- Why/how did you start playing open-handed and what did you practice?
I am predominantly right-handed although I do a few things lefty, including throwing a frisbee and bouncing a basketball. I started out playing the drums the conventional way with the right hand on the hi-hat and the left hand on the snare. I switched to playing open-handed around 1991. For me it began when I was experimenting with patterns which involved moving my left hand around the toms while keeping time on the hi-hat. My left hand kept getting caught up under my right so I switched over just to challenge myself to learn the coordination of these particular patterns. After learning the patterns I thought about it a bit and then I decided to try and make the switch completely. Of course it was difficult at first and initially I only played lefty in my personal practice but still played right-handed for band practice and gigs. It's hard to say how long it took to completely switch over. Little by little, I just learned as I played. Another thing I need to mention is that when I was growing up Simon Phillips was a huge influence on me. His approach and musical ideas gave me inspiration to forge ahead. There are several other popular drummers that play open-handed, including Mike Bordin (Faith No More/Ozzy) and Carter Beauford (Dave Matthews Band).
I don't know about any specific exercises or patterns to practice but these are the types of patterns that I was working on once I could hold down basic time.
When I say ‘basic time’ I'm talking about playing eighth notes on the hi-hat (1&2&3&4&) with the left hand while playing 2 and 4 on the snare drum. Adding the bass drum is the next step. You can start by just playing 1 and 3 and then gradually improvise bd rhythms while keeping the hands steady. To check your groove, go back and forth between open-handed and the conventional playing and listen to yourself. Try to make your open-handed playing sound as smooth as your playing with your hands crossed-over.
Anyway, after I learned how to play the hi-hat eighth note pattern and make it groove I began to play a sixteenth note paradiddle between my right foot and right hand. This might be too advanced for some of you but it's a pattern that once you learn it, you can play it for days.
After you learn this pattern, continue to play the snare drum and hi-hat together on the 2 and 4 but instead of hitting the snare drum on the "1e" and "3e", move those right hand strokes to a tom. Also move the "2&","2a", and the "4&", "4a" to the toms. This is the pattern that I am referencing in my DVD "Performance & Technique" when I say, "my left hand kept getting caught under my right when playing conventional".
- What gave you the idea to put the cymbals behind you?
I get asked this one a lot. Years ago (1990, maybe) a friend of mine, Billy White, was playing guitar with Don Dokken. I was talking with him on the phone about the drummer auditions that they were holding. He mentioned that they had a guy audition that had a cymbal way back behind his floor tom and he had to reach way back to hit it. I said, "Wow, a cymbal behind him?!" He said, "No, not behind him but he definitely had to reach for it". I thought about it for a bit and went to my practice room and set up a cymbal behind me on the right. It wasn't difficult at all to hit and use it in patterns. I thought, "Cool, I'll put one on the left, too". The left one was a bit strange. It didn't feel comfortable at head level the way the right one did. I experimented with it and found out that it felt better quite a bit higher.
It has become the most identifying aspect of my setup. I didn't use the cymbals behind me on the Iced Earth tour in 2003 because I didn't have much time to work out the songs and I was surprised how many drummers, singers, even record and radio people asked me "Where's the cymbals behind you?" - I guess, I'm stuck with them. I'm just glad that I did it before anyone else did.
- Why do you play barefooted?
I've been playing barefooted all my life. As a kid growing up in San Antonio, my brothers and I were always into sports. We spent a lot of time outdoors in the yard playing football, basketball, and baseball. For some reason in the heat of S.A. it was always more comfortable (for me) to run around barefooted. Depending on the season (and the weather), I would play a sport outside, then I'd run inside and play drums, then I would run back outside and play again. I got used to playing drums barefooted and so when I started playing gigs it felt very uncomfortable to play with shoes on. I have a few early pictures of myself when I was about 13 where I'm playing with only socks on. From then on, it was barefooted for me.
PRACTICING, EXERCISES, & SPEED
- What sort of warm-up exercises do you use?
