TDJ Issue Three

7/27/2019 TDJ Issue Three

http://slidepdf.com/reader/full/tdj-issue-three 1/66



Contents

Masthead

Robert Searight [Snarky Puppy]Sput: Te First Drummer in Space

Open Letters A Conversation with Dame Evelyn Glennie

A Model Citizen Matt Nolan: Cymbalsmith

On Gospel DrummingDan Stadnicki

Win!

An Introspective Exorcism

Mogwai’s Martin Bulloch

A Call o Arms

he Head CountBen Martin

Support

A Familiar FaceDom Famularo

Subscriptions/Newsletter

08

17

26

38

43

51

55

ContentsIssue hree, May 2013

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seAriGHtSput: he First Drummer in Space

Words by om Hoare

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S: E? M?

Te Drummer’s Journal: Well – I mean in the sense that there’s not a lot o inormation about you out there, except

your actual playing o course.S ?

What do you want people to know?

(L) I ’

Ok, Ok. Well let’s start at the beginning. You’re romDallas, right? I know that much. Y, D, , . M . M . M . M . A I . I I j .

So you played in Church? Y, I , I C.

So is that how your interest in music became more ormal?F?

Well, you studied music at school and college, right? Wasthat inuenced by what you learned in Church? W, - ’ . F , I j I f . T I A M D I . I’ N J, R H, T D C, E B, .



“Stayin’ in the same hotel rooms.Getting up at the same time. Leaving atthe same time. Load in at the same time.

here’s a relationship that orms.”

www

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T H E D R U M M E R ’ S J O U R N A L

11

Magnet? Y, ’, A. I I . W , . T I J , j , , ’, . B j .

What were your early inuences?I’ - M R A B. B R ’ – I , I I I . R B, , . T . T W, P J J E J. L I M C, M M, D G, S G, H M, R L. B M J S T H F. H’ . I .

So when did you meet Mike League?I M . H U N D, ’ j

. I’ . A , I E B j . M , “ B W?”

Bernard Wright? I would usually just pretend to know who he is but I’maraid I don’t. W, , , , – . A, M j, .

So were you headhunted?(L) W, f I S I . I’ f .

Snarky Puppy - hing o Gold @ 1.3

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12

So what instigated the change? A f, I , ’ . T B U T B . S, M , , , M .

So you got the other guy red?!N, S M I’ . I , .

Speaking o studios, Snarky Puppy’s relationship with thestudio has become quite unique. I mean, I guess the rst releases were done in quite a traditional ashion, recordings

with overdubs and that sort o stuf, but now you’ve movedinto this scenario where you’re recording entirely live with anaudience in the studio. How did that evolution track out?T .

So you’re a live band?

Y. Y . W , , . S Y F , G U .

You actually built it? W, , G U DVD , .

When you watch that DVD the whole thing looksimmeasurably un.

Y, , . W, I .

So there was a not so un part then?(L) W, . I DVD, j , ’? Y .

Youube has played quite an importaprole exponentially increasing… Y, . I - UK ’ Y ’ . I

Te band’s outlook on the state o tunusually rereshing in the sense thapositive with regards to the current statM?

Well, more rom an industry perspectiall doom and gloom about it.

S. Y, , I ’ , W , ’ ’ ’ , . T’ . M , , ’ , , ’ ’ . S ’ .



So that’s why the band do a lot o creative outreach sort o stuf? Y, . I , ’ ’ . T – .

You probably get asked this a lot, but where doesa Snarky Puppy song start?M. H’ . I , ’ . W . H MP – . S , f . S ’ . T f f M , ’ .

So you get a degree o creative reedom then? Y,

.

What about improvisation?T’ . O , qf . F , , . S .

You’ve done a lot o session stuf too right? Y, I’ ’ .

Are you a session musician?I . I .

E K F ’ I’ .

“We’re in danger now o seeing a generation who

don’t understandexpression because

they’ve been trainedto only have an ear or simple things...”

www

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14

Snarky Puppyhe R

Pho

“Music used to educate, inspire,uplit and empower people, as

opposed to now where it’s doingthe opposite.”

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15

Has that part o your career changed with time? W, , , . T , . A , . W I ? I’ . I . E.I .

I’d say it paid of, yeah.(L) Y.

What is your role as the drummer?F, , . I’ , , N W, . W , . S, ‘, , . F. L . M .

