The Long Roll by Michael Aubrecht

This 50-page eBook presents the history of the Civil War Drummer Boy. DOWNLOAD HERE (PDF, must have Adobe Acrobat Reader to view)

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Read Exclusive Interviews written for Drumhead, Modern Drummer and Off Beat: Troy Luccketta – Steve Goold – Daniel GlassGarrett Goodwin – Steve Smith – Dan NeedhamKelly KeagyScott PellegromBrandon Scott – Mike “Woody” Emerson – Ben BarterRich Redmond  – Sean FullerJason Hartless – Robert Sweet – Keio Stroud – Tommy Taylor – Frankie Banali – Bobby Z – Danny Seraphine – Dino Sex– David Abbruzzese – Marisa Testa – David ThibodeauRobert Perkins Sarra CardileBill Stevenson  – David Cola – Next Up: Stan Frazier – Mel Gaynor

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September 9, 2016 · 10:30 am

The Brush of Mort Künstler

I have the privilege of being the personal copywriter for renowned painter Mort Künstler. My writings appear on all of the brochures, certificates and webpages associated with each of Mort’s Civil War-themed paintings (2006-2017). Over the years he has illustrated the Civil War drummer boy. Here is a piece on Mort I wrote some time ago.

“What a remarkable people they were–the generation of Americans that faced the Civil War.”

This quote comes from “An American Palette–The Paintings of Mort Künstler” and was offered by the artist himself when asked to comment on one of his paintings that depicted Confederate Gen. Thomas J. “Stonewall” Jackson holding a sunrise service.

“Remarkable” is certainly a fitting adjective to describe the courage, strength and conviction of America during the Civil War. It is also a fitting term to describe the 92 year-old painter himself.

Noted Civil War scholar and Jackson biographer Dr. James I. Robertson once said of Künstler: “No one has better captured the sights, the feelings, the encompassing drama that formed the conflict of the 1860s. Many gifted wielders of the brush have given us scores of Civil War illustrations, but only Künstler has carried that skill to a level of perfection.”

The artist, whose studio, Künstler Enterprises Ltd. is in Oyster Bay, N.Y., has painted numerous pieces over the years portraying key events in the history of many towns including a favorite, Fredericksburg, Virginia. These include “Lee at Fredericksburg”; “The Scouts of Fredericksburg”; “Angel of Marye’s Heights”; and “Remember Me” just to name a few.

The artist recalled his affections for the town saying “Every time that I visit Fredericksburg I marvel at the beauty of the city. It has always provided me with a wonderful backdrop and I certainly appreciate its rich history. I don’t get back there as often as I like, but every visit usually results in a new idea for a painting.”

The town of Gettysburg also remains a major focal point of Künstler’s work. “When my original paintings of various scenes from the Battle of Gettysburg were placed on display at the Gettysburg Cyclorama in the summer of 1993,” he said, “it opened up my work to a whole new audience.”

The City of Fredericksburg has certainly appreciated the artist’s attention in turn, as former Mayor H. William Greenup presented an official proclamation along with the Key to the City to Künstler on Oct. 24, 1997. Künstler’s book, “The Civil War Paintings of Mort Künstler: Fredericksburg to Gettysburg” features several scenes that will be familiar to both Fredericksburg and Gettysburg residents.

Perhaps one of the reasons that Künstler is so good at capturing the spirit of this country is due to the fact that he witnessed so much of it firsthand. As a member of the “Greatest Generation,” Künstler grew up in an era that experienced both the best and the worst of times in the annals of U.S. history.

For a boy raised in Brooklyn, the odds of becoming a famous artist were not in his favor, even one whose last name is actually defined in Cassell’s German-English Dictionary as meaning “artist.”

After all, painting was not necessarily the most practical of professions during the 1930s, as most people had little extra time or money for luxuries such as art. However, when a 2-year old child shows an amazing aptitude for drawing, the scales tend to tip in his direction.

Young Künstler’s talent was indeed a rare and wonderful gift that was immediately recognized and cultivated by his parents. Künstler’s father was an amateur artist himself; his mother helped to encourage her young prodigy by enrolling him in weekend classes at the Brooklyn Museum and arranging still-life settings in their home.

Künstler’s father inspired his son to develop his physique and the boy with an early tendency for sickness eventually rose to become an extremely gifted competitor who excelled in sports. Many years later, he was enshrined in the Brooklyn College Sports Hall of Fame, proving that it is possible to be both artistic and athletic at the same time.