I go through phases where (every day for months) I'll work on sticking exercises on a practice pad for an hour and then sit down at the kit and work on patterns with my feet for half an hour before I do any drum set playing. Then there are also times that I'll just sit down at the kit and just start warming up by playing a groove and building upon it. I would say that any grouping of singles, doubles, paradiddles, inverted paradiddles, accents, dynamics, etc... are all good for warm-ups. The most important thing is to make sure you're holding your sticks correctly, concentrating on your technique, and working with a metronome.
- Are there certain hand exercises that will improve my playing? Can you give me any tips to increase my hand speed?
Over the years I've had patterns that I thought were ‘break-through exercises’ that were taking me to the next level. I don't know if I believe that anymore. For instance: If you want to play cleaner/faster singles (I think) you need to work on dozens of different exercises to bring your hands to the next level - not just playing one or two patterns over and over. There are plenty of books out there that contain numerous sticking patterns which are difficult to play - no matter what your playing level.
One thing I think is important with hand technique is to work on isolation exercises for your wrists, fingers, and arms. For instance: for the fingers there's an exercise where you start with the stick balanced in your fulcrum (the stick between your thumb and first crease of the index finger). Now to create the stroke, push the stick upward with the tip of your index finger. Continue playing this way bouncing the stick off the drumhead using only your index finger. Next step, keep the fulcrum but drop the tip of your index finger and use only your middle finger to create the stroke. Continue bouncing the stick off the drumhead. Then move to your ring finger, then the pinky. There are numerous stroke groupings that you can employ within this finger exercise.
Here are a few examples:
If we label the fingers 1=index, 2=middle, 3=ring, 4=pinky. We can start with 4 strokes per finger using these groupings: fingers 1234 1234... or 123432 123432... or 1324 1324. Next, try these finger groupings while playing 2 strokes per finger.
To make sure you are using ONLY your fingers I like to do this little test. Place a quarter on the top of your hand. If your wrist moves any more than a little twitching, then the quarter will fall. Note: These types of exercises are great chops builders but it's important that they are done correctly and in a step-by-step process. Therefore, you should seek out a qualified teacher to guide you in the right direction before delving into these specialized technical exercises. For the feet, go to the "double bass" section of this FAQ.
- How much should I practice? What should I practice to get better?
I like to practice 4-6 days a week, 3-4 hours a day, when I'm not on the road. Of course it's not how much you practice that matters - it's WHAT you practice and if you are learning something and progressing. I don't have a specific regiment that I follow every day but I think there are few essentials of drumming that every drummer should include in their practice routine.
1) Tempo - Practice playing beats and fills with a metronome. Also work with very slow tempos, focusing on your spacing between notes.
2) Groove - Listen to recordings of other drummers and emulate their feel, beats, and style. Also work on your groove playing, trying to make your playing sound authoritative, flowing, and musical as possible.
3) Ideas and Concepts - I think every drummer should explore areas to find things that are uniquely their own and spend time developing those ideas. I do quite a bit of this and it's truly my favorite aspect of being a musician.
4) Improvisation - this could include improvising beats, fills, whatever. Practice improvising so that you are not so ‘locked in’ to just playing songs. When I was teaching, it was always a little sad to me that young drummers would come in and their only goal was to play one certain song. I know it's not their fault and it's just a part of learning to play music and being a musician but, I would always think, "drumming is so much more than that!"
5) Soloing - Not that every drummer needs or wants to be a great soloist. Some drummers will go through their whole life and possibly never play a solo but I think it's important to learn to express yourself on your instrument without accompaniment.
- What kick pedals do you use? / How tight are the springs?
I use DW5000 pedals. The spring tension on my pedals is set up very tight. I adjust my footboards so that they are very low and they almost make contact with the footplate when the beater strikes the bass drum head. I've changed my technique over the last couple of years and now my toes are usually at the very front of the pedals. I've also recently incorporated doubles strokes into my playing, RRLLRRLLRRLL etc... To more easily perform the double strokes I've shortened the throw of the beaters. When the pedals are stationary the beaters are 4" away from the bass drum head.
