
is a great introduction
to the world of hybrid
drumming. In this
month’s column we will
focus on an acoustic
kick drum outfitted
with a bass drum
trigger. Hopefully
this will spark some
creative ideas for you to
experiment with using
the current trigger set
up you have at home.
Maybe a few of these
video examples might
even motivate some
of you to purchase a
brand-new MIDI drum
trigger system.
A quick note about
the MIDI trigger
interface seen in these
videos. It’s a Yamaha
DTX 900 and it was
released in 2010. It’s
considered “old,” and midi drum modules. At the end of the day, we need to send midi
I believe it’s now discontinued. Yamaha has released more current note “on” messages from a bass drum trigger to access a computer
drum trigger modules but this one suits me just fine since I don’t use which contains thousands of drum samples and virtual instruments.
the internal sounds, and the DTX 900 also has more advanced MIDI
capabilities than some of the newer trigger modules. I am using a Enhanced Kick Drum Example
Yamaha DT50K Kick Drum Trigger on my bass drum. The most obvious application for hybrid drummers is layering
electronic bass drum samples with the
acoustic kick drum to give the drum a new
“dimension” and some added punch. On this
first video example, I am using an 18” kick
drum with the midi trigger turned OFF. Here
is an example of just the raw drum sound, no
layering, no MIDI, no extra samples.
Now let’s look at the exact same drum
groove, the only difference is that I am
turning ON the MIDI TRIGGER to access some
digital samples inside the Mac from a virtual
drum instrument called BATTERY 4 by Native
Instruments. BATTERY 4 is the cutting-edge
drum sampler that includes a massive library
of samples and drum kits for creative beat
production. You can also drag and drop your
This month my focus is on triggering custom samples, loops and own samples into BATTERY.
sound libraries that exist on my Mac inside of Cubase. I also trigger I also layered that battery kick sample with a big, dirty, noisy,
hardware synths such as the KORG MINILOGUE XD which will be and cinematic bass drum sample from a library called DAMAGE
used on a couple of the videos throughout this article. Let’s focus 2. DAMAGE 2 offers over 40,000 samples and 60 GB’s of pure,
on the creative applications of midi drum triggering and hybrid percussive inspiration. Those sounds range from a 72” massive
drumming without getting lost in the weeds referencing specific

62 Modern Drummer December 2022

bass drums, to toms, and an amazing selection of struck “found
sounds” even including a trash dumpster! Everything in this virtual
instrument library was recorded at the world-class scoring stage at
Skywalker Sound.
With this new layered, “enhanced” kick drum using the
trigger, you can hear the intentional grit and slightly distorted
movement inside the DAMAGE 2 sample. I used that massive
sounding drum sample as a second layer to make it obvious
that the kick drum trigger is ON. DAMAGE 2 is providing the sub
frequencies and then BATTERY 4 is adding some additional punch.
You could use a blended / layered, hybrid kick drum sound like this
to create a new song or you might find it works well on stage with
a band. For example, let’s say you get hired as a drummer to go
on tour with a pop artist and they want to use the exact kick drum
sample they used on one of the songs from the album. Your job is
to load that sample into Ableton or on to your Roland SPD-SX and
trigger that from your kick drum live on stage.

Creative Enhanced Kick

If we take the same process and apply this to more unusual sounds,
this is where hybrid drumming gets really fun. I spend most of my
efforts creating unusual drum loops and brand-new music for my
albums and my music licensing catalog. By layering both electronic
kick drum samples plus some tonal synth sounds treated with
audio effects and sound design techniques, I am able to generate
grooves that sound more like the foundation of a new song or film
cue.