Following his graduation from high school at the age of 15, Künstler attended Brooklyn College and was later awarded a basketball scholarship to UCLA. He then moved on to the Pratt Institute in New York City, where he focused on pursuing a career as a professional illustrator.

It was while attending Pratt that Künstler was able to hone the discipline and techniques that serve him well today. It was also where he received his first commission, illustrating a sports book on the game of football. Upon the completion of his studies, Künstler took a humbling, menial studio job that required him to clean palettes, but allowed him to build a portfolio.

After tackling this “apprenticeship” period with the same tenacity that he had shown on the football field, Künstler entered the freelance world of illustration, doing book covers at $100 apiece. Eventually, he was hired to illustrate historically based articles in the prestigious National Geographic magazine.

In his first year of freelance work, Künstler earned a total of $3,000, which was an impressive sum for a starving artist in the 1950s. This, however, was only the beginning of what would become a stellar career.

In the 1970s, Künstler began to transition from a commercial artist to a fine-arts painter whose work was beginning to get noticed by serious art collectors. Originally the genre that seemed to generate the most interest was that of Western subjects, but following his one-man show at the prestigious Hammer Galleries, Künstler’s aptitude for portraying historical subjects took precedence over all other subject matter.

By far the most significant period in the career of Künstler came in 1982 when he was hired to do a painting for the CBS miniseries “The Blue and the Gray.” The piece was a depiction of the “High Water Mark,” which is the area around a single grove of trees that was the primary destination for the Confederate forces who were devastated during the catastrophic “Pickett’s Charge” at Gettysburg. To this day, it is still considered the best rendering ever painted of the event.

It was while conducting research on the battle that Künstler became infatuated with the Civil War, which has since become the main focus of his work.

In an exclusive chat with the author, Künstler described how his career has evolved, from illustrations for classic action-adventure novels, to the most highly coveted Civil War paintings of today. “First and foremost, I would have to say that I am a problem solver,” he said. “It was always my job to analyze a problem (what the picture needed) and then figure out how to paint it in a way that told the story.”

“I always like to tell people that I like to paint pictures for Debbie and Carmen. Debbie is, of course, my wife and Carmen is a historian.”

“One day we were having lunch together and both of them were commenting on how well one of my early Civil War pieces was selling. They convinced me to do more of these events, so I began to look for subjects that had never been done before. My goal, from then on, was to consciously set out to paint moments during this romantically tragic period in American history, but with more of a ‘slice-of-life’ approach.”

This “slice-of-life” approach is what sets Künstler apart from his contemporaries. By not exclusively painting battles or even military scenes, Künstler’s catalog appeals to a more diverse audience.

Women in particular, seem to make up a wide demographic of Künstler’s collectors, as the more intimate and romantic portrayals of life on the home front sell just as well, if not better at times, than his depictions of heroic clashes and glorious charges.

“Drama,” he said, “can be found anywhere. Whether on a battlefield or in a parlor, drama is the No. 1 artistic element that makes a good painting. I’m very glad that ladies can find something that they like and I hope that their husbands do, too.”

Another element that seems to stand out in the entire body of Künstler’s work is the “favorable factor” of those that he chooses to depict. From Gen. Robert E. Lee and Col. Joshua Chamberlain, to President Abraham Lincoln and the hundreds of everyday people who have graced the scenes on his canvas, every one of them is warm, inviting and personable.

He said, “I find that I really have no desire to paint ‘bad guys.’ I always try to paint people exactly as they were and I don’t think that I would want to spend much time on someone who was not likeable.”

He did admit that this may slant his work to some extent, but after looking at the amount of time and meticulous research that he dedicates to each and every subject, it is entirely understandable that he favors painting pieces with positive messages. He added that he has absolutely no political or religious agenda and that he strives to portray people simply “as they were.”

Looking over Künstler’s press kit, it is amazing how far and wide his unintentional message has spread. In 1986, more than 200 of Künstler’s paintings were published in a book entitled “The American Spirit–The Paintings of Mort Künstler.”

A second title, “Images of the Civil War–The Paintings of Mort Künstler,” was published in 1992, with text provided by Pulitzer Prize- winning author and historian James McPherson.