- What exercises can I do to increase my double bass speed?
This requires a long answer because almost every single drummer that emails me asks this question - and I don't even consider myself a speed metal drummer. Sorry, but I don't have any secrets for quick results. The only answer I can give is that it takes lots of time and practice. I also get tons of questions asking if my pedal springs are tight or loose. The wrong thing to assume is that if you change your pedal tension you are going to play twice as fast. Depending on whether you play heel-up, heel-down, or heel-stroke your pedal tension could make a difference but the difference will be small. There are no quick fix answers. And even though I've mentioned that my spring tension is set tight, that doesn't mean that if you increase your pedal tension that you'll play faster. In fact, I would say that pedal tension for a drummer is equivalent to weight lifting for a body builder. If you know anything about weight lifting, one thing is for certain - you don't start out trying to lift 100 lbs. above your head. (If you do you'll hurt yourself). The correct way is to start out with lighter weights while doing multiple repetitions to increase your stamina. Then after a week or so, the body builder begins to add more weight while still performing multiple reps. Continuing on with the process the body builder will get the desired results by gaining muscle tone, strength, and stamina. This is the same for the drummer with pedal tension and speed exercises. You can work with a system of gradually tightening your spring tension while increasing your speed.
Here's a routine that I've used over the years that has worked for me. But before you start this program it is imperative that you learn how to play with a metronome. Why? Because practicing with a metronome is the best way to monitor your progress from day to day. It will also help your double bass control (keeping your strokes even) and consistency so that you don't slow down when your feet get tired. If you've never played with a metronome or don't know what to play when practicing with a metronome, I'll step you through it.
We'll start at 120 bpm (beats per minute). This is a very slow tempo if you are used to playing fast double bass but this will help you to learn how to lock in with the metronome. Play your right bass drum exactly at the same time as every click of the metronome. With your right hand, play your hi-hat at the same time with the right foot to keep it steady. Don't speed up faster than the metronome. After you feel locked into the metronome play your left bass drum between every right bass drum/hi-hat hit. You are now playing double bass eighth notes at 120 bpm. Play at this tempo for a few minutes. Stop. Now increase the metronome speed to 130 bpm. Repeat the right foot and right hand together with the metronome clicks. Then add the left foot between the hits. Continue on increasing your speed. Most metronome tempos rage from somewhere around 50 bpm - 250 bpm. Keep repeating this routine until you reach 240 bpm on your metronome.
After you've completed playing eighth notes to the metronome the next step is to learn to play sixteenth notes to the metronome. Sixteenth notes are twice as fast as eighth notes, which means - eighth notes at 240 bpm is the same speed as sixteenth notes at 120 bpm. Confused? Don't worry about it.
Now set your metronome back to 120 bpm. Play 2 right bass drum strokes for every click... which means you're 1st, 3rd, 5th, 7th, etc... hit will be exactly with the click and your 2nd, 4th, 6th, 8th, etc... hit will be between the clicks. Again play your hi-hat along with your right bass drum strokes. Make sure you're locked in with the metronome then add your left foot between all your right bass drum strokes. You're now playing sixteenth notes at 120 bpm. Play 120 bpm for a few minutes making sure that you're not moving away from the click. Now, just like we did with the eighth notes, continue on increasing speed. Some of you will peak at 140 bpm, some at 170 bpm, 190 bpm, 200 bpm. Very few of you will reach the 240 bpm mark. Great!!!
Now you've learned to play and STAY with a metronome. Make a note of what tempo is your peak and keep track of how long you can maintain that tempo.
You don't have to go through this whole process daily but it's important to create a routine where you start at a comfortable tempo and work your way up to your peak. Focus on playing longer, increasing your tempo, and (if you want to) tightening your springs.
Another twist to this routine is to create your own patterns by mixing sixteenth notes and eighth notes. Here's an example:
- What should I practice to get better at double bass? How do I get my left foot at the same level as my right?
