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Biography: Guest Musicians: Brannen Temple: Cyber-Drum Interview by M. Montalbano.
Brannen Temple has a quiet and
somewhat un-assuming personality, something you might not expect
from a drummer who has recorded and toured with Sheena Easton, Chaka
Kahn, Janet Jackson, Eric Johnson, Ted Nugent, Jodie Watley......the
list goes on and on. Brannen just recently finished a brief tour
with guitar legend Robben Ford. And his own group "Hot Buttered
Rhythm" continues to make some serious statements in the jazz and
funk realm. When you listen to his drumming, it becomes quite
evident that the man has something to say. And when you read his
words, it becomes even clearer. Brannen discusses his work, his
life, and some values and wisdom he's willing to share, if you've
learned how to listen. It always seems to be the quiet ones who are
most firmly rooted in the ground.
How's it going? I hope everything is all
right since we last spoke?
Everything's good. Actually, since I've
been back (off the road) I feel refreshed and recharged, even
personally. You know how it is. When you do something that you
really like for a while....you feel good!
I understand you're back on the road with
Robben (Ford) tomorrow?
Yeah, just for one date. We'll be up in
Duluth for one...
Is
there anything new going on with your group, "Hot Buttered Rhythm"?
Any new music being recorded?
We're in the middle of writing some new
tunes. We had a keyboard player who's recently moved out of town, so
we're in the midst of getting somebody in to try to replace him,
which is going to be sort of difficult...he's one of a
kind.
One thing I got
out of the "Hot Buttered Rhythm" disk was how tightly the group
really locked in to each other. I imagine losing any one player from
that group is going to have a major impact...
Definitely true. The other keyboard players
with the group were great players, and fit in perfect, but they both
moved! And the other guy who's been with us from the beginning just
moved to New Orleans. That's the kind of stuff we have to deal with,
as opposed to chemistry problems, you know what I
mean?
Yeah...trying
to keep people around! What is your goal with "Hot Buttered Rhythm"?
Are you planning to tour with that group?
Right now we're going to work more on a
regional thing. 'Cause getting out too far...unless you're making
the money, which we're not...is rough.
It gets risky, I guess?
Well, it gets overbearing. Everybody has to
have this sort of mentality that, OK, we know this is for promotion,
and not for money and fame...so, yeah, sometimes we're going to be
playing in front of seven folks. It's gonna suck, but we still have
to do it. That gets a little tough. So emotionally and
psychologically the band has to be ready. At this point I think our
best bet is to stay around the region and work that up a little
stronger. And still continue to record and write. As far as trying
to do the national attack.....
The timing isn't right?
Yeah, I don't think the timing is right. And
in terms of trying to pursue a record label, distribution...those
things take a lot of time and energy in and of
themselves.
It sounds
as if you're taking your time with this project, instead of rushing
to push it out there.
When we did a tour, we did this little thing
going up to Canada and stuff, and we had a great response...great
response everywhere we went. But sometimes we'd play in front of
seven people, and sometimes we'd play in front of 3 or 4 thousand
people. It's kind tough to deal with. There was a lot of stuff we
had to do, a lot of drives, so the schedule was kind of crazy, you
know.
I know that can
be draining...
Yeah,
it's not the most enjoyable thing. Trying to drive and get
somewhere, do the gig, maybe even drive after the gig, and then try
to get some sleep at the next place...you know what I
mean?
Or sleeping in
the car or van is always a drag...
The one good thing about the van was, we had
captain's chairs which made it a little more comfortable to sleep;
it wasn't like cats sleeping on bench seats. So that was a nicer
thing. Still, it's difficult...
Let's talk a little bit about your
beginnings. How did drumming come about in your early
life?
I've had a very
supportive environment, as far as playing. My folks didn't push
hard, but they always wanted me to be involved with something. I
started with karate lessons when I was about five. I did that until
I was about seven. That gave me the discipline to put my mind to
something, especially something I really enjoyed. I moved over to
the drums and music when I was about 10.
Was it school related?