December 2022 Modern Drummer 63

 In the next video example, I am layering an electronic bass or instrumental track that would work really well in films and/or TV
drum sample for added punch but also triggering a second sound shows that I am working on.
from BATTERY that has a crunchy tonal 8-bit synth quality. When Here is another video example using a new groove with a faster
I dialed in this layer, it immediately made the drum groove feel tempo and a different “harmonic BD sample” from REAKTOR. This
more like a song. This is where the hybrid drum triggering inspires track has an up-tempo rock groove and an even more prominent
creativity and forces me to think like a record producer and a “evolving synth sample,” layered with a sub-frequency analog style
songwriter. I can sit down with a guitar player or vocalist and start bass synth from a virtual instrument called MASSIVE X. I like this bass
building a full track around this groove. It has a “vibe” because of tone because it reminds me an old Simmons kick drum sound. My
the way I “sound designed” that synth layer. That weird synth also plan is to export the stems of this track and further mix and produce
inspired me to mix my acoustic drums more aggressively. I used a this as a full up song with one of my favorite vocalists.
more experimental, overly compressed sound by utilizing the FATSO In the next example, I am using the MIDI bass drum trigger
plug-in by UNIVERSAL AUDIO on the acoustic drum sound to make to access a KORG MINILOGUE external hardware synth. I set up 9
it crunchier and more modern. The FATSO plug-in also adds analog different midi notes on my bass drum trigger and each time I hit the
character and “glue” to my drum tracks. kick drum, I “step” through one of the 9 midi notes using something
called ALTERNATE MODE. I also pre-
determined the length of each midi note
using a midi gate time. Each time I stomp
on the kick drum, the midi note will last 2.7
seconds and then it will stop with a trailing
decay. In musical terms, it’s lasting 2 bars
long at the tempo I chose for this groove.
Here is a video example of how the bass
drum triggers the arpeggiator synth patch
on the KORG Synth. I will hit the downbeat
on my bass drum every 2 bars.
When triggering an ARPEGGIATOR
in real-time, you can choose your favorite
tempo inside the synth by adjusting the
BPM of the synth patch. Each time I play the
bass drum, I am essentially firing off a synth
click track to play along with. It’s really fun
when it’s used with “alternate mode.” I set
up a specific range of midi notes and I keep
everything intentionally random with the
rhythms and grooves that I played in the next video example. The
BD Trigger “Harmonic Drones” more syncopated I play on the bass drum, the more surprising and
As a follow up to the creative enhancement example above, let’s go unexpected the arpeggio patterns become. I am barely scratching
a step further and introduce a harmonic/chord-based component the surface and potential with this approach. Here is an improvised
to the bass drum layer. In the next example, I am using a beefy groove using the bass drum trigger and the KORG MINILOGUE set to
electronic kick drum sample from BATTERY but I also added a new the same ARPEGGIATOR patch that I used in the example video above.
virtual instrument from REAKTOR. The REAKTOR kick sample is If you are doing all of this properly, you are not just
actually a kick drum sample layered with a synth playing a minor drumming, you are composing music! I hope you enjoyed this
chord. I processed the minor chord with effects inside Cubase to creative exploration of using just one acoustic bass drum trigger.
make it sound even dirtier. Here is an example of the groove I See you next month when we make the bold leap to the next level
played with the midi bass drum trigger OFF. and add a snare drum trigger!
Here is an example of the same groove with the MIDI bass
drum trigger TURNED ON. Just by using one bass drum trigger, I
Check out Tony’s Modern Drummer
can create a “mood” that will become the foundation of a new song
profile page at moderndrummer.com
64 Modern Drummer December 2022
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December 2022 Modern Drummer 65
 COLLECTOR’S CORNER

Donn Bennett’s Drum Vault:

