Peterson's Drum Blog
Monday, August 4, 2008
Cindy Blackmen Interview
Note from Admin:
This interview is for July.
Petersons Drum Blog:
When you were 14 years old, you got your first real professional drumset. What was the first time you sat down behind it like?
Cindy Blackmen:
The first time I sat behind that kit was amazing because I worked all summer to pay for it and I had so much anticipation for playing it & I was so excited about playing a better instrument that I was completely elated!
PDB:
Tony Williams was a early influence to you. Why was he a big part of your drumming then?
CB:
Tony Williams was & IS a big part of my drumming because of his flawless technique, many innovations, his sound, his attitude on the drums & about music, his dedication to the instrument & the art of creativity, his compositional skills & his bravaro in general.
PDB:
You later moved to Boston to study at the Berklee College of Music with Alan Dawson, one of Tony Williams' teachers. What were some of his methods that you still use today?CB:
Alan Dawson was such a great teacher that I only took 2 lessons from him & I still practice the things that he showed me....... He showed me independence exercises in the Syncopation book & his rudimentary studies...... All awesome!
PDB:
Tell us about your days in New York City in the early 80's as a street performer.
CB:
I loved playing out there at that time because I could get 2 days of playing into one day cause we played for about 7 hours a day! It was a great place to work out things that I heard on record & had practiced & awesome to play that much. And some great people came out there too..... Even Dexter Gordon watched us one day!
PDB:
While in New York, you got to meet Art Blakey. You went to a lot of his shows and asked him a lot of questions about drumming. How much has he shaped your style of playing?
CB:
Art Blakey adopted me like a daughter & I called him Poppa! He taught me so much! ... Like how to shade the cymbals, he let me sit in with his band & even rehearse them once! And, to play behind him you had really step up to the plate because he play with the drive, power, feeling and heart of any huge force of nature. he also taught me a lot about things other than music which had to do with life in general..... He was a treasure!
PDB:
In 87' you played on your first compositions which appeared on Wallace Roney's 'Verses' album. What was your emotion hearing yourself on that.
CB:
Yes, those were my first compositions but on his first album Tony Williams played not me. And, Tony came into NY without his drums so I also had the honor of bring my kit for him , which by the way was his exact set up. I was so excited to watch him play the music AND my drums! And he didn't re-tune them or anything & told me that he liked the way they sounded... All of that was a complete honor!!!! And his interpretation of my songs was AMAZING! His concept is the most advanced that I've heard.
PDB:
A short year after the 'Verses' album was released, you released 'Arcane', your debut as a bandleader. What was the studio days like recording this album?
CB:
It was quick- we rehearsed one day & recorded the next. The album was done in less than 6 hours..... But needless to say I was absolutely excited because I was blessed with such great musicians like Joe Henderson, Wallace Roney, Buster Williams, Kenny Garrett, Larry Willis, Clarence Seay & more!Yes, that was an exciting moment.
PDB:
In your early Lenny Kravitz days, you made the first music video with him, 'Are You Gonna Go My Way.' What was it like to make that video?
CB:
I had never made a video prior to that so had no idea what to expect. It was great fun! We shot for abut 16 hours and to see the behind the scenes action was really cool...
PDB:
How did you finally adapt to playing for large crowds with Lenny?
CB:
That came by just doing more & more shows and it became very comfortable to do.
PDB:
In 2004, you left Lenny's band. How big of a decision was that to you?
CB:
Well, without getting into detail I'll say that then as well as my final departure from that band in 2007 was great musically. I was & am able to play with many more people & most importantly to play more adventuresome music- JAZZ/CREATIVE music!
PDB:
In 2005 you released Music for the New Millennium on your Sacred Sounds Label. How long did it take you to write it?
CB:
Not exactly how long it took to write that music because some of it was written a bit prior and some of it, just days before. I had a concept in mind because I wanted to weave a theme in & out. That song is called 'Insight" and we played it in several different ways throughout the Album. We recorded so much music that I decided to make it a double CD!