Yeah. Actually I guess, my folks were always
playing records around the house and I was actually more of an
entertainer, at that time, than going after anything specific like
becoming a drummer. I would put on shows before I went to bed,
dancing to James Brown records, singing and dancing along with
Michael Jackson, that sort of thing. A big influence on my music was
the fact that my sisters played instruments. My oldest sister played
piano, my next sister still teaches orchestra. She plays violin, and
gigs with symphonies, and sometimes weddings or at . church. My
sister under her played flute in the high school band. Really, her
high school was kind of funky. It was a new high school around 1975
(I was about 5) and my two older sisters transferred there the first
year. My father started teaching there, physical education and
driver's education. The school was set up to take in more black
students.
This was in
Austin?
Yeah. All my
sisters went there. My youngest sister was in that high school band.
A lot of the drum cadences were just real funky to me. By the time
she was in that band I was in third grade, still another three years
from any band program. But at that time, I knew all the cadences. I
could tell when they were messing up! (laughs) I knew what was good.
I have to say that that was a pretty big
influence.
Listening
to the marching band and the drum cadences?
Yeah. And the music that was happening at
home. I remember going to see my sister who plays the violin--she
went to North Texas and played in the orchestra there--I remember
certain monumental pieces of music that sort of turned me around.
It's like the first time I ever heard Funkadelic Need D when I was
visiting my sister for a performance. I remember hearing it on the
radio and thinking, this is so happening! That probably came out in
'77 or '78; I was about 8 years old when I heard that
tune.
But you
remember that experience to this day!
Yeah! Up until then I was a huge Jackson
Five fan. So there was all sorts of music that really influenced me
to take notice about music, you know? But I didn't start playing
until I was in 6th grade. That was through school
band.
And you started
with the drums?
Yeah. In
5th grade they made us fill out a card with the three instruments we
might want to play. Just in case there are too many people choosing
the same one. (laughs)
Right!
So I picked drums. Tenor sax was my second
choice, and oddly enough trombone for my last...not exactly the
gigging-est instrument around! So I ended up in 6th grade on the
drums, which was cool. Actually, I started experiencing what I can
call "gigs" in the 6th grade. The band director would take me around
to different elementary and jr. high schools and have me demonstrate
rudiments and such.
You must have had well-developed skills at
an early age then...
I
guess! I felt like I always kind of knew, you know what I mean? Like
I always knew that's what I was going to be
doing.
It came easy
to you?
Yeah! So I went
through school bands. I got my first drum set from my
brother-in-law--he married my sister that played violin, and he
played drums. He was an influence from church. He played at church
sometimes when I was a little boy, about 6 or so. I kept that drum
kit for maybe 4 or 5 years.
What kind of drums were they? Do you
remember?
No, man. Some
copy of a copy of a copy of a drum kit. I think it was called a
"MaxTone" or something. It was basically a Sears drum kit. Orange
sparkle, no front bass drum head, no front head on the 12" tom...It
was like a 20", a 12" and a 14". I don't even know where the cymbals
came from. My brother-in-law had a cheap pair of hats...That was my
first kit!
Did you
get a lot of use out of it?
Yeah. I took them out of the house to do
rehearsals for church, and various things. I played a lot in church
when I was coming up.
Were your drums set up in the basement of
your house?!
No, I
played in the garage. It'd be cold out there, or really hot. If it
was hot, I'd open the door. I had a lot of fun coming up, you know?
Playing along with records...At that point I was playing a lot of
funk and stuff, funk and pop or swing...
You played along with records using
headphones?
Either that,
or I'd play along from memory. Or a loud radio, a loud jam box. Just
shedding, that's the point I'm trying to make, shedding a lot in
that fashion. I finally got a basic "real" kit when I was in 10th
grade. It was a Tama kit. I was proud of those drums, man! It was a
Swingstar, you know, kind of a beginner set,
but...	
But
you loved them!
Yeah,
man! It was my first real drum kit.
So all throughout this time you were
continuing in the music program at school?
Yeah, oh yeah. I was in all the bands:
concert, stage, marching, jazz...all of 'em. Definitely always in
the jazz bands in jr. high and high school. I was always in the
All-City jazz band. My senior year I made All-State jazz band. So
the school program was something that I definitely
appreciated.
Was
there an instructor in particular who kept up your interest level,
that you viewed as a mentor?
