What are your current projects?
I’m excited about a brand new organ trio project with Stuart Ryan (Head of Guitars at BIMM Bristol) and organ virtuoso John Paul Gard – heavy on the groove and decidedly funky – we’re doing some recording soon so should hopefully have our Myspace together shortly. I’m also pretty busy with a couple of jazz project with two great saxophonists: Jake McMurchie (Get The Blessing/Portishead) and Kevin Figes and recently finished a UK tour with Azhaar Saffar (Sirius B). I’ve also been doing lots of theatre show work which I love for it’s stylistic variety, session-like discipline and the comradeship with the other guys in the pit. Aside from playing, I’m enjoying teaching a range of topics at BIMM Bristol, from the Jazz Drums course through to music theory and transcription skills – loving it all!
What was your first gig?
My first gig playing drums was aged 9 with a guitarist friend and a keyboard which I’d sequenced the bass parts on as we didn’t know anyone who played electric bass – you’re never too young to start learning to play with loops! After that, my first professional gig was playing timpani for an orchestra in Nottingham – I was doing a lot of that side of things before I took drum kit seriously.
When did you start playing, and who were your biggest influences when you were starting out?
Initially I pretty much taught myself by copping everything I could understand at that stage from guys like Mitch Mitchell, Ian Paice and Roger Taylor of Queen. It was only later that people exposed me to the likes of Gadd, Vega, Elvin Jones, Tony Williams, Jack DeJohnette etc, who then proceeded to, and still do, blow my mind. Another big influence is Ralph Salmins – one of the finest players on the planet and someone who I’ve learned a lot from in lessons over the past few years.
What is the most important thing you’ve learnt, perhaps something which changed your approach to playing?
I was at a performance Paul Clarvis was playing on – just this really small kit he played mainly on brushes, a saxophonist and vibes player. I learned from that how deep groove can be without even playing a note! Paul’s pocket was so immense and yet he had the lightest of touch most of the time and played so simply and beautifully. I left the gig a changed man – he listen so well to the other guys and gave himself over for the sake of the music – there were no displays of chops, just beautiful music.
What advice would you give to young or new players wanting to get gigs?
Listen to as much music as you can – figure what makes it feel good and try and emulate it. Also, get used to practising to a click from the start – the main thing a band wants from a drummer is good time and feel.
What is the one thing a student should bring to Rhythmfest?
An open mind and open ears.
What are you going to be covering in your classes?
I’ll be focussing on a really musical approach to jazz playing – putting the melody of a tune first and developing vocabulary from that as matter of principle. We’ll also delve into some key players who shaped the evolution of jazz drumming and learn some of the ideas they brought to the table. I also plan on covering some areas of Cuban and Brazilian styles which drummers often get called to play in a jazz setting. Have sticks at the ready – there’ll be lots of volunteers needed!
What are the essential things a new drummer be spending their limited budget on?
I would say a metronome, ear plugs, and buying CD’s or mp3’s to inspire you are all top of the list.