It can be purchased right now on www.cdbaby.com/cd/cindyblackman and there will be updates on my web site about other places to purchase it in the future on my web site www.cindyblackman.com and or www.myspace.com/cindyblackmanmusic.
This interview is for July.
Petersons Drum Blog:
When you were 14 years old, you got your first real professional drumset. What was the first time you sat down behind it like?
Cindy Blackmen:
The first time I sat behind that kit was amazing because I worked all summer to pay for it and I had so much anticipation for playing it & I was so excited about playing a better instrument that I was completely elated!
PDB:
Tony Williams was a early influence to you. Why was he a big part of your drumming then?
CB:
Tony Williams was & IS a big part of my drumming because of his flawless technique, many innovations, his sound, his attitude on the drums & about music, his dedication to the instrument & the art of creativity, his compositional skills & his bravaro in general.
PDB:
You later moved to Boston to study at the Berklee College of Music with Alan Dawson, one of Tony Williams' teachers. What were some of his methods that you still use today?CB:
Alan Dawson was such a great teacher that I only took 2 lessons from him & I still practice the things that he showed me....... He showed me independence exercises in the Syncopation book & his rudimentary studies...... All awesome!
PDB:
Tell us about your days in New York City in the early 80's as a street performer.
CB:
I loved playing out there at that time because I could get 2 days of playing into one day cause we played for about 7 hours a day! It was a great place to work out things that I heard on record & had practiced & awesome to play that much. And some great people came out there too..... Even Dexter Gordon watched us one day!
PDB:
While in New York, you got to meet Art Blakey. You went to a lot of his shows and asked him a lot of questions about drumming. How much has he shaped your style of playing?
CB:
Art Blakey adopted me like a daughter & I called him Poppa! He taught me so much! ... Like how to shade the cymbals, he let me sit in with his band & even rehearse them once! And, to play behind him you had really step up to the plate because he play with the drive, power, feeling and heart of any huge force of nature. he also taught me a lot about things other than music which had to do with life in general..... He was a treasure!
PDB:
In 87' you played on your first compositions which appeared on Wallace Roney's 'Verses' album. What was your emotion hearing yourself on that.
CB:
Yes, those were my first compositions but on his first album Tony Williams played not me. And, Tony came into NY without his drums so I also had the honor of bring my kit for him , which by the way was his exact set up. I was so excited to watch him play the music AND my drums! And he didn't re-tune them or anything & told me that he liked the way they sounded... All of that was a complete honor!!!! And his interpretation of my songs was AMAZING! His concept is the most advanced that I've heard.
PDB:
A short year after the 'Verses' album was released, you released 'Arcane', your debut as a bandleader. What was the studio days like recording this album?
CB:
It was quick- we rehearsed one day & recorded the next. The album was done in less than 6 hours..... But needless to say I was absolutely excited because I was blessed with such great musicians like Joe Henderson, Wallace Roney, Buster Williams, Kenny Garrett, Larry Willis, Clarence Seay & more!Yes, that was an exciting moment.
PDB:
In your early Lenny Kravitz days, you made the first music video with him, 'Are You Gonna Go My Way.' What was it like to make that video?
CB:
I had never made a video prior to that so had no idea what to expect. It was great fun! We shot for abut 16 hours and to see the behind the scenes action was really cool...
PDB:
How did you finally adapt to playing for large crowds with Lenny?
CB:
That came by just doing more & more shows and it became very comfortable to do.
PDB:
In 2004, you left Lenny's band. How big of a decision was that to you?
CB:
Well, without getting into detail I'll say that then as well as my final departure from that band in 2007 was great musically. I was & am able to play with many more people & most importantly to play more adventuresome music- JAZZ/CREATIVE music!
PDB:
In 2005 you released Music for the New Millennium on your Sacred Sounds Label. How long did it take you to write it?
CB:
Not exactly how long it took to write that music because some of it was written a bit prior and some of it, just days before. I had a concept in mind because I wanted to weave a theme in & out. That song is called 'Insight" and we played it in several different ways throughout the Album. We recorded so much music that I decided to make it a double CD!