Definitely. Plenty of them. Pretty much
every band director I had always helped me out. There was Mr. Garcia
when I was in 6th grade, Mr. Moody when I was in 7th, and Mr. Shaw
when I was in 8th. He (Shaw) still plays some gigs here around town.
He's a sax player. I don't really see him often, he doesn't play out
that much. He kinda got me hooked into playing jazz. He was kind of
an assistant band director, but he....really kind of pushed me. He'd
send me home with these Music Minus One records...Sam, Sal Nestico
records...they were really helpful, especially at that developmental
period. And my high school band director was just so cool. His name
was Mr. Williams, and he played trombone. All his sons played. In
fact, one of his sons is doing really well up in NY--he plays
clarinet, he's a classical player...killin' player. Oh, yeah,
another guy that was really supportive was Mr. Pearson. He really
pushed me, too, in terms of the jazz stuff. He always wanted to
feature me, or want me to play things that were a little bit more
challenging. He was a good guy, too.
Do you remember any of the music you were
playing in jazz band at that time?
Yeah.....I think we actually played the
theme to 'Sesame Street' at one point! And we brought in the theme
to 'Bob Newhart'. In jr. high I remember we played "Central Park
West", that Coltrane tune. It seemed like in high school we played a
Mingus tune, "Better Get Hid In Your Soul".
So you were introduced some pretty nice
music at an early age, the Coltrane, the Mingus...
Yeah, we were
playing some pretty hip stuff. Like I said, these band directors I
had were....it seemed they were all more interested in playing these
challenging pieces and getting the not so good scores at contests as
a result. Although the high school jazz band did pretty well,
playing the more difficult tunes. But the band director just didn't
want to play any simple stuff.
He wanted to make you
work!
Yeah! So that's
kind of what I came up with...guys that were pushing in that
direction. So there were quite a few people in school and outside of
school who were helpful to me. Even my choir director at church, who
I believe was one of the first cats I did gigs
with.
Did you drum
for the choir?
Well...we
did gigs, like...we'd play these private parties, playing jazz tunes
and funk tunes. So he was the first guy I did gigs
with.
And you were in
high school at that time?
Yeah. I was playing gigs by the time I was
14 or 15.
How much
time were you devoting to practicing during that
period?
Too much. I
didn't get anything else done. The routine was like, go to
school...come home... play for about three hours...relax and
eat...come back on the drums for an hour or two...then it's time to
do homework. You know? This was a daily
thing.
So in case
anyone thinks your career was handed to you...you worked
hard!
Anything can prove
you need to work at your thing. A God-given talent is beautiful but
it'll only take you so far. I know plenty of guys who are just
gifted, but they don't have the discipline, they don't put in the
time to further themselves beyond what they can naturally
do.
Maybe that's
where your early instruction in karate helped
out?
Maybe! That's what
I believe. Part of it, anyway. That and my up-bringing...keeping me
straight, keeping me out of certain things. More than anything,
though, I really enjoy it. I think when I look back it was great,
but maybe I could have been a little more well-rounded with other
things
You mean like
having more of a social life?
Yeah, well...I didn't really care to have
too much of a social life. I didn't really have a lot of outside
obligations. By the time I had started music I had stopped
karate...I just couldn't do both. The main thing in my life was
drums. That's what I wanted to do, that's what I wanted to spend my
time on.
What were
some of the other earlier projects you recall being involved
with?
Like I said, I
played a lot with my choir director, and that kind of got me around.
He was using cats that gigged, so it wasn't like it was just a
church scene...
So
now you were getting some exposure with these working
players...
Yeah, it was
like guys that were gigging around town. So I started playing with
them, and my name started getting out a little bit. Soon after that
I was playing gigs with a guy named Mitch Watkins, who I went on to
record with.
And this
was a fusion gig?
Yeah.
I was always more into challenging music in that sense. I liked
playing straight ahead jazz, I liked playing funk, and I liked
playing fusion more so than anything like folk or pop, or anything
that in my knowledge at the time didn't challenge me. I kind of was
into playing more, as opposed to playing less. (laughs) I think when
I was coming up...you want to know how to play fast, you want to
know how to do all these things. I still was into making music, but
in my past I can see now that other things were not a first
priority, like...I don't know, like being as intent on making the
song speak.