In 1994, Künstler’s companion book to the film “Gettysburg” was released along with a one-hour TV special on the Arts & Entertainment Network. In 1998, a seven-week exhibition at the Nassau County Museum attracted more than 30,000 visitors, which broke the previous record set by a Picasso exhibit.

The following year, Gov. James Gilmore declared a “Mort Künstler Day” in the state of Virginia. Since then, he has garnered accolade after accolade while being commissioned as the official artist for several noteworthy subjects, such as the U.S. Postal Service “Buffalo Soldiers” stamp, the Ohio State Bicentennial, the H.L. Hunley and the Middletown Ohio Veterans memorials.

In 2001, Künstler put out a companion book to his Gettysburg project, for the prequel film “Gods and Generals,” and was awarded the Henry Timrod Southern Culture Award by the Military Order of Stars and Bars. Two years later, the M.O.S.B. presented him with the Jefferson Davis Award.

It would appear that Künstler’s mantle would be starting to strain with so many awards and acknowledgements, but this is not what motivates the painter.

“Of course everyone likes to be patted on the back,” he said, “but if you start doing work strictly for your own benefit and gain, it loses its honesty.”

He shared the philosophy that has kept him at the top of his field for almost 50 years, saying, “I always refer to the three H’s. To be good at anything in life, you have to have the ‘hands’–the skill to accomplish something; the ‘heart’–a passion for what you do; and the ‘head’–the mind-set to understand why you are doing it in the first place.”

“Heart” is a huge part of the “Künstler way” of doing things, as he is actively involved in many worthwhile charities and organizations. In addition to allowing nonprofit groups such as the Civil War Preservation Trust to raffle off his prints for fundraising purposes, he also dedicates a portion of his philanthropy to non-Civil War-related groups. This includes the Oyster Bay Boys & Girls Club and the Timber Ridge School for Boys in Winchester. Each year, for more than a decade, Künstler has designed a special commemorative Christmas ornament, with the proceeds from sales going directly to the school.

Künstler also expressed a deep gratitude for his staff, which includes his daughter, Jane. “They are the ones,” he said, “that are responsible for ushering me into the 21st century, whether I like it or not.” Künstler has shamelessly confessed to having zero knowledge of computers, yet his studio has one of the most dynamic and popular Websites of any modern painter today. His Internet address averages over several million hits per month and has enabled people to purchase his work from anywhere in the world.

“I don’t use it,” he said, “but I am so glad that people can get to my work without having to drive long distances to a gallery.”

Surprisingly, Künstler also maintains a very limited sense of what his contemporaries are doing. With the exception of seeing another painter’s work when it appears alongside his on the tearsheet samples that are supplied by Civil War magazines that carry his advertisements, he doesn’t really follow anyone else’s career.

“I’m so busy doing my own work,” he said, “that I don’t allow myself to become distracted by other people’s stuff.” He added, “There are a lot of very talented artists out there.”

Künstler was asked if he had a favorite painting. His answer may provide the reason why he still is able to create such brilliant compositions after so many years in the business.

“Whatever painting I’m working on at the time,” he said. These paintings can take anywhere from a few days for sketch-like illustrations, to two months of solid work for the major oils.

Prices of his prints range from $350 to $3,200, and original paintings can go for as much as $100,000. *Originals are available through Hammer Galleries in New York.

One piece that he cited as being particularly challenging was the 22-by-48-inch canvas titled “Jackson Commandeers the Railroad.” The level of detail in this piece is startling and one could easily find oneself staring at it for hours, still not seeing it all.

This is the type of painting that incorporates all of Künstler talents in the rendering of all things living and inanimate. “Design” he said, “is the most important element. Brushstrokes cannot save a poor design. Everything revolves around it.”

Künstler often looks for angles that have yet to be captured on canvas and prefers to alternate between day and night schemes. He compared this approach to a baseball pitcher who doesn’t just throw fastballs all the time. “They alternate their pitches,” he said, “and although the hitter may still know what’s coming, he doesn’t know when it’s coming. This keeps things fresh for me too.”

The scenes that are depicted in Künstler paintings are based on actual events. He often visits the sites where they occurred, and he also consults historians, period photos and written accounts (if available) because the areas are usually different from how they appear today. Research is the foundation for each new painting and Künstler has a reputation for portraying events with extraordinary authenticity and drama.