It can be purchased right now on www.cdbaby.com/cd/cindyblackman and there will be updates on my web site about other places to purchase it in the future on my web site www.cindyblackman.com and or www.myspace.com/cindyblackmanmusic.
Labels: Cindy Blackmen Interview
Wednesday, July 30, 2008
Todd Sucherman Interview
Note from Admin:
This interview is for June.
Petersons Drum Blog:
Your father was a drummer. What did he teach you when you first started playing?Todd Sucherman:
I took to the drums as an infant and when he saw I was serious about it around the age of 3 and 4, he showed me time on the drums. Basic time. We started on music notation around the time I was 6 or so.
PDB:
Your first paying gig was at the age of six. What was your set up like back then?
TS:
It was his set up really. A four piece kit with an 18" bass drum. Ride, crash, hats. It was a 1969 Slingerland kit and I still have it. It really is a beautiful sounding jazz kit.
PDB:
You later went to Berklee for a year. What was that like?
TS:
Much later! It was a special time. A fun and exciting 9 months I had there, and made many wonderful friends. I studied with Ian Froman and Skip Hadden as well as privately with Gary Chaffee. It's been 20 years already and I have many fond memories of that time.
PDB:
After Berklee, you returned to Chicago and became a session player. What was the recording scene like, in Chicago 88'?
TS:
Well, it took a while to infiltrate that scene. I knew several players in town and just started working and taking every gig I could. In time I was working with guys who were in the session scene and they sort of pulled me in. No easy task. There was a lot of work in those days (and I'm talking like an old guy now...) but most of that work was music for TV and radio spots. Again, it was an exciting time to be in my early 20s and driving from session to session never knowing what was around the corner musically.
PDB:
When John(Former STYX drummer)passed, you became the drummer for Styx. What was your first show like?
TS:
Well, I was brought in before then. John was in ill health and I was called to play the remake of "Lady" from the A&M Greatest Hits CD in '95. In '96 they called me again to Play on "Little Suzie" for Greatest Hits II. I was asked to do the summer tour in 1996 with the caveat that if John's health improved, the gig would be his. He died in the middle of that summer, so I've been around ever since. The first show was great---May 21st, 1996 in Cedar Rapids. I'll always remember that one. We did another 71 shows that summer.
PDB:
At first with Styx, playing live, did you want to play the songs like they were originally recorded, or give them your own style?
TS:
I always try to retain the flavor of the original recordings. I'm a different human being that John, as is anyone who would have the drum chair in this band, so it can only sound so alike, you know? I go for denser patterns and think in longer phrases perhaps. I enjoy updating things a bit but again it's important to honor the feeling of the tracks that were famous songs long before I came around. I'm not looking to jam "my thing" in there. If things fit nicely and musically, well, OK. The songs have to be recognizable to the paying audience!
PDB:
You put on a great live show. What do you do to warm-up before a show?
TS:
Nothing special except being loose in all my limbs and being on the verge of breaking a sweat. I stretch and warm up on a pad for a good 30 minutes or so before each show.
PDB:
You have a very nice snare collection. What is your favorite
out of them all?
TS:
Impossible to answer. They are all special to me for various reasons. There's not a dud in the bunch. I will say that Pete Stanbridge is a genius and might be the most exquisite builder of wooden drums--sort of a modern day Stradivarius of drums. (Stanbridgedrums. com)
PDB:
Have you ever played a show with one of your snares other than your Masterworks snare?
A. A Styx show? Sure. My main workhorse snare from 2002-2007 was a Pearl Ultra Cast. Great drum and one of the best in Pearl's arsenal in my opinion.
PDB:
Bubinga is your artisan finish of choice. How different in your opinion does the artisan wood on the inner plies differ on your new kit verses the old?