Instead
of putting everything you could into the music, you let the music
open up more...
Yeah,
yeah. I wouldn't go so far as to say that every song was like a
history of drumming, or the Brannen Temple hour,
but....
But there was
a lot of activity?
Yeah,
exactly. I think it's safe to say that I potentially over-played, in
looking back at how I dealt with making music. Now, for about a
year, every gig I did all I brought was a kick, snare, and hats, and
maybe just one cymbal. I tried to approach every gig from that
angle.
Do you see
this approach as an extension of your maturity on the
drums?
Yeah. And I've
always had an understanding of what groove is. I listened to a lot
of James Brown and that early sort of thing where groove is king. In
that type of music, or say the music of Motown, which was basically
the music I was playing when I was growing up...those aren't drum
features. I mean, those are songs based around something that is
grooving really hard, generally. So I had the understanding. I give
lessons now and people ask who they should check out in jazz, and so
on. Unlike myself, one of the first cats I was introduced to was Max
Roach. That was one of the first records my father brought me, a
Clifford Brown/Max Roach record. But soon after that I was
introduced to Tony Williams. So what I tell cats now is, don't
listen to Tony first. When you're coming up you need to understand
certain things before you can get to that...(laughs) That's what I
believe.
Learn your
history?
Yeah. It's like
Tony was playing so much of an extension beyond what was going on at
the time. It's like, if you start there and then you think that's
what you're supposed to be doing in jazz. I think maybe that was the
place where I started. Of course I was still listening to a lot of
Art Blakey and a lot of Max. But Tony was kind of the thing. I guess
I had a large palate, and I think I did the listening and the
learning justice. But what I try to impart on students is that they
shouldn't start there (with Tony). You've gotta go back a little
farther. But, there was Tony, and some of the more contemporary cats
like Omar Hakim...he was a huge influence. Especially when he joined
Sting's thing, and even before that with Weather Report. I was
always hugely a fan of his.
Did you get into Jack
DeJohnette?
I wasn't
really hip to Jack until later. At that time, it was Tony, it was
Omar, it was Elvin and Max. I had some Billy Cobham records, but I
didn't really pattern myself after him. And I had various swing
records, some Lionel Hampton stuff where maybe Frankie Dunlop was
playing...I really liked his playing 'cause he was a little more
sparse and melodic. Kind of under-rated, too. You don't really hear
a lot about that guy. These are the guys I was listening to, and
then after that I really got hip to Steve Jordan. (laughs) Wow! He
kind of spoke to me in a huge way. These are like my earlier
influences. Jack (DeJohnette) started coming a lot later. In fact,
there was a friend of mine who I grew up with who played drums...he
turned me on to Jack. And I wasn't really hearing him, you know what
I mean? I just didn't grasp it at first. I was still really into
Tony. It wasn't until later that I started hearing or being open to
Jack. And now... man, he's such a big
influence.
What other
drummers are you listening to now?
Now...(pause) I don't know,
really...
Are you
listening more to jazz drummers?
Yeah...but now it's sort of weird. I'm
listening to a lot of different things. You kind of learn from,
become influenced by those that are around you, and those that you
go to check out. There's a guy that's become a really good friend
and mentor, someone that I'm influenced by musically...and
personally...this guy named Lan Richards. I dig him a lot . He's a
drummer out in LA. Funky!
So your influences now center more around
people that you watch perform?
Yeah. Even now my influences are based
around people I've had the opportunity to meet. Being in the
business, now you get to know these guys. For instance, I met Herman
Matthews and Lan Richards somewhere around the late 80's. And I
listen to their work. They're from Houston. But I didn't meet them
until they'd already moved to LA.
Herman Matthews did an interview with
Cyberdrum!
Yeah, I
checked that out. Even Omar, I got to know him a little bit. And
Ndugu...I've met so many people that have extended themselves, or
have been really influential.
And you've said that meeting some of these
people who've influenced your drumming have influenced you
personally?
Yeah, man.
Cats like Lan for instance, have influenced me on the personal and
on the drumming side. But then, there are people who you obviously
don't get to spend a lot of time with. I met Will Kennedy--he's a
big influence of mine, I really love his playing. I've heard so much
about him personally, too...that really sparked my interest. In
terms of him being such a warm guy.