Tom Lovell, who is considered to be one of the greatest American Western painters of all time, once spoke of Künstler’s diversity and skill. In an interview that was conducted in 1986 he said, “We have similar approaches to picture making and understanding one another.” He added, “I marvel at his ability to depict complicated machinery, handle large crowds of people, portray characters, draw animals well – in short, to deal with any picture problem that comes along.”

In 2014 Künstler attempted to retire from Civil War prints but he returned to the subject in 2017 to portray Union soldiers playing a game of baseball on the White House lawn. It was what he referred to as “an amazing scene from our national story” that was too good to pass up. “I was surprised to learn that Northern prisoners of war at North Carolina’s Salisbury Prison sometimes played baseball with their Southern guards. This led me to learn about other baseball games that occurred within the ranks of Northern and Southern troops during the war.” Kunstler said, “For the painting, I chose to depict a spirited game played by Union soldiers during the autumn of 1862.”

From postage stamps, to commemorative prints and veterans’ memorials, Mort Künstler is without a doubt, one of America’s most premiere artists. He is also one of its most cherished visual historians. It is through the use of a paintbrush on canvas that he has preserved a priceless anthology of American history that will be shared for many more “remarkable generations” to come.

Visit the official Mort Künstler website at: http://www.mortkunstler.com/.

Download a free 50-page eBook that presents the history of the Civil War Drummer Boy. DOWNLOAD HERE (PDF, must have Adobe Acrobat Reader)

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Back to the practice room

Leo Taylor’s drumming on this track is absolute perfection.
That is all.

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“Living the Dream”

Every once in a while a company comes along that clearly does things better than the competition. They make a better product. Provide better service. And show the big guys how things should be done. Dream cymbals is such a company. Founded in 2005 Dream cymbals is the partnership of talented Canadian instrument designers and generations of Chinese metal smiths.

Dream’s products are all made in a family owned factory in the Wuhan region of China. For generations this factory has been producing cymbals and gongs as far back as 2000 B.C. Each cymbal and gong is hand-made and hand-hammered, to create a one-of-a-kind sound. Building on a reputation for creating cymbals that are second-to-none Dream has grown to distribute their products in over 14 countries.

Dream is also an environmentally-conscious company with a green-friendly recycling program. Dream customers can exchange broken cymbals for credit toward new Dream cymbals. They simply have to bring in their cracked cymbals of any make and model to their local Dream dealer and they will be given $1 per inch in credit toward a new Dream cymbal product. The cracked cymbals are then melted down to create new ones. No other major cymbal manufacturer offers a mutually-beneficial program like this.

Another innovation that sets Dream apart is what it calls “Sound Pricing.” The concept is that whenever possible, cymbals would be priced consistently no matter what line they are from. All cymbals of the same size and style across their Bliss, Contact, Energy, Vintage Bliss and Pang series are the same price as the Bliss series. This enables the buyer to have a better selection. Each cymbal also comes with a two-year warranty. This shows just how much confidence Dream has in their products.

Dream’s series include Bliss, Vintage, Energy and Dark Matter, as well as a variety of effects cymbals such as Tri Hats, RE-FX, Pang and Stacks. Each one has its own personality. Dream also has an impressive list of independent endorsers to include Scott Pellegrom who we interviewed a while back (READ HERE). Dream has clearly become a contender in the world of cymbal manufacturing and is quickly moving up the list of exceptional manufacturers. You can get more information on Dream at their website at: https://dreamcymbals.com/.

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Remembering Neil Peart

Understandably my Facebook feed has been filled with non-stop tributes to Neil Peart who unexpectantly passed away last week. All of them have focused on Neil the drummer but as a professional technical writer and published author I’m more enamored by his work with a pen. His written word as a lyricist and author is what I will miss the most. Here is just a few examples of his remarkable talent with the written word.

Living on a lighted stage
Approaches the unreal
For those who think and feel
In touch with some reality
Beyond the gilded cage

  • Limelight

Invisible airwaves crackle with life
Bright antennae bristle with the energy
Emotional feedback on timeless wavelength
Bearing a gift beyond price, almost free

  • Spirit of the Radio

The trouble with the maples
And they’re quite convinced they’re right
They say the oaks are just too lofty
And they grab up all the light
But the oaks can’t help their feelings
If they like the way they’re made
And they wonder why the maples
Can’t be happy in their shade

  • The Trees

Suddenly ahead of me, across the mountainside
A gleaming alloy air-car shoots towards me, two lanes wide
I spin around with shrieking tires, to run the deadly race
Go screaming through the valley as another joins the chase

  • Red Barchetta

He’s got to make his own mistakes
And learn to mend the mess he makes
He’s old enough to know what’s right
And young enough not to choose it
He’s noble enough to win the world
But weak enough to lose it

  • New World Man

Peart also authored seven non-fiction books and four fictional works.