The Carmine Appice Drum Collection
By Donn Bennett

D rummer, singer,
songwriter, soloist,
band leader, author,
educator, innovator.
It’s nearly impossible
to describe Carmine
Appice’s massive
influence on the drum
world. He sits near the
top of Rolling Stone
magazine’s list of the
Top 100 Drummers of
All Time. His Realistic
Rock Drum Method
is the most popular
rock drum book ever
written. He’s helped
redefine the modern
drum set with his
pioneering use of
double bass drums,
concert toms, gongs,
tympani, and Chinese
cymbals.
As a founding
member of Vanilla
Fudge, Cactus, Beck,
Bogert & Appice,
King Kobra and
Blue Murder, and as
a member of Rod
Stewart, Edgar Winter,
Ozzy Osborne, and Ted start of his career. He’d forgotten much of what he had, because
Nugent’s bands, he was always more than “just the drummer.” He put you couldn’t even see what was in the back, without completely
his unique stamp on each band’s sound and image. His over-the- unpacking the whole locker. After years of talking about it, and with
top solos were a highlight of every live performance. If you didn’t the help of Carmine’s longtime tech Thomas Leblanc, and my truck
know who Carmine Appice was at the beginning of a show, you driving pal Randy Lee Munro, we packed everything into Randy’s
DEFINITELY knew who he was by the end. truck and brought it to my Seattle warehouse.
In 1980 Carmine was a HUGE rockstar, and I was a huge fan. He’d When it arrived, there truly was something from every phase
just released his first solo album and was the featured drummer of Carmine’s extraordinary career. There was unique, custom and
in The Rod Stewart Group. You couldn’t open any music magazine prototype items including the 1965 Ludwig Supraphonic snare he’d
without finding Carmine in a full-page ad for one of the many drum used with Jeff Beck, Cactus Vanilla Fudge and Rod Stewart. Every
products he endorsed. To quote a Zildjian cymbal ad from this era, piece comes with a great story about how Carmine used it to make
“Everyone wants a piece of Appice.” rock and roll history. Here’s a few of them...
In 1980, I’d just landed my first “real” job, managing the drum
department at music store in the Seattle area. The shop was Carmine and I with his
gold record for Rod
sponsoring one of Carmine’s drum clinics and I was given the job Stewart’s Blondes Have
of coordinating it. Getting to work with a bonafide rockstar like More Fun. Carmine co-
Carmine was a dream come true. Working directly with Carmine, his wrote the album’s lead
manager, and the companies he endorsed laid the groundwork for single “Do Ya Think I’m
Sexy.” The song went on
my own career path. I still employ the lessons I learned from all of
to be named by Rolling
them. Carmine remains a close friend and mentor to this day. Stone magazine as one
Carmine has been telling me about his storage lockers for of the Top 500 Greatest
decades. They were packed with drums going back to the very Songs of All Time.

72 Modern Drummer December 2022

 Here’s some of Carmine’s
drums including his Jeff
Beck and Rod Stewart era
bass drums; Beck, Bogert,
and Appice vintage timpani
tom; Blue Murder Premier
timpani; and Ozzy Osborne
era Slingerland throne.

Below is Carmine’s custom

1980s Mapex all brass 5.5”
x 14” snare drum. Carmine
used this snare on his
Guitar Zeus album project
and on tour with Edgar
Winter. Check out the
custom “Carmine Appice”
nameplate.

This 1965 Ludwig 5x14

Supraphonic snare
drum is the oldest
item in the collection.
Carmine used this drum
with Vanilla Fudge,
Cactus, and Beck,
Bogert, and Appice, and
Rod Stewart.

The very first Istanbul Mehmet

Carmine Appice Realistic Rock
Chinese cymbal. Carmine popularized the use of Chinese
cymbals on the modern drum set in rock and
roll. He started using them back in the 1960s.
One of the first prototypes of Carmine’s This Wuhan 18” China is the first one he ever
Sabian signature series Chinese cymbals. used. This is the one that started it all.
December 2022 Modern Drummer 73
 OUT NOW!

M odern Drummer spotlighting certain new recordings that have the drums at the
center of their sound. These recordings might be drummer-led, or just include a
high-quality, special, or unique drumming and musical performance from the drummer
and/or musicians in the band. This column will not be restricted to only recordings, we
will also be spotlighting new books and DVD’s that are being released. We encourage our
readers to listen to the recordings that inspire them, and keep looking for new musical
avenues to explore. You’ll never know what new music you might find inspiring! Listen
and learn.

Emerson, Lake, & Palmer

The Singles Box Set
BMG Records
Carl Palmer, drums.