Speaking of Will Kennedy, I know that he has
been endorsing the Drum Frame that was created by Bob Gatzen. Are
you familiar with that, and have you ever used
it?
Yeah. No. You got
one?!
No! We've been
hoping to set up a demonstration so that we can check one out. I
understand that Will Kennedy has been using one?
Yeah. What I know about it, and what I know
about Will in particular...Robben (Ford) was an original member of
the Yellowjackets. In fact, something else that I didn't know is
that he put that band together. His record consisted of Jimmy,
Russel, and Ricky Lawson. So he hired that band to do his record,
and then they put a band together with a sax player...I guess it was
Mark Russo... and got a deal. Anyway Robben just did some dates with
the Yellowjackets, in Long Beach I think. And of course Will Kennedy
is on the gig. I think that Robben said that was the first gig that
Will actually used the Drum Frame on a gig. He's been practicing
with it at home for the past year. He (Will) said it was
great!
It certainly
seems like it makes sense, this Drum Frame. It interests me because
it's such a new concept, a new approach to drumming. I'd like to get
hold of one...
Actually,
I'm interested in getting hold of one myself. But I don't think that
will be happening anytime soon! Anyway, it's guys like Will that
I've grown to respect, both on and off the drums. If not through my
own experience with them, through people who know and work with
them. You know what I mean. It kind of feeds itself in a way...you
hear something nice about some guy and of course you have your own
system of beliefs and values...but it kind of validates certain
things. Especially when you hear the negative. It takes all kinds.
There've been guys in my past who've been not supportive or
complimentary, even jealous. Not even indifferent, but just
downright cold, or even kind of dirty in how they've dealt with me.
You get that too, you know...
But where does it come
from?
I'll tell you
where. It's insecurity. And these players I'm speaking of are all
working, very adequate players. Professionals. But it doesn't change
the fact that that's my take on them, my impression of them. Maybe
they were different with somebody else, but I've definitely felt
that vibe from them. I don't like to dwell on that. I know some
people are like that. It takes all kinds to keep the planet
running.
Let's move
away from that subject...Do you spend time practicing these
days?
Yeah! I don't
really get a chance to do drum set a whole lot. I have a snare drum
here in the house that I practice brushes with... I just recently
started doing that. Practice pad...
You do work with a pad? I think a lot of
young drummers may not have found the value in that
yet.
Yeah, well it ain't
a drum. But you gotta do something, especially living here in an
apartment. I really don't have a whole lot of extra time as far as
practice. I have a lot of things that I choose to do with my time
otherwise. My wife...and my band...And other things I deem
important, that I need to take care of. Not to say that other things
are less important. But I do indeed spend less time doing them. And
honestly, practicing is one of those things.
It's a balancing act...
Yeah. That's what I was talking about
earlier. I wish that I had had more of a balance, maybe even with
schoolwork.
You mean,
back when you were in high school?
Exactly. I practiced so much, man. That's
where my head was all the time.
And that took away from other areas of your
life? Other things you might have developed or
enjoyed?
Yeah.
Socially...possibly. But academically, more so than anything. Maybe
I could have taken that a little more seriously. I just knew that
drumming was what I wanted to do, so I guess that's where I focused
my attention. You know what I mean? Like even now, I'm a newlywed
and I have a job to do. My job is to be here, you know what I'm
saying? There are priorities that one has to deal with for
themselves. I guess that if I could impart that on anybody, that's
something I would definitely speak highly of. Prioritizing and
scheduling. Something I'm really having to learn the hard way is
that that's what needs to be a reality. Making time for this, time
for that...It's like your practicing and different things get
better, when you give yourself a specific amount of time to focus on
them.
Prioritize.
Yeah, man. I'm still trying to get it
together. It's still very developmental for me, this whole concept.
It's something that I think is going to make a difference in my
life. And then, writing tunes, and learning music for gigs...all
those things.
Does it
ever get tiresome? Have there been moments when the drumming has
felt like just a job, like going in to the office on a day you don't
really want to be there?
