Drum Lessons: FAQs

DRUM LESSONS, FAQs


Lots of frequently asked questions regarding private lessons. Here is your cut out and keep guide.


Lessons take place at Bell Studios, London W3


Teaching days are Monday, Tuesday and Wednesday, a full list of current dates is available on request


Weekend slots are occasionally available by special arrangement


Each lesson is custom designed to meet your specific requirements. Prior to our first meeting you will be sent an evaluation form wherein you can give details of your background, experience and goals. This way we hit the ground running and no lesson time is wasted.


Each lesson is supported by written feedback, practice recommendations and notation examples. over time this will grow into your own personal, bespoke drum method.


The teaching room is air conditioned and all equipment is premier league quality, and all scrupulously maintained by Bell percussion.


Unsurpisingly, jazz and big band playing are specialist areas, although there is much for players of other styles as my personal methods are not genre specific and can be applied equally effectively to pretty much any style of playing. Aspects such as creativity and how to develop it in your drumming are of course universal.


I don't teach the Moeller method. My approach to technique is simpler, more natural and logical.

You don't need to be pro standard to come for lessons, although a year or two of decent experience is probably the minimum requirement.


Frequency of lessons is your call. Once a month, once a year or once in a lifetime; whatever suits you.

Everybody has different calls on their time and of course, money. You are under no obligation at all and come ack when you have asborbed the study material and are ready for more. Don't waste my time and your money by booking a repeat lesson if you are not ready.


You don't need to bring anything apart from a pair of sticks, a positive attitude and some ambition. If you forget your sticks Bell have all the major brands in stock, and if you forget your positive attitude and ambition I'll take care of that.


To receive an evaluation form and current availability PM me with your email address.

For more information about clinics, masterclasses, personal tuition, guest appearances or any of my bands click here

Big Band Drumming Part 2

In this second part of four we are going to take a more in depth look at the key elements of timekeeping required for big band drumming. Most important of all is that you should have a good, strong, compelling time feel which ‘drives’ the big band at the same time generating that all-important quality of ‘swing’.

We know that the evolution went from snare drum press rolls to swinging hi hats and eventually to the vast majority of our timekeeping being centred on the ride cymbal.

The ride cymbal, together with the stepped hi hat, is what the other musicians are listening to in order to feel the pulse so the big band can play together cohesively. The ride cymbal should be the dominant sound coming from the kit and should not be overwhelmed by snare or bass drum.

Irrespective of the style of music you choose to play, I firmly believe that the path to authenticity comes through having the right internal balance of dynamics between the hands and feet. Visualise four faders on a mixing desk when you want to vary your internal balance. It’s a really important skill to be able to vary the dynamic levels of each to make the overall sound of the kit ‘sit’ as nicely as possible. I teach this concept and call it ‘Independence of Dynamics’.

There is a great deal of debate about the interpretation of the jazz ride cymbal pattern with specific reference to the placement of the 'skip' note. It is the tempo of the music, which truly determines which interpretation you should opt for. The general rule of thumb is that the faster the tempo the straighter the eighth notes on beats 2 and 4 should be. If I hear a jazz drummer playing a very fast ride tempo with too much triplet it creates a sensation of ‘stop/start’, and can sound very stilted. Experiment with playing the jazz ride pattern at a variety of tempos and consciously alter the degree of ‘swing’ on beats 2 and 4.

The bass drum is the foundation of the drum set in the big band rhythm section, and the ability to play a light 4 in the bar (usually referred to as ‘feathering’) is an absolute must. The quarter note bass drum should be at such a low dynamic level as to be unobtrusive. It should support the ‘walking’ 4 in the bar from the bass player and not clash or overwhelm his lines.

Debate has raged about the feathered bass drum for years. Whether or not to use it is entirely to do with the context of the music being played; for ‘old school’ big band charts (Miller, Benny Goodman, early Basie, Ellington etc) four on the floor is an absolute prerequisite. Where more contemporary material is involved you might want to use the bass drum solely for comping in the rhythm section and accenting horn figures.  The bottom line is to use your ears, know your music history and listen to what is going on around you. In order to be a fully formed big band drummer this bass drum technique is something you absolutely must master, and then decide when to use it.

A lot of drummers forge glittering careers by playing very little more than a solid 2 and 4 in the left hand. In the world of big band and jazz we have rather more to do. A big band makes a big sound when the whole ensemble is playing fortissimo, so just to play ride cymbal alone, without support from the left hand and bass drum, might not generate sufficient energy to kick the whole band when required. The left hand has many tasks, the first of which is to support the ride pattern to enhance the energy and forward motion of the music. This we refer to as comping. To develop our left hand comping skill we are going to play each swung eighth note in turn until it feels really comfortable.