This box set of a dozen seven inch singles/45s

is billed as a celebration of the fifty year
anniversary of Emerson, Lake, & Palmer (ELP)
and focuses on material from the decade they
dominated, the 1970s, as well as the early 1990s.
ELP was among the masters of the progressive
Rock that grew out of the developing UK rock
of the late 1960s, yet ELP was equally skilled at
crafting haunting and pensive songs as well. LP’s
had begun nudging singles out of the spotlight
during the mid-1960s. Yes, ELP was an LP band,
but Singles confirms they were skilled at offering
concise songs as well. ELP incorporated classical
music and ballads, introduced elements of jazz
and, of course, helped define the dramatic arena
shaking sound of prog rock. Both Keith Emerson
and Greg Lake passed in 2016 leaving drummer/
percussion master Carl Palmer as the sole
survivor. The box set was the brainchild of Palmer, himself.
The dozen enticingly colored discs are housed in an alluring container. Each single is wrapped in a full color reproduction of an original
picture sleeve. In addition, there’s a booklet plus newly minted ‘art cards’ that offer a 2022 interpretation of all twelve images. By the time
you’ve unwrapped the final disc, you’ve heard a little bit of everything. Depending on your experience, you’ll revisit familiar old favorites,
rediscover songs buried in the back of your mind or, with a few of the selections, discover something new and refreshing. By Scott Gudell

Tony Williams
Play or Die
Mig Moosicus Records
Tony Williams, drums

In 1980, Tony Williams, keyboardist Tom Grant, and bassist Patrick O’ Hearn went into the
studio to record an entire LP of Tony’s compositions. There were only 500 records printed,
the music and the LP’s became thing of legend. Today we can hear it again remixed, sonically
improved upon, and authorized by Tony’s widow Colleen. Three of the tunes are classic 80’s
fusion and the compositions are typical of the era, but two are compositions of Tony’s (“Para
Oriente,” and “There Comes a Time”) that were previously recorded and rearranged for this
session. However, there is nothing typical about the drumming. Tony Williams is ON FIRE!
Listen to Tony’s classic singles on the intro of “Beach Ball Tango” and the interesting groove
on “Jam Tune.” Anything that Tony ever recorded is essential listening to me, and this is no
different.

74 Modern Drummer December 2022

Al Foster
Reflections
Smoke Sessions Records
Al Foster, drums

Al Foster is one of the living legends of jazz drumming. On this (his fifth record as a leader) his playful
support behind trumpeter Nicholas Payton, saxophonist Chris Potter, and pianist Kevin Hays is musical
perfection. Al’s inimitable sound is caught perfectly, and the band is tight and swingin! What more
can be said when jazz royalty meets some of the best young musical talents around. Al and bassist
Vincente Archer provide a pulse that supports, prods, and reacts to some beautiful music and wonderful
musicians. Maybe the title is Reflections, but this music is looking forward as much as it is reflecting on
Al’s past playing with Sonny Rollins, Joe Henderson, Herbie Hancock, and Miles Davis.

Wayne Shorter, Terri Lyne Carrington, Leo Genovese, Esperanza Spalding

Live at the Detriot Jazz Festival
Candid Records
Terri Lyne Carrington, drums.

Wayne Shorter is a superhero to me and many musicians. When he plays, composes, records, and
speaks, people should pay close attention. This collective of musicians create a beautiful tapestry of
music. In Wayne Shorter’s words, “All the music has something to do with becoming more human, not
becoming a great musician.” This is deep music, and everyone is wearing their musical hearts on their
sleeves. Drumwise, Terri Lyne Carrington explores, inspires, and creates some profound music on the
drums. Amazing!

Terri Lyne Carrington, Kris Davis, Linda May Han Oh,

Nicolas Payton, Matthew Stevens
New Standards Vol. 1
Candid Records
Terri Lyne Carrington, drums.
Negah Santos, percussion

Terri Lyne Carrington’s championing of of women in the creative world of jazz music has led to a very
interesting couple of projects that are profiled here in Out Now. The recording New Standards Vol.
1 collects some of the outstanding compositions from the recent book (of the same name.) While
the masterful tunes are the real star here, Terri Lyne and guitarist Matthew Stevens both provide
some strong playing, arranging, and production throughout. The set is ultra-varied, ranging from the
smooth funky pop of Gretchen Parlato’s “Circling” to the funky latinish vibe of Abbey Lincoln’s “Throw
It Away,” to Dianne Reeves’ haunting reading of “Moments,” to Nicholas Payton, Kris Davis, and Terri
Lyne mixing it up on “Continental Cliff ” and Marilyn Crispell’s “Rounds.” And let’s not forget the deep
groove and pocket of “Respected Destroyer,” and “Unchanged” (featuring a great piano solo from Kris
Davis. Terri Lyne’s drums and Linda May Han Oh’s bass groove hard together, their hook-up is strong
and in-charge throughout. This is a strong collective of musicians playing an enjoyable set of New
Standards, let’s hope there are many more volumes to come!