What I like about Snarky is how you handle virtuosity. Everyonein the band is such a skilled musician, but when you think about British Prog Rock, or example, a lot o people disliked it

because the music was sel-indulgent. But you guys have nailedthe boundary between musicality and indulgence. I wonderedhow you managed to do that. W’ . E . W’ j , . B , 75 , ’ , . S’ . G . L . L .T’ ; ’ . A . I’ . F

, ’ – . B

. E .

Going back to your roots, there’s always been a strong link between religion and music - churches were the original music

venues in some respect as that’s where people would go tointeract with music. For you, are music and aith pretty muchentwined? Y. I . I C. I’ C. I I’ I’ . W I, ’ . A ’ . W ’ , ’ j . Y . M ’ , . P . S f - f ’ . S I I I j I I . I’ I . W’ . W’

, ’ . F . Y .

What’s this about a Grammy? Y, I G K F. I 997. A .

Did you go to the ceremony? Y, I I .

Did you give a speech?U-. I j . A I j

, ? S, .

Your nickname - I couldn’t gure out whS -S – R – . I . S’ , C. I“S-N” Y

Nah, it’s cool, I’ll just make something jazz it up a bit. I’ll say you were the rstsomething.I .

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oPeLetter

A Conversation with Dame Evelyn

Words by om Hoare, Illustration




18

Te Drummer’s Journal: Did you eel that the drumming aspect o theLondon 2012 opening ceremony, when it was initially discussed, was a bit risky given that China airly nailed that?D E G: A – q. I , C . F, , , ? S ? ? M . T , “I’ .” S , “

?” T - ’ . S , “, ?” M , .T f, , . I , . W , ’ – .

I know you’ve done some very high prole perormances, but I readthat almost one billion people watched that ceremony. One billion!

Was that not a slightly terriying prospect? ’ , . I’ - I ’ f I’

O A , , , . S, L , I , “I’ I’ ’ .” I’ ; I ’ I ’ .

Tere must have been point when you realised it was denitely going to happen though?O j, ’ I ,“, ”. I ’ , ’ - q – . T

’ , ’, .

Evelyn’s autobiography

released 10

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19

Te 2012 Paralympics made people think diferently about disability. In 1993 you wrote an essay about how hearing is poorly understood in general. Do you eelpublic perception o disability has gotten better sincethen?I . I ’ ’ . I f , P, . W ,, ’ - f

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Well, he was a hero in South Arica. Y, , , , , . I , ’ , . I

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I know you’ve written about this a lot, so I didn’t want to dwell on it. I’ll admit however, that when I wasresearching, my perception was that you were completely dea.T’ . T ’ I’ . T . S’ ‘’ ‘’ – , . S – “, ’

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“Really, the only time you would nothear something is

when you’re dead.Sound is vibration,

so provided the body is receptive to sound,

you will hear it.”

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“ake someone like erry Bozzio - I’m a hugean o his and what he has accomplished is

absolutely extraordinary - but the downsideto that is who else can ollow on”

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I see ‘percussion’ as an umbrella term. I grew up playing thedrum set, but never branched out rom that. Tey’re almost separate things or me – I eel intimidated by percussion!

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the way it’s DameEvelyn Glennie,’ I ust

use the damehood

in key situations where it can make a dierence.”

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Do you eel you have that in motion now?O , . I I

6, I I 9 . I’ 47 , I’ . N ’ . Y ’ ’ . T’ . I’ . B ’ . W .

In your open letter to music proessionals, you expressedconcerns about the business as a whole, and it becoming overly elitist with audiences declining. Y, . F , NY P ,

,

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, “, ? H ?” S . I j , “, ’ .” Y . I ’ .

Do you think, or the orchestras, there is a problem getting younger people in to watch the perormances? A UK . B

q . I’ - ’ j

- ’ . I ? M , ’ j ’ . , .

On your website I noticed how your“lobbying government” as an activity. I l

to be a recreational activity.(L.) Y, q .

Te current government’s unding cuts to have a direct efect in schools. How doplaying out? I ’ ’ . T , ’ . A , j I ? S ’ . F I I . S

, I ?

“I was sick and tired of working with people who are justlike, ‘no, you can’t do that.’ Yet they expect the best from

us on the concert platform. I felt that wasn’t right.”

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How old were you when you were awarded on OBE?E… 7. I .

At the time, when you received that award at that age, what di W I , , “, ’ ? W j . I

When you look back on it now has it changed in any way, the m

to it?I’ , . A , , , I . O, ’ , . I , “, ’ ?” NI I ’ . A OBE ’ . A ’ , .” T I . I ’ ’ D E G,” I j W ’ , .