Generally, it's joyous. I've only done a few
gigs in my history that I've felt were jobs. One I kept for too
long, and the other I didn't. (laughs) You learn. But I don't want
to consider this to be that sort of thing. In fact, I'm beginning to
understand... My wife has been such an inspiration to me. She's
helping me to see a lot of things about myself. So I'm beginning to
understand this a little more...Playing music is beautiful, it's
wonderful...it is in a sense what I was meant to do. God gave me
that gift, gave me that talent...I need to use it, right? But, on
the other side that is not the extent of who I am, or who I will be.
It's only a part of me. And then I've also begun to realize, even
though it's something that I love, technically it is still just a
job. It's not a job in the sense that I think, oh man, I gotta go in
to my job! It becomes, yes, this is how I make my
living.
So you always
approach it from that professional, work-related attitude...it just
happens to be very enjoyable!
Right. And I'm beginning to learn how to do
that, so I can learn how to turn it off. There are certain times
when it becomes an uncontrollable urge, and I have to play. I
suspect that's how it will be for the rest of my life. But I think
it's important for me to learn how to turn it off, and to learn how
to prioritize. There's a time for this and a time for that. You know
what I'm saying?
It's
all about balancing your real life with your professional
life?
Exactly. It's
tough...I'm not there yet. But it's something that I'm willing to
explore. And that's half the battle right there. (laughs) I've had
so many good experiences, really enjoyable experiences playing with
cats. I've had the opportunity to play with some really phenomenal
people.
You've earned
that...you're a phenomenal player yourself. You've produced those
opportunities.
Thanks,
man. I'd like to continue that, too! Hey, man, I just got this other
gig I don't think I've told you about. Yeah, man...Christian
McBride. I'm doing a show with him in September. I'm thinking, why
can't the first show be in El Paso, or something? But the first show
is in Monterey...it's the Monterey Jazz Festival. That's the first
gig I have with this guy!
What other musicians will be on that gig
with Christian?
Um, Tim Warfield, a sax player who's been with him for a while--he's a
really killin' player. And then Shedrick...ah, I can't remember his
last name, but he's a young guy who's been playing piano with Kenny
Garrett. This will be his first gig with Christian as well as mine.
It's gonna be out, man! Playing in front of thousands...the thing
about it is, with jazz and with jazz festivals, you've got so many
cats there, especially a prestigious situation like this. This is a
festival that's been active for over 40 years. So like everybody's
played this joker, from Dizzy and Ella Fitzgerald all the way up to
Nicholas Payton and the newer guys.
Yeah, there's some history
there...
Yeah!
Everybody, man! Critics hang out at this joint, all the jazz cats
will be there, so it'll be like, OK, so who's this young
whippersnapper playin' with Christian? What's up with this dude? I
don't know him. He doesn't have any jazz credits. And that's such a
weird thing. I've played a number of years, and I've played jazz for
a number of years but this is really the first known jazz guy, I
guess...
That you're
going to be playing with, at such a large venue.
Yeah. Like with Chaka Kahn we played jazz. I
guess she's known more for pop, soul, and funk than jazz, but she
does do that. And the gig I did was not strictly jazz, it included
only two or three jazz numbers within a set. So this will be the
first time I'll be playing with an internationally known jazz
artist.
You're pretty
psyched about this, aren't you!?
Yeah, man! I'm trying to get myself
together, man. Trying to get them brushes right! Christian's show is
going to be half funk, so that'll be pretty nice. I kind of think
that's more or less where my strength is...the swing, the funk.
Although I love playing everything.
Christian also plays electric
bass?
Yeah. The cats
played on well over 150 releases, and counting. Just last week he
did a record with Bobby Hutchinson. He was at the studio and called
me up...hey, man...I can't talk long but can you do this date?
(laughs)
How did he
end up hooking up with you?
We first met in 1993 in Nice, I think. We
kind of hooked up...I heard him play. I don't know if he heard me
play or not. I think he did. He was playing with Pat Metheny, Billy
Higgins, and Kenny Garrett, I think. Somewhere around last year he
came through Austin and did some clinics and a performance. And I
played drums on the clinic. We didn't actually play together. It was
my drum set, and revolving cats...he just wanted to hear people
play, and play with different people, that sort of thing. We hooked
up then, and I sent him a CD later and we kept in contact. And he
called at the beginning of this past May to see if I could do a gig
with him at the end of June. And I already had this Robben thing
happening.