TS:
I've been in love with Bubinga ever since I saw the first Sonor Signature set at a NAMM show in '80 or '81. It's magical to me. I had Bubinga put in the inside of the drum more for aesthetics than sound. Again, being a fan of the old Sonors where they would match the finish on the inside, it gives the drums a hollowed out log look to me, sitting behind them peering in through the clear heads. The biggest sonic difference on the new kit is the round Reference bearing edge cut and the thicker shells from the 14" on up. The round bearing edge cut gives the drum a beautiful depth and rich fundamental tone. Very inspiring.
PDB:
Tell us about the gong bass, and what heads you chose for it.
Can you give us a run down on the cymbal set up?
TS:
All toms and gong drums have Remo clear Ambassadors. My live cymbal rig contains:
(All Sabian--all brilliant finish)
19" AAX Extreme China
14" AA Regular Hi Hats
6" AA Splash
8" AAV Splash
17" Vault Crash
19' Vault Crash
10" AA Splash
22" Chester Thompson Precision Ride
18" AAX Dark Crash
13" AAX Stage Hats
9" Proto Type Bell
10" Chopper
22" AAX Extreme China
20 AA Medium Thin Crash
PDB:
What was your idea for your new signature stick?
TS:
Well, I've been using them for four years but I suppose they've only been available to the public for a year or so. I wanted a fairly beefy 5B type size but made of maple, which is slightly lighter than hickory and much lighter than oak. Maple tips almost never chip and they dent in the middle instead of shredding like hickory does. As well, I wanted some weight shaved off right before the acorn tip so I could control the sticks easily even while holding them pretty far back. They are a bit unique I must say. I love the silky organic feel of maple as well as the ride cymbal sound. It's the stick I've always been looking for and they work in all applications and styles. ( Check out the Autograph Series Todd Sucherman SD330 W from Pro Mark---Promark. com)
PDB:
What head set up do you use live?
TS:
Remo clear Ambassadors top and bottom of toms and gong drum. Coated Ambassador on snare with Hazy Ambassador snare side. Clear Powerstroke 3s on the bass drums.
PDB:
What head set up do you use in the studio?
TS:
Same exact set up.
PDB:
Any plans for 2008-2009 clinics or instruction videos?
TS:
Yes! 2008 is shaping up to be a big year fro me. I've worked very hard on an instructional DVD that comes out August 5th called "Methods and Mechanics" from Altitude Digital. We filmed in HD Pro Resolution 4-2-2 in 16x9 and the eye and ear candy is pretty impressive, I have to say. It's a double DVD that clocks in at over 5 hours and has some unique things--lots of career navigational advice and thoughts on touring, practicing, achieving goals, and various mental aspects of playing. There are also solos through out as well as musical examples from Styx, Taylor Mills, and Jerry Goodman (of Mahavishnu Orchestra fame). I hope it proves to be enlightening as well as entertaining, and that it puts many musicians on the right path. I think a lot of young drummers are getting the wrong message and I think it's important.....really of paramount importance...to pass on information that can help people actually WORK in this business and find employment as musicians, and not just be stick twirlers and magicians. This is the culmination of playing for 37 years, since I was two. I hope it enhances the musical journeys of those who buy it and watch it. (Pre orders will be available starting the last week of July at Altitudedigital. com) As far as clinics? I'll be on the road through mid October so I hope to do some clinics in November and December if the economy lets me! Let's hope so.
(Check out the performance trailer of "Methods and Mechanics" at Drummerworld. com's video page....as well as clips at Altitudedigital. com)
This interview is for June.
Petersons Drum Blog:
Your father was a drummer. What did he teach you when you first started playing?Todd Sucherman:
I took to the drums as an infant and when he saw I was serious about it around the age of 3 and 4, he showed me time on the drums. Basic time. We started on music notation around the time I was 6 or so.
PDB:
Your first paying gig was at the age of six. What was your set up like back then?
TS:
It was his set up really. A four piece kit with an 18" bass drum. Ride, crash, hats. It was a 1969 Slingerland kit and I still have it. It really is a beautiful sounding jazz kit.
PDB:
You later went to Berklee for a year. What was that like?