I never did any isolation practice for my left foot. I know some guys say, "practice playing everything with your left foot that you would normally play with your right". I never did that. I learned by playing along to my favorite recordings, making up my own exercises, and studying with Joe Franco's book "Double Bass Drumming". The sixteenth note sections of "DBD" utilizes the system where all numbers (1, 2, 3, 4) and &'s are played with the right foot and all E's and A's are played with the left foot. The beat sections of "DBD" contain many syncopated patterns using this system. I worked out of this book until I was able to improvise patterns freely without having to think about whether I was using my right foot or left foot. I grew up learning this system and it works best for me.
There are a few great books out there that use a different approach including Jeff Bowders’ book "The Mirror System" where all the double bass drum strokes are alternated.
- Do you play Heel-Up or Heel-Down and which bass drum pedal technique is better?
First of all I'll define the two. "Heel-Up" is playing the bass drum with your heel always up and using the front part (ball) of your foot coming down on the pedal to create the stroke. "Heel-Down" is playing the bass drum with your entire foot flat on the pedal and coming down with the front part of your foot to create the stroke.
Which is better? - I don't think there is a "better". It's a common thought that most rock/metal drummers play "heel-up" because it allows the drummer to put more leg into the stroke for more volume. And over the last few years there's been a crop of speed metal drummers that are taking "heel up" to a new level by not using much of their legs but instead are incorporating a technique of pivoting their ankles to play very quickly (but not very loud). Playing "heel-down" is a more traditional way to play and I've seen a few drummers also playing very quick and powerful using this method. I think it's up to the drummer to choose which technique feels right for them. For the last couple years I've been using a technique of resting the ball (front part) of my foot on the front of the pedal and coming down with my heel on the back part of the pedal to perform the stroke. I call this the "heel-stroke". To perform this technique properly the ball of the foot never comes up off the pedal. I grew up playing "heel up" and continue to play that way but sometimes I feel that I'm not in control of the pedal when the beater comes back because my foot loses all contact with the pedal. The "heel-stroke" is a technique that I am still perfecting.
- What is playing "on/off" the head? Which of these techniques do you use?
For years I played "on the head" meaning: When you perform a bass drum stroke and the beater makes contact with the bass drum head, you keep the beater stuck up against the bass drum head and you don't release it until you begin to perform the next stroke. Due to the volume of the music and hitting hard, playing "on the head" can be typical for heavy metal drummers while playing slow, but when playing quick, obviously you can't hold the beater to the head.
A few years ago when I was recording a CD I noticed during playback that the bass drums sounded different on the slow strokes when I was burying the beater "on the head" than on the fast strokes when I played "off the head". I decided to learn to always play "off the head" by practicing very slow grooves and concentrating on pulling my foot back off the pedal after each stroke.
- How high do you sit?
I pretty much sit with my hips to my knees, to my legs, at a 90% angle, sometimes a bit higher. It's fine if you sit a bit higher or lower than that. I don't believe there is an optimal seating height for playing drums. Just make sure you don't go to extremes.
- What are your drum sizes? What heads do you use? How do you tune your drums?
First of all, these thoughts on tuning and muffling are geared towards heavy metal playing and a heavy metal sound. For jazz and a few other styles this approach and sound wouldn't necessarily be appropriate. My theories on tuning come from a basic "what sounds good to my ear" approach, not the "I tune my toms in fourths or fifths depending on what key the song is in"-method.
BASS DRUMS - (2) 22" x 18"
Heads: I use the Evans EMAD (clear) bass drum head on the batter side and the EQ3 Resonant (black) on the front side.
Tuning: I tune my bass drums pretty loose. When I put new heads on the bass drums (or any drum), I finger tighten each tension rod first. Then I take out my drum key and tighten each tension rod a half turn using what I call the "criss-cross method".