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Carter Beauford: Under the Table and Drumming – Vol 1

Take an hour out of your day and learn from a virtuoso.

Carter Beauford, world famous drummer for the Dave Matthews Band, performs along with the rhythm tracks from six of the band’s best songs, including “”Ants Marching”” and “”Satellite.”” Carter covers such topics as left-hand lead/open-hand approaches, fills, double bass drums, drumset and cymbal setup, time feel, background and influences, the early days of the DMB, and more.

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David Cola Interview

“Hello ‘Frands and Fam,’ My name is David Cola and I play the drums.” This is how David Cola opens every one of his exceptionally produced videos that are featured on YouTube and Instagram. From Guitar Center DrumOff finalist to Berklee graduate Cola’s budding career has already taken him from the classroom to the studio and onto stages around the country. Cola’s videos are immensely popular. He currently has 175 videos posted on You Tube with 27.5k subscribers and 978 posts uploaded onto Instagram with 50k followers.

That’s very impressive for a musician whose entire brand has been created using social media. David has a personality that was made for the online community. He’s engaging, witty and knowledgeable. His posts are a blend between first-hand experiences and drum covers that exhibit his skill and creativity behind the kit. He also posts instructional videos in which he shares his own secrets to playing. It is an extension of the lessons that David offers online. It’s hard not to get caught up in his videos. They are as entertaining as they are informative. I found myself scrolling through a dozen or so in one sitting.

David has played at Lollapalooza with Jackie Foster and recently started to work with Nicole Scherzinger who is the lead singer of the Pussycat Dolls. I was so impressed I had to contact David and inquire about doing an interview.

MA: What first drew you to the drums? Why the drums?

DC: At the time I was around 13 years-old, and the video game Rock Band had recently come out. I was always into video games, one of my favorites being Guitar Hero as well, so when Rock Band came out with the ability to not only play Guitar, but also Drums, it definitely caught my interest. My parents purchased Rock Band for my brothers and I, and in the first week I was able to play on the “Expert” level on the drums. The coordination part of it came very natural to me, and it eventually spurred the idea of “If I can play the Rock Band Drums this easily, I could probably play the real Drum Set as well!”

From that point I asked my parents if I could start Drum Set Lessons and was fortunate enough to have been able to study with an amazing teacher by the name of Tom Konopka from Cleveland, Ohio. Tom motivated me from the beginning, and showed me the many possibilities of being a musician in the future through his teachings. He consistently pushed me to improve and to be the most well rounded musicians I could to succeed in any/all of my endeavors moving forward in my career.

MA: You’re very active on Social Media and have done some excellent videos. What aspects do you think are most beneficial to having an active online presence?

DC: In this day and age, I believe that having an active online presence is extremely crucial in the music industry. When I say this, I don’t mean you have to post extremely high quality videos to build a huge following and be famous. But I believe the best way to approach social media is to see it as an online resume. The biggest aspect that I think is the most beneficial is just to post something. Post anything so that not only people who do not know you may be able to see you and your abilities, but also the people who already know you can see what exactly you have been up to recently. I think this is a very cruicial part of the music industry and from my experience, it has been the basis of my entire career up to this point. There have been so many occasions for me where social media has translated into real life gigs.

From meeting new people online to becoming close friends in person that connected me to an opportunity in the future, to just posting I was in a city and someone sends me a message saying “Hey, I saw you were in town, are you available for this gig next week.” Those are just two examples of hundreds, but one big thing I’ve noticed recently is that whenever I try to refer a friend or aquaintance for a gig or substitute situation, one of the first things I am asked is “What is their Instagram?” Regardless of me knowing someones full potential myself, some people want to see it with their own eyes, and that is the exact reason why I feel strongly about approaching social media as an online resume.

MA: Your chops have grown immensely since you were working on a cruise ship. How did it affect your playing and philosophy on the instrument?