TS:
Much later! It was a special time. A fun and exciting 9 months I had there, and made many wonderful friends. I studied with Ian Froman and Skip Hadden as well as privately with Gary Chaffee. It's been 20 years already and I have many fond memories of that time.
PDB:
After Berklee, you returned to Chicago and became a session player. What was the recording scene like, in Chicago 88'?
TS:
Well, it took a while to infiltrate that scene. I knew several players in town and just started working and taking every gig I could. In time I was working with guys who were in the session scene and they sort of pulled me in. No easy task. There was a lot of work in those days (and I'm talking like an old guy now...) but most of that work was music for TV and radio spots. Again, it was an exciting time to be in my early 20s and driving from session to session never knowing what was around the corner musically.
PDB:
When John(Former STYX drummer)passed, you became the drummer for Styx. What was your first show like?
TS:
Well, I was brought in before then. John was in ill health and I was called to play the remake of "Lady" from the A&M Greatest Hits CD in '95. In '96 they called me again to Play on "Little Suzie" for Greatest Hits II. I was asked to do the summer tour in 1996 with the caveat that if John's health improved, the gig would be his. He died in the middle of that summer, so I've been around ever since. The first show was great---May 21st, 1996 in Cedar Rapids. I'll always remember that one. We did another 71 shows that summer.
PDB:
At first with Styx, playing live, did you want to play the songs like they were originally recorded, or give them your own style?
TS:
I always try to retain the flavor of the original recordings. I'm a different human being that John, as is anyone who would have the drum chair in this band, so it can only sound so alike, you know? I go for denser patterns and think in longer phrases perhaps. I enjoy updating things a bit but again it's important to honor the feeling of the tracks that were famous songs long before I came around. I'm not looking to jam "my thing" in there. If things fit nicely and musically, well, OK. The songs have to be recognizable to the paying audience!
PDB:
You put on a great live show. What do you do to warm-up before a show?
TS:
Nothing special except being loose in all my limbs and being on the verge of breaking a sweat. I stretch and warm up on a pad for a good 30 minutes or so before each show.
PDB:
You have a very nice snare collection. What is your favorite
out of them all?
TS:
Impossible to answer. They are all special to me for various reasons. There's not a dud in the bunch. I will say that Pete Stanbridge is a genius and might be the most exquisite builder of wooden drums--sort of a modern day Stradivarius of drums. (Stanbridgedrums. com)
PDB:
Have you ever played a show with one of your snares other than your Masterworks snare?
A. A Styx show? Sure. My main workhorse snare from 2002-2007 was a Pearl Ultra Cast. Great drum and one of the best in Pearl's arsenal in my opinion.
PDB:
Bubinga is your artisan finish of choice. How different in your opinion does the artisan wood on the inner plies differ on your new kit verses the old?
TS:
I've been in love with Bubinga ever since I saw the first Sonor Signature set at a NAMM show in '80 or '81. It's magical to me. I had Bubinga put in the inside of the drum more for aesthetics than sound. Again, being a fan of the old Sonors where they would match the finish on the inside, it gives the drums a hollowed out log look to me, sitting behind them peering in through the clear heads. The biggest sonic difference on the new kit is the round Reference bearing edge cut and the thicker shells from the 14" on up. The round bearing edge cut gives the drum a beautiful depth and rich fundamental tone. Very inspiring.
PDB:
Tell us about the gong bass, and what heads you chose for it.
Can you give us a run down on the cymbal set up?
TS:
All toms and gong drums have Remo clear Ambassadors. My live cymbal rig contains:
(All Sabian--all brilliant finish)
19" AAX Extreme China
14" AA Regular Hi Hats
6" AA Splash
8" AAV Splash
17" Vault Crash
19' Vault Crash
10" AA Splash
22" Chester Thompson Precision Ride
18" AAX Dark Crash
13" AAX Stage Hats
9" Proto Type Bell
10" Chopper
22" AAX Extreme China
20 AA Medium Thin Crash
PDB:
What was your idea for your new signature stick?