Think of your drum as a clock and tighten the tension rod at 12:00 one half turn. Then go down to the tension rod at 6:00 and tighten it a half turn. Next, tighten the 11:00 tension rod a half turn, then the 5:00, then the 10:00, etc... until you end up back at 12:00. Now start over and repeat this whole process for another half turn. I'll usually repeat this procedure a couple more times until I've tightened the heads 2 full turns. Now check each tension rod to make sure nothing is too lose or too tight. Also check for wrinkles in the drums head. If there's wrinkles, go up another half or full turn. This is right about where I want my bass drums to be. I tune both bass drums the same. I don't think of them as 2 different instruments, I think of them as one voice. I prefer double bass to double pedal but double pedal on a single bass drum also works for me.
Muffling: The EMAD head comes with 2 optional foam rings for muffling/dampening. I use the thicker of the 2 rings. This provides minimal muffling for me. In
addition to the rings, for the last couple of years I've also been taking a medium size towel, folding it in half and duct taping it to the bottom 1/5 of the beater head. Basically the towel covers about 4" of the bottom of the drumhead. Of course using this muffling method you're not going to get that "John Bonham sound" but
considering the speed of double bass drumming in today's metal music; the bass drums need to "punchy" with a more focused attack rather than big and boomy.
Final Bass Drum thoughts:
If you're not accustomed to playing on a fairly loose and dampened bass drum head, it might take a little while to get used to. I say this knowing that there is a tendency among metal drummers to tighten the bd heads so that you can get more bounce from the beaters. Just beware that if your bd heads are too tight and too open they might start to sound "boingy". Years ago I worked with a soundman who also worked with a big name band and he complained about their drummer's bass drums being so tight that they sounded like "beach balls". I always remembered that so I always try to give the soundman a solid "thump" to work with.
TOMS - 10", 12", 14", and a 16" Floor Tom (I prefer toms sizes 2" apart rather than 12", 13", 14", 15")
Heads: In the studio, I'll use either Evans MXT (white) or Genera 2 heads (clear) on top. For playing live I occasionally add EC2 heads to the mix. For the bottom heads I use G1 Genera 1 heads (clear or coated) in the studio and live.
Tuning: As I mentioned, I don't tune my toms to specific notes. My main tuning objective with the 4 toms on my kit is to try and create a wide tonal spread between the 10" and the 16". The 12" and 14" will sit somewhere in between. Using the criss-cross method I tune the top and bottom heads on the 10" as high as it will get before it starts to sound choked and unnatural. I usually get it to that point and then go back down a bit. Then I tweak the bottom head to resonant with the top so that it will have a long natural ring.
With the 16" I do pretty much the opposite. First I tune the top and bottom heads up to stretch them a little. Then I bring them both down as low as they can go until the heads start to flutter. Then I bring them up just enough to lose the flutter.
Muffling: I don't believe in the dead tom sound. Throw those black foam dead ringers in the trash! The only reason I'll put tape or anything on the head is because that particular tom is ringing longer than the others.
Final Tom Thoughts: The ring is what makes toms great.
SNARE DRUM - I have a few snare drums.
Heads: I use either an Evans Rock AF or MX Gold heads for playing live. In the studio I use any number of heads including the Rock AF, MX Gold, Power Center, or ST heads. On the bottom of the snare I always use the Hazy 300 head.
Tuning: I tune the top head fairly tight and the bottom head about medium tight. For heavy metal the snare drum needs to have a whack so when I'm playing beats I also make sure to always hit a rimshot (head and rim at the same time).
Final Snare Drum Thoughts:
One thing I've noticed when I check out a student's snare drum or snare drums in a music store; the snare wires are always very tight. I don't understand why! The snare wires should buzz and vibrate with the bottom head. It's OK if your toms buzz a little when you hit the snare drum. During recordings I'll loosen the snare wires more than live and I'll occasionally loosen the snare stand basket so that the snare drum can sustain and breathe more.