DC: Working on the cruise ships really changed my musicianship more than anything. I was fortunate enough to work with a highly experienced musical director named Michael Daigeau who is a Grammy winning Trombone player who worked with many artists such as Stevie Wonder, Earth Wind and Fire, Louie Belson, The Temptations, etc… This man taught me so much in the short amount of time I worked with him. From rehearsal etiquette, how to work with different artists, playing confidently, not wasting other peoples time, being prepared for whatever situation, and how good leadership affects productivity and overall musicianship in a band.

Working on the ships with many artists every single day with Michael’s leadership really refined my playing and matured it in a sense. Not only did my sight reading chops improve immensely, but my overall self-confidence did as well. I learned that in any situation it is my job first and foremost to make sure the rest of the band feels comfortable before I focus on that crazy quintuplet lick I can throw in at bar 67 before going into the Chorus.

MA: What is your biggest challenge as a professional musician living in LA?

DC: If I am going to be completely honest, it is money. I don’t want to sugar coat it by any means. Making a living as a musician is difficult, and I am sure that if you talk to any musician fresh out of college that just moved to a new city trying to make it in this industry, you will hear the same thing. With many things in this industry being so last minute it is truly difficult to plan months ahead of time, unless you are working a major tour that is well planned in advance. But if you are not, then it is not an uncommon thing to wonder how you are going to make money to survive after the next month.

Being a professional musician in LA is truly a grind, and I understand fully why this lifestyle isn’t for everyone. It is difficult to live without stability at times, but it is also that uncertainty that thrills me in many ways as well. One thing I’ve grown to love is that you never know what could be waiting for you around the corner, and I have been truly fortunate that whenever I seem to be struggling, something always seems to arrive at my doorstep so I can continue to step on forward and up! There are definitely times of struggle, but whenever something does come up I am constantly reminded of why I’ll never let this dream die until I accomplish it and more.

MA: Where do you see your drumming taking you?

DC: Honestly, I have no idea where I’ll end up! I’ve always had very specific goals in mind for each part of my life, however I am only 24 and I have accomplished many of those goals and even exceeded my expectations many times over already. As I said, I am very fortunate to have amazing friends and family to support me along this journey and I know the one thing I want to do is to give back to the world even more than what has been given to me in my life. My current goal right now is to work with artists at the highest level I can, and to share my entire story from start to finish.

Something along the lines of “How I started playing Rock Band in my basement to one day (hopefully) playing Madison Square Garden.” There are many disconnects in the music industry and one thing I’ve noticed growing up is that there is no set path to being a professional musician, but maybe if I can share my path with the world from start to finish, then maybe I can inspire someone to take the first step on their path.

MA: Whatever path David’s drumming takes him you can bet it will be entertaining.

For more information, visit David at:

Website: http://www.davidcoladrums.com/

Instagram: https://www.instagram.com/davidcoladrums/

Facebook: https://www.facebook.com/DavidColaDrums/

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MD 2020 Readers Poll

Modern Drummer has released their ballot for the 2020 Readers Poll. Unlike in recent years the ballot has blank spaces instead of providing nominees. This gives the voter more freedom in selecting their candidates. You can access the ballot online at https://www.moderndrummer.com/article/modern-drummer-2020-readers-poll/

Here are my choices:

  • Hall of Fame : Jim Keltner
  • All Around : Chris Dave
  • Up & Coming : David Cola
  • Rock : Steve Smith
  • Jazz : Jack DeJohnette
  • R&B : Brian Frasier Moore
  • Live : Rich Redmond
  • Studio : Kenny Aronoff
  • Percussion : Sheila E
  • Soloing : Tony Royster Jr.
  • Groove : Steve Jordan
  • Double Bass : Dave Lombardo
  • Album : INXS: Live Baby Live Wembley Stadium (Jon Farris)
  • Method Book : Beats Exotiques: Drum Grooves for Independence by Gary Leach
  • App/Online Instruction : Drumeo
  • Clinician/Educator : Mike Johnston

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Krupa’s Drug Bust

The New York Times, January 21, 1943:

GENE KRUPA IS ARRESTED

He Denies He Sent Boy to Get Marihuana Cigarettes

SAN FRANCISCO, Jan. 20 (UP) – Gene Krupa, swing band leader, pleaded innocent today to a charge that he contributed to the delinquency of a minor by sending a 17 year old boy to his hotel room for marihuana cigarettes. Judge Thomas J. Foley continued the case to January 26 on a motion by defense attorney, J.W. Ehrlich. Mr. Krupa was arrested last night by Federal narcotics agents after appearing at a local theatre. In continuing the case, Judge Foley made public a statement which the youth, John Pateakos of Bedford, Massachusetts, made to the narcotics agents. The District Attorney’s office said that Federal agents arrested Pateakos and found marihuana cigarettes in his possession. Pateakos told the arresting officers, the District Attorney’s office said, that he had been sent to the hotel room to get the cigarettes and that he was to take them to the band leader at the theatre. At the city prison, where he was booked and released, the band leader made a general denial of the charges “as I understand them.”