TS:
Well, I've been using them for four years but I suppose they've only been available to the public for a year or so. I wanted a fairly beefy 5B type size but made of maple, which is slightly lighter than hickory and much lighter than oak. Maple tips almost never chip and they dent in the middle instead of shredding like hickory does. As well, I wanted some weight shaved off right before the acorn tip so I could control the sticks easily even while holding them pretty far back. They are a bit unique I must say. I love the silky organic feel of maple as well as the ride cymbal sound. It's the stick I've always been looking for and they work in all applications and styles. ( Check out the Autograph Series Todd Sucherman SD330 W from Pro Mark---Promark. com)
PDB:
What head set up do you use live?
TS:
Remo clear Ambassadors top and bottom of toms and gong drum. Coated Ambassador on snare with Hazy Ambassador snare side. Clear Powerstroke 3s on the bass drums.
PDB:
What head set up do you use in the studio?
TS:
Same exact set up.
PDB:
Any plans for 2008-2009 clinics or instruction videos?
TS:
Yes! 2008 is shaping up to be a big year fro me. I've worked very hard on an instructional DVD that comes out August 5th called "Methods and Mechanics" from Altitude Digital. We filmed in HD Pro Resolution 4-2-2 in 16x9 and the eye and ear candy is pretty impressive, I have to say. It's a double DVD that clocks in at over 5 hours and has some unique things--lots of career navigational advice and thoughts on touring, practicing, achieving goals, and various mental aspects of playing. There are also solos through out as well as musical examples from Styx, Taylor Mills, and Jerry Goodman (of Mahavishnu Orchestra fame). I hope it proves to be enlightening as well as entertaining, and that it puts many musicians on the right path. I think a lot of young drummers are getting the wrong message and I think it's important.....really of paramount importance...to pass on information that can help people actually WORK in this business and find employment as musicians, and not just be stick twirlers and magicians. This is the culmination of playing for 37 years, since I was two. I hope it enhances the musical journeys of those who buy it and watch it. (Pre orders will be available starting the last week of July at Altitudedigital. com) As far as clinics? I'll be on the road through mid October so I hope to do some clinics in November and December if the economy lets me! Let's hope so.
(Check out the performance trailer of "Methods and Mechanics" at Drummerworld. com's video page....as well as clips at Altitudedigital. com)
Labels: Todd Sucherman interview
Tuesday, July 1, 2008
First Promo Ad
Labels: ad
Thursday, June 26, 2008
Roland adds second CY-12R/C crash/ride cymbal to TD-12KV.
Roland has recently announced that they are adding a second CY-12R/C cymbal pad to their TD-12KV-drum kit for no extra cost. Roland prides this cymbal for offering the "rebound, inertia and “swinging” motion of an acoustic cymbal." This cymbal also includes choking capabilities, making it even more similar to an acoustic cymbal than many other electronic pads. This will most likely put more interest in Roland's products due to the additional cymbal, and thus additional setup possibilities, at no extra cost to the customer.
Wednesday, June 25, 2008
Gig Talk 2
People, you have to submit more storys! I only have two to post this month. Please remember that I love to hear from you and love to listen to your gig storys, so go submit them!
-Peterson
Nathan
My band A Legend Unknown got asked to open for "The Big Show" on the mainstage of SOMA, an abandoned movie theater transformed into San Diego's most legendary music venue. It had been a dream of mine to play mainstage for quite a while.
We showed up a bit late to the venue because of bad traffic, but when we got their everything was completely surreal. I entered the stage area and was greeted with the sight of two huge crane-like machines lifting several technicians up to set up the lighting that rested high above the stage floor. I began bringing my drums in, and was barely able to get my kick up onto the riser, it was so huge! After nitpicking every detail of my setup, I simply sat behind my drums and looked out over the empty, football-field-sized floor which was soon to be filled with 1000's of kids enjoying all of my band's hard work. I had the highest seat in the house, and it felt like a dream come true.