Final Drum Tuning Thoughts:
In addition to the questions that I've been asked regarding how my drums were tuned on specific recordings, I've also been asked numerous questions about the manufacturer and sizes of my drums. Just so you don't get too wrapped up and disillusioned in your current drumset while trying to make them sound like the drums on your favorite recordings, I need to point out that there are other factors that go into getting that drum sound, including the microphones, the recording room, mic pre amps, recording console, effects, etc... So just remember, it's great to experiment with tuning your drums and this will sharpen your ear to achieve your ultimate sound but I wouldn't get too obsessed with it. Pick up the sticks and play!
- Where can I get CD recordings of the songs on your DVD?
The songs "Peppered" Cancer" and "School' were co-written by me and my brother, Ron, exclusively for my DVD. The Latin flavored "So It Ain't!" I co-wrote with Andy Lagham, a friend of mine from San Antonio, Texas. These 3 tracks were never released on a CD. Actually, "Peppered Cancer" was....later! We needed a bonus track for the Japanese version of the second SPASTIC INK CD, "Ink Compatible", so Ron reworked "Peppered Cancer" a bit and re-titled it "A Quick Affix". Both Spastic Ink CDs are available on Ron's website at www.ronjarzombek.com. While you're there check out the "A Wild Hare" video clips. You'll see the insane musical genius of Ron's brain at work
- Will you release another DVD?
I definitely want to do another one. I think "Performance & Technique" turned out great considering that I pretty much did the whole thing by myself. After the DVD was done I presented it to Warner Bros and they agreed to distribute it. Soon after, WB Publications was bought out by Alfred Publishing so now they are the manufacturer/distributor. Anyway, I'm proud that I did it my way. I do wish that we (me and my buddy Vince at "Allie Kat Productions") had better editing equipment at that time but with my budget it was the best we could do. Today I hear horror stories from friends of mine that have done DVDs - about the director rushing them saying that a particular performance was fine and that they're on a schedule and need to move on, etc... That would be tough for me.
For my next DVD, I'm not sure that I want to do the standard solos and songs format. On the next one I plan to focus more on some of the concepts that helped me build my drumming vocabulary - concepts that I've developed over years like the "double drop". I'll start at the beginning and demonstrate how to practice these concepts and then take them to another level. I also plan to introduce some cutting edge concepts that I've been working on that I'm certain will be used in the future of metal drumming. And, maybe some things that aren't so metal in nature but with the addition of double bass they can be worked to create something new and exciting.
- Do you have the drum transcriptions from various songs that you've recorded? Do you have "music minus drums" versions of your songs?
Before I go into the studio to record, I chart out all the drum parts that I'm going to play. There are a few occasions where the producer or artist will ask me to play something differently for a few sections (and I play those pieces off the top of my head) but for the most part I save those charts and put them away in folders for future reference. Occasionally, fellow drummers will ask me if I can send them my transcriptions for songs from my DVD, Halford, Spastic Ink, etc... I have no problem doing that as long as they send me a few bucks for shipping. I don't have "Music Minus Drums" types of recordings for sale. Some drummers like to have these types of recordings so they can put themselves "in the drummer's seat" and play the songs without hearing the original drum track.
HALFORD, SEBASTIAN BACH, ICED EARTH, SPASTIC INK, etc...
- How did I get the Halford gig? What was it like first meeting Rob?