The New York Times, May 19, 1943:

Krupa Sentenced in Drug Case

SAN FRANCISCO, MAY 18 (AP) –Gene Krupa, well-known band drummer, was sentenced to serve ninety days in the county jail and fined $500 after his plea of guilty today to a misdemeanor charge in a narcotics accusation. Superior Court Judge Thomas M. Foley said that a felony charge against Krupa for allegedly inducing a minor to transport narcotic marijuana cigarettes would be brought to trial June 8. The prosecution charged that John Pateakos, 20 year-old property man and valet to Krupa, was arrested in possession of marijuana cigarettes after Krupa allegedly sent him to his hotel room for them.

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“Pretty” Purdie

Bernard “Pretty” Purdie is known as being one of the most recorded sideman in the history of music. Perhaps his biggest contribution to the world of drumming is his renowned drum pattern the Purdie Half-Time Shuffle. This is a shuffle variation with a slick bass drum part and the addition of syncopated ghost notes on the snare drum. Variations on this shuffle can be heard on songs such as Led Zeppelin’s “Fool in the Rain”, the Police’s “Walking on the Moon”, and Toto’s “Rosanna.” Purdie uses the pattern on Steely Dan‘s “Home At Last” and “Babylon Sisters.”

According to Purdie the shuffle’s origin goes all the way back to his childhood. In an interview with NPR he recalled, “It all came about from the locomotion of the railroad tracks because I lived next door to the trains that were going to Washington, to Baltimore, chickeda-chickeda-chickeda.”

The first time Purdie broke out his signature beat, he was in the studio recording with Steely Dan. According to Purdie they didn’t want a shuffle but they were looking for something in half-time. “I’ll give you the Purdie shuffle.” He said. They said, ‘what’s that’? And I said, well, I’ll show you. It’s half-time, funky, laid back, without thinking it’s a shuffle.”

“The way Bernard played stuff he always had some unique stylistic thing that you could never imagine in advance and nobody else could do,” said Steely Dan’s Walter Becker. And the Purdie Half-Time Shuffle was born. The technical explanation is this: The backbeat (2 and 4 in a regular shuffle) happens half as often, only on beat 3, whilst maintaining the triplet subdivision. The Purdie shuffle has polyrhythmic layers to it, which can bring out different elements of the groove in a composition.

Purdie has said he is flattered by the versions he has heard by other bands. “You know it when you hear it,” he said, “because when you do, you have to move your feet.”

 

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P4 Practice Pad

I’ve reviewed drum pads here before but none have been as versatile as the P4 Practice Pad from Drumeo. Known for being one of the most successful online drum communities Drumeo worked with educator Pat Petrillo to design this unique training tool. Petrillo is the author of “Hands, Grooves, & Fills.” I’ve yet to come across a drum pad that features four playing surfaces. Each section is elevated to simulate the same movement one would experience around the drum kit. Each surface provides a different rebound.

The large blue section is your standard drum pad gum and is meant to simulate a snare drum. Next to that is a black surface that gives a little and is supposed to simulate a rack tom. To the right of that is a white area that is less responsive and is supposed to simulate a floor tom. Top red level is hard and emulates a cymbal to act as a ride.

I had a great time moving about the pad from section to section as if I was moving about the kit. You can also use the pad in a traditional manner and focus on specific surfaces for specific exercises.

According to Drumeo there are three specific areas of improvement the P4 will provide:

  • Speed and fluidity around the drum-set
  • More consistency and accuracy on all surfaces
  • More musical and creative practice sessions

According to Petrillo the P4 helped his students to replicate the feel of moving around the drum set and work on independence techniques. In addition to being able to practice drum set-like exercises anywhere, you can do so in a quiet fashion. Just throw the P4 in your bag and pull it out whenever you want. I highly recommend this product as one the most dynamic practice tools I’ve ever had the pleasure of using.

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