After soun d check, which was incredible (you haven't heard your drums at their fullest until you've heard them through 20 foot towers of powered speakers), I went down the street and enjoyed some Arby's curly fries. After that I went and mingled with people waiting in line for the doors of SOMA to open. The line stretched all the way down the line of buildings next to the venue, which was very pleasing to see. I saw so many of my friends in line that I did not even think would come, and it was amazing to have everyone there supporting us.
20 minutes later, we were standing backstage with seconds left til showtime. We did our ritual pre-show huddle, and after a few words of encouragement and a few mouthfuls of water, the production manager informed us it was time to go on. The stage lights went out and the crowd roared. I took a seat behind my drums as the twinkling keyboard triplets began. With a sustained cymbal crash and huge open d-chords from the guitarists, the lights shot on and the audience was illuminated. A feeling of great awe arose inside me, to see 1000 faces staring up at my bandmates and I, like gods. Our intro/breakdown commenced, and a huge void errupted in the crowd and suddenly filled with a swirling mass of flying fists, spin kicks, and various other hardcore dance moves. I had never seen so many people go so crazy for our music, and there are no words to describe the way I felt at that moment.
25 minutes later, we walked off stage, drenched in sweat, but inspired by the awesomeness of the size and power of the show we had just played. After loading up my drums,i met up with my friends and enjoyed the rest of the show. I was offered countless cigarettes (which I declined) by people impressed by our performance, and we received numerous complements and t shirt sales at our merch booth. After the show, the whole band and a big group of friends went to a tiny Asian restaurant and ate countless dumplings and drank bob a tea into the wee hours of the morning. When I got dropped off at home by my friend at 3 in the morning, I immediately went to bed, reflecting on one of the best nights in my life. So there you have it, my coolest gig story.
Seth
Once upon a time, i was in a Christmas play at church. I was actually playing in the orchestra, on the drumset. During the final song, we all smelled a burning smell. My friend, who was growing his hair out for locks of love at the time, had just been the proud recipient of a young lady holding a flaming candle. Needless to say, that was where the burning smell came from. And we all lived happily ever after (well... except for my friend. who smelled of burnt hair for a week). Good stuff.
-Peterson
Nathan
My band A Legend Unknown got asked to open for "The Big Show" on the mainstage of SOMA, an abandoned movie theater transformed into San Diego's most legendary music venue. It had been a dream of mine to play mainstage for quite a while.
We showed up a bit late to the venue because of bad traffic, but when we got their everything was completely surreal. I entered the stage area and was greeted with the sight of two huge crane-like machines lifting several technicians up to set up the lighting that rested high above the stage floor. I began bringing my drums in, and was barely able to get my kick up onto the riser, it was so huge! After nitpicking every detail of my setup, I simply sat behind my drums and looked out over the empty, football-field-sized floor which was soon to be filled with 1000's of kids enjoying all of my band's hard work. I had the highest seat in the house, and it felt like a dream come true.
After soun d check, which was incredible (you haven't heard your drums at their fullest until you've heard them through 20 foot towers of powered speakers), I went down the street and enjoyed some Arby's curly fries. After that I went and mingled with people waiting in line for the doors of SOMA to open. The line stretched all the way down the line of buildings next to the venue, which was very pleasing to see. I saw so many of my friends in line that I did not even think would come, and it was amazing to have everyone there supporting us.
20 minutes later, we were standing backstage with seconds left til showtime. We did our ritual pre-show huddle, and after a few words of encouragement and a few mouthfuls of water, the production manager informed us it was time to go on. The stage lights went out and the crowd roared. I took a seat behind my drums as the twinkling keyboard triplets began. With a sustained cymbal crash and huge open d-chords from the guitarists, the lights shot on and the audience was illuminated. A feeling of great awe arose inside me, to see 1000 faces staring up at my bandmates and I, like gods. Our intro/breakdown commenced, and a huge void errupted in the crowd and suddenly filled with a swirling mass of flying fists, spin kicks, and various other hardcore dance moves. I had never seen so many people go so crazy for our music, and there are no words to describe the way I felt at that moment.