I was recommended to Rob (and his management) by a good friend of mine (heavy metal journalist and record label talent scout), Chris Leibundgut. They had asked Chris to help them in their search for musicians when they were putting together the HALFORD band. Chris (originally from Switzerland) and I first met way back in '87 when he came through Texas on his way to L.A. Through the years we stayed in touch and every so often he would call me about drummer auditions for major label recording artists in L.A. Nothing ever interested me during that time and I was staying busy recording and touring with New York based band RIOT and also making a decent living playing music and teaching in San Antonio. Then in 1999 Chris called about the Halford audition. At this time, Roy Z (who was also a friend of Chris’) had just secured the job as producer for the Halford project. I had already met Z ten years earlier when he and Chris came out to a Riot show in L.A. Z agreed that I would be a good fit for the Halford band and also put in a good word for me. I sent Rob's management a few Riot CDs and a live videotape of myself playing a drum solo. The drum solo video wasn't a good idea. I later learned that although Rob thought it was great he also was a little hesitant about me because he thought that I was some sort of circus freak with all the stick twirling, tosses, etc., ha ha! (Note: This solo video footage is the "Live In Japan" footage that I included in my DVD, "Performance & Technique"). Z convinced Rob that the drum solo visual stuff was just one aspect of my playing and that I could also play solid grooves and play what's right for the song. Rob's management flew me into L.A. and I rehearsed with Mike, Pat, and Ray for a couple days on the newly written “Resurrection” songs. When Rob came into the rehearsal room we asked if he wanted us to stop practicing. He said, "No, continue on and play a few more." We continued while Rob walked around the room listening and watching. He walked around the drum kit and watched me reading the music I was playing. He also stood in the middle of the room and (as if he was singing) made a few hand gestures and pumped his fists. Then he said, "Let's go get something to eat!" We went to a Mexican restaurant up the street and Rob ended up sitting across from me. When Rob heard I was from San Antonio, we spent most of the conversation talking about how great a city S.A is for heavy metal and how so many bands recorded their live albums there in the 70's and 80's. It was awesome - I was in the band.
- Will there be any future Halford studio releases or live shows?
Go to www.robhalford.com for the latest info.
- How did you get the gig with Iced Earth?
I became friends with IE drummer Richard Christy when he ordered my drum video, "Performance & Technique", from me. We had a couple conversations where we expressed a mutual admiration for each other’s drumming. We stayed in contact over the next few months before he called me with a proposal to replace him as the drummer for IE. He was considering auditioning for (the vacated spot left by Stuttering John on) the Howard Stern Show. Richard has comedy in his blood and was excited about the opportunity to work on the HSS. I told him I was available for the remaining IE US tour and overseas festival dates. After that, I had a couple of conversations with Jon about the IE material and received a few CDs in the mail and began working on the songs. We rehearsed in L.A. for about a week before went out on the road.
- Why are you no longer a member of Iced Earth? What was it like working with Jon Schaffer?
When I joined IE, it was what turned out to be the end of the touring cycle for "The Glorious Burden"; I had a great time working with Jon, Tim, and the rest of the guys. I was also excited about being part of all future IE plans as Jon and I had several conversations about the upcoming recordings and live shows. However, during the downtime between IE activities, I began recording and touring with Sebastian Bach. In order to make his deadlines, Jon proposed a schedule for me to record my drum tracks for the next IE CD. My touring schedule with Sebastian conflicted with Jon's planned scheduling to record my drum tracks, so I needed to make a decision. Jon has gotten some bad press but I never had a problem working with him. Jon demands a certain professionalism from everyone he works with and if he feels you are not doing your job to the best of your abilities, he will hold it against you - plain and simple. It was a great experience playing with IE and working with Jon and I would have loved to be a part of the future of IE but that's the way things go.
- How did you get the gig with Sebastian Bach? What is it like working with Sebastian?
It's sort of a strange personal timeline how I got the Sebastian Bach gig. In the summer of '04 I was playing with Iced Earth when we headlined the "Bang Your Head!!!" festival. Sebastian Bach and Testament also played the BYH!!! festival earlier that evening. When the festival was over, Sebastian approached IE bandmate guitarist Ralph Santolla with an offer to be his lead guitarist and musical director. Ralph accepted the offer. As musical director for Baz, Ralph brought in bassist Steve DiGiorgio, guitarist Johnny Chromatic, and drummer Mark Prator. As a band they continued playing throughout '04/'05 and began writing material for Sebastian's new CD. During the writing process, Steve called on Testament buddy Metal Mike to offer a couple song ideas. Baz and Metal Mike began collaborating. At this same time, Ralph received an offer to join the death metal band Deicide. Ralph decided to join Deicide, which left the Sebastian live guitarist spot open. Metal Mike agreed to fill the vacated spot. At this time, summer '05 festival dates were booked and drummer Mark Prator had a couple prior commitments. Sebastian then sought out a drummer to sub for Mark - Mike and Steve suggested me. If you know anything about Sebastian, one thing is for sure: He's a huge Rob Halford fan. He was very excited about having 2 of the guys that played on "Resurrection" in his band. The Sebastian gig is very cool.... and pretty wild as you can probably imagine. When it's great, it's awesome. When things go bad, it's interesting, ha ha! Sebastian is a great guy and he's full of life. It's refreshing to be involved with an artist that is so enthusiastic about creating music and playing live.