Has what percussion means to you changed rom when youinterest in it?T’ f , . W , j I . I I , , . I , . S I I I ?” I I?” I q I I .

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Above: Evelynperorming at theOlympic openingceremony

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A MoDeL CitiZenMatt Nolan: Cymbalsmith Photo

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“Someone suggestedgetting an intern.I don’t know how I eel about that –

getting someone onlittle or no money

to do somethingthat may or may not

beneit them”

34




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“Metal, punk, andblast beat aicionados

could easily appreciate the skillo church drummers

perorming ast shout

music songs.”

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“Gospel drumming is diicult topin down: it cannot be reduced to

mere transcriptions or ills, nor is exclusive to members o a particula

religious community.”

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44

h D ’ J l L ’ f i h h l Wh i i i ll i d i d d




he Drummer’s Journal: Let’s start of with the usual. What initially interested you in drums andmusic generally?M B: I . A

I 4 , I . D’ .

Did you study music in school?I q ’ . I ’ f I 8 . I I .

You’re rom Blantyre, right? Might people be interested in holidaying there?H I ’ . I EK, T J M C. I .

Te band’s inuences, as a whole, are already quite well documented. Names such as Slint, Fugazi,Sonic Youth and the Pixies seem to crop up quite oten. Did you have any o your own – maybespecically rom a drumming perspective - bands or individuals who inormed how you play?I R S R

“y ou’re from BlAntyre, right? might people Be interested in holidAying there?

It certainly isn’t the type o place you would holiday in. I anyone is thinkingo going, please pack some chain mail.”

www

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45

H




; . H j . H .

Was a career in music something you aimed or?N. I , I q f . I I ’ I’ .

Do you consider yoursel solely a drummer, or are there other important roles you’ve adopted? J , I’ .

Has your outlook or approach to playing changed signicantly since Mogwai rst started out? Are there things you take in to considerationnow that you never did then, and vice versa? A. I ’ .I q, . I S j , I j . I ’ I I I .

In your opinion what are the most signicant ways the band haschanged since the release o Young eam in 1997?B ’ . S E . I f . I ’ Y MII, I . I j . H ’.

What inorms the way you approach a drum track? Tis i s a wanky thing to say, but I like how yourplaying seems to open up space. So, or example, when there’s a wall o dense sound - lot o efects,distortion, uzz or general busyness rom other instruments - the drums can keep it rom sounding cluttered. Feel ree to tell me that’s bullshit though.

“I think we have a great deal oemotional detachmentto the songs. he greatthing about our tunes

is that they meandierent things todierent people.”

www

www

46




1 - Young eam [Pg. ]

1 - Come On Die Young

2001 - Rock Action

2003 - Happy Songs For Ha

200 - Mr Beast

200 - he Hawk Is Howlin

2010 - Special Moves

2011 - Hardcore Will Neve

47

T’ I I W




T I I . W I ’

How much attention do you give to achieving a specic drum sound?T’ . I , T -. I . W I ’ .

Tere is a quite a strong emotional element people attach to Mogwai’s music. And was the re-release o Young eam in any way nostalgic?I ’ ’ . O ’ f I . T - Y , . T , I .

With some o the records your own label Rock Action put out, specically this still a very physical element to the music; the limited edition vinyl box sand Hardcore Will Never Die are good examples. As someone with a stake inphysical product still something that is important to you?I , . T , I . I’ -

GZA A R A .

You recently provided the soundtrack or a French zombie V drama called Le watched it yet? Y, I I F, I ’ . C 4 ’ .

You also did the same or the documentary Zidane: A 21st Century Portrait. H were playing in the nal o the Champions League but you were scheduled to pthe same night and miss the game, which would take precedence?I’ . W C UEFA

J P. M C I’ M



J P. M C I M . W .

From what I’ve read, you seem to be quite the che. Do you see yoursel as a culinary authority? I triedmaking my own bread yesterday and it was a catastrophic ailure. It was more like atbread. Wheredid I most likely go wrong?H D’ . B ’ é . I C E K .

Would you be so kind as to share a recipe with us? J… O:

J ApAnese fish curry

Get some white sh, season it, coat it in four and then dip it in some beaten egg.Once it’s covered coat it in some Panko breadcrumbs and set it aside.

