TDJ-Issue-Three

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www “Stayin’ in the same hotel rooms. Getting up at the same time. Leaving at the same time. Load in at the same time. There’s a relationship that forms.” www
Magnet? Yeah, y’know, to focus on the Arts. It was here I was really able to get a thorough grasp of theory. We had to learn functional piano no matter what other instruments you played, so that did a great deal for me. Then I went to Julliard and continued music studies, both major and minor, and, y’know, the rest is history. But it was high school for me where the technical met up with the natural instincts of someone who just plays by ear. What were your early influences? I’d say this to everyone - start with Max Roach and Art Blakey. Buddy Rich wasn’t actually a big influence on me – I mean, I listened to him and admired him but I never thought I could play the stuff he was playing. Roach and Blakey, on the other hand, were songwriters. They could play piano. Then the legendary Tony Williams, Philly Joe Jones and Elvin Jones. Later I was fortunate enough to get into guys like Mike Clark, Mitch Mitchel, David Garibaldi, Steve Gadd, Harvey Mason, Rick Lawson. But! My all time favourite is a gospel drummer named Joel Smith who played for The Hawkins Family. He’s been the most influential drummer in my life. I transcribed four records worth of him playing drums. So when did you meet Mike League? I met Mike around seven years ago. He was at the University of North Texas which is pretty close to Dallas, and he’d come down and participate in these jam sessions and do some church gigs. I’d see him around town occasionally. At the time, I was playing in a band with Erykah Badu and we were hosting a jam session. Mike wandered in and said, “anybody know a guy called Bernard Wright?” Bernard Wright? I would usually just pretend to know who he is but I’m afraid I don’t. Well, he was a legendary songwriter, composer, pianist, musician – extraordinary cat. Anyhow, me and Mike gelled playing one of his songs together at the jam session, and the rest is history. So were you headhunted? (Laughs) Well, for the first year I was in Snarky I was actually playing keys. I’ve only actually been the drummer for five years. 11 THE DRUMMER’S JOURNAL Snarky Puppy - Thing of Gold @ 1.35 www
Page 2: Contents Issue Three, May 2013 We
Page 5: GAininG GrounD www The man in seat
Page 9: I’ve never seen a ghost. As much
Page 13 and 14: So that’s why the band do a lot o
Page 15 and 16: Has that part of your career change
Page 17 and 18: In an analogous business park outsi
Page 19 and 20: The 2012 Paralympics made people th
Page 21 and 22: So as a musician, I have the same a
Page 23: Right: Machined Aluminium lugs are
Page 26 and 27: A MoDeL CitiZen Matt Nolan: Cymbals
Page 28 and 29: Matt is tall, and surprisingly soft
Page 30 and 31: www “the lathe looks like the typ
Page 32 and 33: THE DRUMMER’S JOURNAL
Page 34 and 35: Independence www “You don’t thi
Page 36: 36 THE DRUMMER’S JOURNAL
Page 39 and 40: A technical argument assumes that g
Page 41 and 42: GEORGE ‘SPANKY’ MCCURDY A NEW I
Page 43 and 44: An introsPeCtiVe eXorCisM Mogwai’
Page 45 and 46: my favourite player; his style is l
Page 47 and 48: 47 That’s kinda why I decided to
Page 49: © SEBASTIEN MILLON A call to arms!
Page 52 and 53: I was always taught that feel is in
Page 54 and 55: Support The Drummer’s Journal is
Page 56 and 57: When I first started playing drums,
Page 58 and 59: After he finishes outlining how the
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Left: Dom’s bestselling book ‘I
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the way people teach has changed a
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65 subsCriPtions/ neWsLetter www Li
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TDJ-Issue-Three

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