Terri Lyne Carrington

New Standards: 101 Lead Sheets by Women Composers
Berklee Press

This book is a GREAT idea! Jazz musicians around the world now have a whole new set of tunes to learn,
perform, and dissect. The fact that these tunes are all written by women composers is a wonderful
idea, but if these weren’t fantastic and playable songs, the idea would fall flat. Thankfully Terri Lyne
Carrington has gathered the best and brightest composers from a long lineage of composers. Not only
are wonderful drummer-composers like Cindy Blackman, Allison Miller, and Sherrie Maricle represented;
but we are also blessed by compositions from the entire history of jazz from Lil Hardin Armstrong to Mary
Lou Williams, to Geri Allen, and Esperanza Spalding. The way that the tunes are presented is a nice feature
as well. Most of the tunes are one or two pages long so they are very readable and performable, and the
separations of tunes (Blues, Groove, Post-Bop, Odd-Time and Mixed Meters, South American/Afro-Cuban
Global, and many more) make this even more valuable.

December 2022 Modern Drummer 75

 John Entwistle Charged Particles with Tod Dickow
Rarities Oxumed Volume One Live at the Baked Potato, Play the Music of Michael Brecker
Deko Records Summit Records
Steve Luongo, Keith Moon, drums Jon Krosnick, drums

While Keith Moon goes What a wonderful surprise

uncredited on this this record is, and what
collection’s opening a wonderful idea for a
track “Bogey Man,” record. This longtime
the press release, the trio, first assembled by
drumming, and the drummer Jon Krosnick,
sense of humor tells has been a mainstay in
us it’s him. The John the San Francisco Bay
Entwistle band’s Steve area for over 30 years.
Luongo plays drums on For this live tribute to
other tracks, Entwistle’s the compositions of
studio band often had Michael Brecker the band
a good bit of a Genesis enlisted “Breck-a-phile”
sound, and John’s voice Tod Dickow, and they
often took on a bit of a Phil Collins sound. Luongo’s drumming fit couldn’t have made a better choice. It is simply impossible for any
nicely with “The Ox’s” bass playing, and he framed John’s tunes modern saxophonist to not be influenced by the playing of Michael
nicely. This disc features some rarities, demos, and live tracks. “I Brecker, but his compositions are often a little overlooked, but
Wouldn’t Sleep with You” has a strong Who vibe, and a nice drum not here! Charged Particles and Tod Dickow do a simply masterful
intro. “Back on the Road” features a nice bass solo, I enjoyed the live job of relaunching these tunes into orbit. And we all know Mike is
tracks of “Trick of the Light,” “Under a Raging Moon,” (featuring a listening and smiling. Krosnick finds the proper energy of each tune,
great drum solo and performance from Steve Luongo) and “Shakin’ and everyone shines. Additional kudos to Bill Milkowski for writing
All Over” (with an amazing bass solo from Entwistle) the most of all. such perfect and informative liner notes for the record and to the
Entwistle was an amazing bassist and he had a a great band, a few of band for supporting The Michael Brecker Family Foundation for
these tracks document just that. cancer research. Great music for a great cause, in tribute to a great
musician.
The Chris Parker Trio
Tell Me Alex Acuña
Self Produced Gifts
Chris Parker, drums Le Coq Records
Alex Acuña, drums and percussion
To tell you about Chris
Parker’s new jazz record, Alex Acuña plays joyous
I’ll leave it up to Randy music, and there is a
Brecker. Randy wrote lot of joy on this CD. I
in the notes to the have never seen Alex
record, ”Chris Parker was play without a smile
one of the best funk/ on his face, and the
fusion drummers ever... smiles come through
A recently released loud and clear on
Brecker Brothers Band this CD entitled Gifts.
CD recorded Live at The Alex’s drumming and
Bottom Line will attest to pecussion playing create
this, and I rest my case. a wonderful launching
But then Chris Parker point for his band
wanted more, and he studied composition and jazz drumming which includes bassist
and has come full circle all these years later. He’s now a great jazz John Pena, keyboardist
drummer and composer, one of the best, and after listening to this Otmaro Ruiz, and guitarist Ramon Stagnaro. Listen to Alex’s fat
CD, I again rest my case!” Chris’ trio of Kyoko Oyobe and Ameen backbeats on “Mercy, Mercy” and the shifting fusion of “Chuncho.”
Saleem, his new record entitled Tell Me, and his thoughtfully Listen to the sound that Alex produces with all of his hand drums
crafted tunes prove all of Brecker’s thoughts. This can’t be the same (congas and bongos,) and notice how well it blends into the
drummer I heard with Stuff, Lou Rawls, Laura Nyro, and Ashford and musical surroundings. Saxophonist Lorenzo Ferrero sounds strong
Simpson. But it is!!! Today Chris Parker uses the same musicality in throughout. He creates a nice musical yin to Alex Acuña’s yang on
swinging his trio as he used “back in the day” creating a groove for Herbie Hancock’s classic composition “One Finger Snap.” This is not
pop hits, funky fusion, and movie soundtracks. What an evolution. I’ll Alex’s first recording as a leader, but it might be his best.
still listen to his old classics, but I am adding the new Chris Parker to
heavy rotation.

