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ABOUT ME
This is my personal background and biography. Its contents
will hopefully convey how I began playing - in my opinion -
the most complex musical instrument known to man...,
The Drums
Personal Bio:
Everyone has a beginning, for me it occurred when I started
studying and playing drums in 1966 at the age of 14.
Throughout my high school years (1968 - 1971), I played and
observed many other drummers. |
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At this time I was often allowed to stay up late and
watch The Tonight Show. There I saw Buddy Rich and
watched his extraordinary playing skills on the drum
set. I was also privileged to see many other great jazz
drummers perform, such as - Louie Bellson, Joe Morello,
Gene Krupa, Chick Web, Art Blakey, Elvin Jones, Jack
DeJohnette and Roy Haynes. In watching these unique
drummers play I watched closely and then shared with
others of my peers some of the rhythms I had gleaned
while observing what these drummers played and
performed. I also learned the 26 essential rudiments and
began to notice that many of the drummers named above
employed these rudiments to play both beats and solos on
the entire drum kit.
In the summer of my sophomore year, while a member of
the Palatine high school marching band, I was given the
opportunity to begin teaching younger drummers the
various aspects of drumming I had learned in my earlier
years of playing. I continued this endeavor until I
graduated teaching all the 26 rudiments including some
of the various rhythms I had been formulating as new
rudiments on the snare and drum set. It was during this
time that the Percussive Arts Society (P.A.S.), met and
publishing its list of International Drum Rudiments. The
rudiments published were 40 in number and greatly
improved a drummers skill and playing ability. The
interesting aspect of the list is that it’s open-ended -
meaning that other drummers could add to the list, but
the 40 were the standard. I seeing the list I quickly
discovered that several of the rhythmical patterns I had
formulated on my own as rudiments were listed as part of
the 40 standard rudiments.
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My teaching
endeavors continued throughout the remaining years of high
school and into college. In my last two years of high school
(1970 - 1971), I was affiliated with the Illinois State drum
line drumming and rudimental competition. After gradation I
enrolled in Harper College majoring in Music and
participated in the college jazz band. While there I had the
unique opportunity to be under the tutelage of two very
distinct instructors. The first teacher, G. Hicks, provided
me with a golden opportunity as this particular teacher's
father had been taught directly by Buddy Rich. In turn the
father had taught what he learned from Buddy Rich to his
son. Thus, I came under a very direct influence of big band
swing jazz drumming. My second teacher, Mike McClead,
provided me with some very particular skillsin the |
use of
the book Stick Control by George L. Stone. For almost
two (2) years I gleaned many unique aspects of this book
developing my own personal interpretation of its
contents, including how to apply its principles and
techniques unto the drum kit - something most drummers
never think of doing. I also discovered, through
personal experience that this book had been nick-named
"The Drummers Bible" due to its influence throughout the
drumming community. After a time I came to realize that
any drummer worth his ability should use this book
throughout their drumming lifetime. I also learned,
through Mr. McClead, how to finish formulating the
rhythmical patterns I had previously combined as new
rudiments into playable rhythms both on the snare and
drum set. With this knowledge I then transcribed these
rhythmical patterns - known as rudiments - unto paper so
any drummer could play them on either snare or drum kit.
After their transcription I came up with some unique
names for several of these rudiments: the paradiddle
roll, the flam tap diddle, the paracue-paradiddle and
the Latin paradiddle to name a few. I continued my
educational opportunities until 1973 when the military
draft terminated my endeavors. During my tenure in the
military I was 1st chair drummer for the U.S. Navy Drum
and Bugle Corps.
Upon completing my military obligation (1975), I resided
in Jacksonville, FL, and continued teaching (privately),
students from local elementary, junior and high schools.
As a drum and rudiment teacher in Florida I helped
several high school students attain Georgia, South
Carolina and North Carolina State Drumming
championships. In 1995, for medical reasons, I relocated
to the beautiful city of Idaho Falls.
Currently, as a resident of Idaho Falls, I continue my teaching endeavors with students of
elementary school age through adults. Throughout the
course of my life I have taught children as young as 5
years old to adults as old as 70.
Beginning in 2001 I have continued conducting yearly
drum clinics in Idaho Falls as I did in Jacksonville,
Florida. These clinics entail presenting the technical
aspect to playing drums. As I currently have several
students under my tutelage, they take part in these
clinics by illustrating - through playing - various
aspects of technical drumming they have been taught.
Answering questions and teaching specific facets of
technical drumming then occurs from my vantage point as
a jazz drummer.
Education/Training:
1970 - 1971: Member Illinois State Drum line drumming
and rudimental competition.
1971 - 1973: Attended Harper College, Music Major until
drafted into military.
1973 - 1975: Military obligation, 1st chair "U.S. Navy
Drum and Bugle Corps" drummer.
Awards:
1970 - 1971: Awarded best all around and individual
playing for 2 years running as a member of the Illinois
State Drum line drumming competition (associated with
Palatine High School).
Performance Experience and Opportunities:
Played with Banner Thomas, former bassist in southern
rock group Molly Hatchet. During the 1980's I
participated in, and conducted several drum clinics held
in Jacksonville, Florida. Clinics were sponsored by
either Discount Music or Music City of Jacksonville,
Florida. The clinics consist of my students performing,
for those in attendance, various aspects of drumming -
from simple sight reading to memorized sheet music solo
work that include improvisation during the solo. I also
imparted, through lecture, instruction and playing to
those in attendance, some of the nuances and distinct
rhythms in drumming I have gleaned from the many years
of playing. Member Idaho Falls Symphony 2000 season.
In my teaching and performance capacity I employ a Pearl
Export Series drum set. I use Zildjian Avadis cymbals
and a TAMA iron cobra dual base pedal. Currently, I am
the drummer of two premier local jazz bands: Bent Flow
an eclectic jazz band that has recently released a CD,
and Cruze Control a 9 piece mini-big band. I have also
had the privilege of played for the "Tech Tones" an
Idaho Falls 16 piece Big Band, and the Jackson Hole
Conservatory 16 piece Big Band. However, most of the
time I enjoy play the drums as a hobby.
Personal Statement:
Whenever I am asked to instruct someone I try to convey
all facets of drumming, from reading complex drum
scores, to all 40 plus rudiments. I recognize that the
one attribute common to all styles of drumming are the
rudiments. Thus, the rudiments are for drummers what
melodic scales are for other instruments. Clearly, to
overlook them as being boring or non-essential is a
major mistake made by any drummer. The common
misconception about rudiments is that they are difficult
to learn, however, through a proper method of teaching,
they are fun to learn - provided they are taught in the
correct order.
As a performer I employ many of the rhythmical features
that I make my playing both interesting and exciting to
the individual listener and whatever crowd may be
listening.
Well, there you have my personal history . . . So . . .
Remember, keep on Drumming!!!
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