So you
said, but hey, don't forget about me!?
Actually he was the one who said, don't
worry, I'll call you back at some other point. And he called, and
here it is. Get it together.
Well that's great news. Congratulations on
that.
Thanks, man. I'm
excited about that. This Robben date this weekend I'm excited about.
He's probably been the best boss I've ever worked for. Just a very
sincere, easy-going individual.
I remember you telling me that when we
hooked up at the show, that it's been a very relaxed atmosphere, a
very relaxed playing experience with Robben...
I dug the music, I dug the hang...it was
just killin'.
Will
you talk a little about the products you presently
endorse?
Yeah, I'm
endorsed all the way across the board, really. Drums, I'm endorsed
by Fibes. They've been very, very wonderful helping me get some
things that I was interested in. The sound is killin', rock solid.
I've played other companies before, and the treatment was a lot less
than adequate.
That's
an important factor...
Yeah. Fibes doesn't really have distribution
in place like the larger companies that I've played before have had.
Nonetheless, it's the support that I find a little more
important.
That
always matters...
Yeah.
I have three drum kits from them in a number of different sizes. The
kit I'm using most often these days is the one you saw, a 16x18
kick, 8x12 rack tom, and 14x14 floor tom. I've been using that 8x14
snare drum. It's got a midnight satin flame finish on the drums, and
the snare has a white satin flame....So, the Fibes drums, the Sabian
cymbals...I've been with Sabian since 1988.
Obviously there's a good relationship
there...
It's a
wonderful relationship. Man, you couldn't ask for a better
relationship. With Robben recently I cracked a cymbal, and we were
leaving Martha's Vineyard going up to Boston. I stopped through and
they hooked me up, and then some! Just a very good relationship with
those guys. Vader sticks, Vader percussion...same thing. Highly
supportive and always on, the product's always happening. Aquarian
drumheads...same thing! I've never received a dog in the bunch. And
I've been with them since 1988, too. I've been with Vader since
1988! I've only been with Fibes about three
years.
What about
your cymbal sizes or classifications--can you elaborate on
that?
I really love the
HH cymbals. But I play a number of things. I really like this
finished ride that they (Sabian) have. It's a 21 inch. It's real
versatile...it's killin'! I like the Duo hats, but I'm actually
using the Duo hat top and a regular hat bottom. That's working out
really well.
What
size hats are you using?
14"s. I'm interested in getting some 16"
darks.
I've recently
heard some discussion about 18" hats, which must be just enormous. I
think it was Herman Matthews who was talking about
that...
Yeah. I really
like 16"s. I used some 15"s on a session once and I really liked
them a lot. I'm really into trying the 16"s. I played some crash
cymbals that I inverted into hi-hats at a session once, too! They
had a nice feel to them. A real nice wash when you had them open. I
don't know, man...I'm just sitting there experimenting with a lot of
different things.
Would you say that you're still
experimenting a lot, or are you rather settled into specific
sounds?
I'm always
changing what I'm looking for in cymbal sounds. Sabian seems to come
through every single time. I don't know, man...The drum gear thing
is straight. I've been happy for years.
(laughs)
Who are your
favorite players to work with?
Man, a lot of people. Robben, especially and
all the guys that have been in his band, all the guys in my
band...
What new
projects are you involved with?
Aside from working with Christian, that's
pretty much it right now.
More writing with 'Hot Buttered
Rhythm'?
Right. I'm just
working with the same folks I've been working with...with Steve
Bruden...we're doing a cruise in January, and we'll be playing
between now and then.
What do you mean by
"cruise"?
This thing
called Blues Cruise that Delbert McClinton puts on. We'll be
cruising around the Caymen islands, and stuff like that. I don't
know, it's like...I really don't know until it happens. I've never
had the type of schedule that's booked for a
year.
Do you prefer
having that type of schedule?
Well...I mean, I don't know anything else.
Generally my life schedule has been predictably unpredictable. It's
kind of difficult sometimes. I've shied away from making committed
plans, with doing certain things and have to miss things like family
situations, and things like that. There's always a trade with my
profession. Sometimes I wish that that could be a little
different.