76 Modern Drummer December 2022

 Presents: Lessons From The Greats
The Joe Morello Collection

Master Studies Master Studies II

This book focuses on these important Like Master Studies, this is a
aspects: accent studies, buzz-roll workbook of material to use in
exercises, single and double-stroke developing the hands for drumming.
patterns, control studies, flam patterns, Challenging exercises encourage
dynamic development, endurance students to learn slow, sensible and
studies, and much more! accurate practice techniques.

Rudimental Jazz
The precursor to his two most widely used instructional books – Master Studies and Master Studies II – this book
covers: techniques such as right and left hand grips, playing position, striking the snare drum & hi-hat and more;
beginning exercises; drum beats; teacher’s charts; graphic cutouts and more.

Available In Print and Digital Format

BUY FROM YOUR FAVORITE MUSIC RETAILER
CHECK OUT MORE AT MODERNDRUMMER.COM
December 2022 Modern Drummer 77
EYE CANDY

Ludwig Vistalite Led Zeppelin Reunion Kit

The drum kit shown here was custom made by the Ludwig drum
company for Jason Bonham’s use in the Led Zeppelin reunion
show. It replicates the configuration that John Bonham used for
dozens of Led Zeppelin performances, including a 14 X 26 bass
drum, a 10 X 14 rack tom mounted on a snare drum stand, and 16
X 16 and 16 X 18 floor toms. But Jason’s kit also adds a few original
touches. Where John used an amber Vistalite acrylic shell kit with
chrome hard-ware, Jason’s kit features yellow Vistalite shells fitted
with black hardware. However, champagne pink sparkle inlays in
the bass drum hoops are a somewhat unusual feature of Jason’s
kit. The accompanying 6.5 X 14 snare drum
features a black chrome finish, and the front
bass drum head displays Jason’s signature.

This comes from the book Crash: The

World’s Greatest Drum Kits, available at
moderndrummer.com

78 Modern Drummer December 2022

 The
Presents: Legends Collection

Not just another drum book or magazine, It’s Modern Drummer Legends!
Extensive And New In-depth Interviews • Artist Approved Content
New Song Transcriptions With Artist Insight
Never Before Seen Photos • Digital Download components

Legends Coming Soon:

Billy Cobham • Carmine Appice • Gavin Harrison • Giovanni Hidalgo • Carl Palmer
Cindy Blackman Santana • Dave Weckl • Charlie Watts • Eric Singer • Alex González

Buy from your favorite music retailer Check out more at moderndrummer.com/legends
 ddrum unveils the upgraded Dominion Birch Series, with reimagined shell-pack
configurations, new hardware, and eye-catching finishes. The Dominion Birch Series unites
the tonal dynamics of classic birch shells with cutting-edge design, and a splash of
sophistication, to bring this popular drum series to a new level of performance and
appearance. Available in several different configurations and color options, the Dominion
Birch Series offers players of any genre a strong foundation for sound quality and the
utmost style to let their drumming personality shine.

Available Online & Select Guitar Center Locations