25 minutes later, we walked off stage, drenched in sweat, but inspired by the awesomeness of the size and power of the show we had just played. After loading up my drums,i met up with my friends and enjoyed the rest of the show. I was offered countless cigarettes (which I declined) by people impressed by our performance, and we received numerous complements and t shirt sales at our merch booth. After the show, the whole band and a big group of friends went to a tiny Asian restaurant and ate countless dumplings and drank bob a tea into the wee hours of the morning. When I got dropped off at home by my friend at 3 in the morning, I immediately went to bed, reflecting on one of the best nights in my life. So there you have it, my coolest gig story.
Seth
Once upon a time, i was in a Christmas play at church. I was actually playing in the orchestra, on the drumset. During the final song, we all smelled a burning smell. My friend, who was growing his hair out for locks of love at the time, had just been the proud recipient of a young lady holding a flaming candle. Needless to say, that was where the burning smell came from. And we all lived happily ever after (well... except for my friend. who smelled of burnt hair for a week). Good stuff.
Labels: Gig talk 2
New writer.
Hey everyone, some of you may know me as Indirect Delete on the Pearl Drummers Forum. Peterson commissioned me to be the drum news article writer for the site and I'm excited to start! At the moment I'm very busy so it might take me a little while to start, but expect news from me soon. I've been playing drums for about four years now and post constantly on the Pearl Drummers Forum. The drumming community is a warm and welcoming one and I'm glad to be a contributor to this excellent blog.
Thursday, May 22, 2008
Inside Drummer - Vinny Appice
Vinny is a major rock icon who we are very proud to have come to the site and be interviewed. Please enjoy.
Petersons Drun Blog:
What was your first drum set?
Vinny Appice:
My first set was a Carmine hand me down. Gretsch red sparkle.
PDB:
When you were 9, you took drum lessons from the same teacher Carmine had. Did he teach you anything before or after that time.VA:
Carmine was always on the road but when he did come by he showed me a few licks here and there.
PDB:
Who was your teacher and what did you admire most about his teaching?VA:
His name is Dick Benett. He was a great teacher, he had patience and he knew when you didn't practice the leassons.
He was also a great jazz drummer so when he played it was inspiring and made me want to practice.
PDB:
In 1980 you joined Black Sabbath on their Heaven and Hell tour, what was the tour like, being your first that big?VA:
Before that I played with Derringer and we were the opening band for Aerosmith and Boston so I was experienced in playing big halls.
With Sabbath I was now the headliner so it was a lot cooler!
PDB:
In 81' you appeared on the Sabbath album Mob Rules and then played on Live Evil in 82'. What kit did you use on those recordings and any reason why you choose those?VA:
I was endorsed by Ludwig, at that time they were the best and that's what I used on those albums and tours. I loved the sound.
PDB:
In 1992 you rejoined Black Sabbath, with Ronnie James Dio, for the Dehumanizer tour. What was it like for you to get back on stage with those guys after so many years.VA:
Well it's always amazing to play with these guys. They practically invented heavy music. It's playing with the best of the best! Total pros!
PDB:
How many instructional drumming videos have you released?
VA:
1
PDB:
Why do you choose to play single bass insted of double?VA:
Always did. I have a pretty fast, loud right foot and I intend to keep it that way by not becoming reliant on another bassdrum or pedal to fill up.
PDB:
You play a lot of clinics, what has been your favorite so far?VA:
I love doing clinics, there are no favs. They are all fun to do. I like meeting and talking to the people afterwards. After all if if weren't for them I would be here playing all these years.
PDB:
Have you or are you ever going to release a self titled solo album?VA:
No. I am a team playing a band member. I don't need a cd call VA etc to get off.
I just like to play in a kick ass band together and give it 110%!!
Link:
To find out more about Vinny, go to
http://www.vinnyappice.com/
or add him on Myspace,
http://www.myspace.com/vinnieappice
Or go to Vinny's Inside Drummer page: Click Here
Labels: interview, Vinny Appice interview