- Will Spastic Ink record another CD? Will Spastic Ink ever tour?
I don't know if SI will ever put out another CD. That depends upon Ron's and my schedule and whether we feel we want to attempt that lengthy process once again. If we never work on another SI CD, that's OK with me because I know that Ron and I will work together on something in the future. Naturally, we have great chemistry together. In the past, we've talked briefly about doing some live shows but we always knew that it would be a huge undertaking. The music is very difficult to play and would require many weeks of rehearsal. And then there was always the thought that we would have to rehearse a lot for only one or a few dates (it's not like we would score a major tour playing this kind of music). And, there's the fact that I live in L.A. now and Ron's in San Antonio. And, what about Pete's (or whatever bass player's) schedule and situation? - OK, I know, I'm just making a bunch of excuses.
- Who are your favorite drummers/drum recordings/artists/bands?
1. Deen Castronovo: WILD DOGS - "Reign Of Terror"; MARTY FRIEDMAN - "Dragon's Kiss"
"Reign Of Terror" is a classic heavy metal drum record that was released in 1987. When I first heard it I was totally blown away. I charted most of the songs note-for-note and used to play along with this record everyday for months. Deen was in his early 20's when he recorded it. There were no click tracks used on these songs and his drumming isn't perfect but there's so much fire and power in his playing - it's incredible. His innovation and ideas that he comes up with over typical metal guitar riffs is amazing!
2. Danny Carey: TOOL - "Anema" and "Lateralus"
Danny has the most innovative brain for drumming in the business. His combination of poly-rhythmic patterns and counter-point drum parts while still maintaining the flow of the music is something that amazes me every time I listen to a Tool recording.
3. Neil Peart: RUSH - "Moving Pictures", "Permanent Waves", "2112", etc...
Neil's playing was and still is mind-blowing to me. He plays stuff that is interesting to drummers and non-drummers at the same time. That's not an easy thing to do.
4. Dirk Verbeuren: SOILWORK - "Stabbing The Drama"
Dirk is the latest guy that I've been totally inspired by. I can't listen to his playing all the time. If I listen too long, I get frustrated, ha ha! He has an incredible (almost hip-hop) groove in his metal drumming. Totally smooth even when playing the most syncopated patterns.
5. Terry Bozzio: UK - "Danger Money" and "Night After Night"
The UK records were a big part of my (and my brother Ron's) musical ideas during my early years. Later on when Ron and I wrote the Spastic Ink material, it’s crazy how many times he or I would say something like, "For this section, I'm kind of hearing a “Carrying No Cross” beat but in triplets". Bozzio's playing was fiery and yet musical.
6. Simon Phillips: JUDAS PRIEST - "Sin After Sin"; MSG - "Michael Schenker Group"; JEFF BECK - "There And Back".
Simon had the chops, sound, and groove that I always wish I had. I love his complex stuff and his simple laying back stuff.
- and of course many other drummers, too numerous to mention.
Other artists/bands that I listen to for inspiration include:
- Ella Fitzgerald - all, especially the "Songbooks"
- Nat King Cole - all the vocal stuff
- Frank Sinatra - any of the early Columbia stuff
- Opeth
- Zappa - mostly the Bozzio, Colaiuta, and Wackerman eras
- Bjork
- all Country Music - modern and classic