Fry some onion, garlic and ginger in butter until sotened and then set aside. Add two

tablespoons o butter to the pan, melt it at a low heat and add plain four and curry powder (I use Malaysian) to make a roux. Gradually add some nice stock (whatever takes your ancy - chicken, sh or veg) and whisk it into the curry/four/butter to orm the sauce. I usually use about 500 to 750ml o stock and then once it’s at a good consistency add the garlic, onion and

ginger and about one to two teaspoons o garam masala.

Oh aye, when you‘re doing all that, ry your sh too. Few minutes each side should do it.

I sometimes substitute chicken or sh. Serve with rice.

Tere ye go, enjoy!

www



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Support

he Drummer’s Journal is a ree, independent magazine. Ultimately weexist due to the support o our readers, contributors and advertisers, whose encouragement and dedication helps create a magazine, asdrummers, we’re proud to call our own. I you want to be involved,eatured or ailiated then get in touch.

Should you wish to head to the website and donate, your contribution will go towards creating the next issue. o show our appreciation, we’llgive you a credit in the magazine so everyone may bask in your generosity.

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“I someone was tasked withtelling Earth’s population the world was to end tomorrow,

I get the impression that

Dom, in a manner similar toMorgan Freeman, would be able to explain the extinctiono humanity in a way that was accessible, entertaining, and

inspirational.”

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Station three: he drum kits

Te Drummer’s Journal: It’s Your Move was the rst book I was evto many other instructional books as its ocus is on how you’re pl

Let: Dom’sbestselling book ‘It’s your move’



what you’re playing. Can you explain the title?D F: I’ Y M , ’ q , I , “ .” I’ ; , “’ .” Y ,

Te book’s subtitle “Motions and Emotions” is quite cryptic too…M E O P

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What was the motivation or writing it?B 99, I J MN q I . T “E .” I , “, I’ . I q , ’ ’ D, .”

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So the emotive aspect o it, you eel the drum set is an emotive inexpresses emotion? A. I . W S . W B , ’ . T’ ’ , ’

It s your move

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Stick Control came out in 1935 and it’s still best ever written. Why has it endured so?T

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Jim Marshall? As in MT . I ’ . B T j ’ f f?” A

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J B, MM. W I J I , “ ?” H , “S C A q.” I .

I nd the context in which they were writControl was written pre World War wo. Te

“Emotion is very important because art

is about expression.hat’s the bottom line

o art. I someone’splaying an instrument

and they’re notexpressive, they’re

going against whatmusic is all about.”

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Above: JimChapin’s Advancedechniues or the ModernDrummer Vol. II

62

the way people teach has changed a lot since then. Stick Control is incredibly unorgiving, it pretty much says sit d i h d i h i




down, grit your teeth and practise these exercises. R, I I’ Y M. W’ ’ . P ’ . T . I . H .P, . U , . I , .

Currently in the UK they want toreorm the school system because they think it’s too easy or students. Te topuniversities can no longer distinguish thetop tier pupils because there are so many.I wondered, as an educator, how you

view the ways in which society impartsknowledge?I . I I 7. T’ 4 . I’ I . T’ 48 . I

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Tere was, yes.E, ’ . I ’ I 5. S I ’ . I , I , . I , . N, ’

“It takes work. Hard work. Perseverance,

dedication andsweat. Until you

can commit to that,greatness will be

diicult to reach.”

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63

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You’ve travelled all around the world as an educator and a

perormer. A. A , I U K. T’ 6 I’ , I’ . A I’ . E, j . I ‘ .’ I . A . S , ’ .

And you teach using translators too?O W I I’ . M

f E, , , ’ .

Tere’s a British comedian called Eddie Izzard. He can speak a ew languages, so when he’s in France he does his show inFrench. What’s great though, is that he doesn’t change the show at all. It’s exactly the same show he perorms in the UK, the same

jokes and gags. He does this because he believes that comedy isuniversally appealing. With your experience, would you say thedrum set has a universal appeal too? A. C - ’ -

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(Looking at the map and a cluster o pins in southern Arica) You went to Botswana?I B , . I

. I ’ . I’ I f.T’ L L. L 99, . H E . I I’ q . S .

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sCoobYsnACK

w w w

Ingredients:

1.0 Midori Melon Liuer

1.0 Baileys Irish Cream

1.0 Malibu Rum

Splash o Pineapple Juice

Whipped Cream

Shake the Midori, Baileys and Malibu.Pour over ice, add the pineapple uice

and top with whipped cream.

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