Using a click in practice

I am frequently asked about the benefits of practicing with a click. Undoubtedly this is something that will sharpen up your sense of time and help you to internalise key points on the metronome, a great skill, which is lacking in far too many musicians. However my recommendation is that you spend half your practice time working with a click and no more.

As drummers we need to be able to take charge of the pulse of time, and whilst a click will undoubtedly enable you to hone your skills it is important that you can play strong, confident, and consistent time without any assistance. Work with the click, but don’t make the mistake of becoming reliant upon it. 

Five Key Figures, part 2. Swing and Beyond.

Buddy Rich (1917-1987)

In all the pantheon of big band drummers there is one name that stands above all others. Buddy Rich. Often misunderstood and underestimated particularly by the self-appointed jazz intelligentsia Rich had spectacular facility, which was matched by a capacity for creativity. That his musical mind was every bit as fast as his hands is self-evident and for me it is this virtually unique quality that separates him from his contemporaries. Take a look past the chops and check out what a swinging accompanist he could be too. Whilst there is much essential listening in his work as a sideman in the 30’s, 40’s and 50’s, for me it is the legacy of recordings with his own band from 1966 onwards which epitomise his mastery.

Top tracks

‘Readymix’ (Swinging New Big Band)

‘New Blues’ (The New One)

‘Time Being’ (Very Alive at Ronnie Scott’s)

Louie Bellson (1924-2009)

In terms of speed, clarity and facility Louie was second only to Buddy Rich, and often a very close second at that. Have a look on YouTube for a video of him at the Cork Jazz Festival with his big band in 1980 and you will see what I mean. Furthermore Louie excelled as a composer and arranger. He was truly an all round musician with a skill set that would be extraordinary even by today’s standards, and yet he was doing it all as long ago as the 1940’s. He will of course be remembered as the pioneer of double bass drum playing, but for me, perhaps more importantly, I consider him to be the father of the modern drum solo; whereby a drum solo becomes a standalone composition with a beginning, middle and an end. Duke Ellington once described him as “The world’s greatest musician”, and he may well have been right. An extraordinarily gifted man whom I was proud to know.

Top tracks

‘Skin Deep’ (Duke Ellington ‘Uptown’)

‘Conversations with B, L & K’ (‘Conversations’)

‘Concord Blues for Blue’ (Louie Bellson Big Band ‘Dynamite’)

Shelley Manne (1920-1984)

In an era where the world of jazz drumming was almost completely dominated by Buddy Rich and Max Roach, Shelley Manne broke through and achieved national stardom alongside these two heavyweights. Universally respected for his time, creativity and musicality he achieved international prominence on joining Stan Kenton’s band in 1946. Manne was very much a product of the Dave Tough, Jo Jones school of playing and whilst a capable soloist his priorities lay elsewhere. He was a pioneer in many ways, not the least of which was he was one of the first of the drum stars of the big band era who went on to forge a career in the Hollywood studio scene, and at the same time maintained a prolific recorded output as a jazz player being a first call for the West Coast movement and even ran his own jazz club for a number of years. Check Shelley out in both big band and small group settings.

Top tracks

‘Artistry in Percussion’ (Stan Kenton)

‘Tale of an African Lobster’ (The Big Shorty Rogers Express)
This track was a personal milestone in developing a good ear. As a small child I thought the drum intro started on the downbeats  (one and two and three four) but as I matured it dawned on me that Shelley starts the pattern on the and of four. 

‘Poinciana’  (Shelley Manne Live at the Blackhawk Vol 1)

Don Lamond (1920-2003)

Very much in a similar groove to Shelley Manne, Lamond’s place in drumming history is as one of the great modernisers of the big band drumming style. It has been said that when Lamond came to prominence in the late 40s even Buddy Rich updated his approach. Lamond had the unenviable task of succeeding the legendary Dave tough in Woody Herman’s band, which he succeeded in doing to memorable effect. An early adopter of be bop concepts in the context of big band music, His 1947 recordings with the Herman band are notable for a much lighter, ride cymbal focussed groove than was the case in Krupa’s heyday some ten years previously and he also started to ‘drop bombs’ with the bass drum, to use the parlance of the era. Lamond’s calf head bass drum sound on these recordings is without doubt one of the best in drum history. Like Shelley Manne, in later years he went on to forge a highly successful career as an in demand studio player.

Top tracks

‘Keen and Peachy’, (Woody Herman)

‘Mountain Greenery’, (Ted McNabb and Company)

‘Birth of a Band’, (Quincy Jones)

Ed Shaughnessy (1929-2013)

Immediately recognisable to millions of Americans on account of his decades of service in the house band of Johnny Carson’s ‘Tonight Show’, Ed Shaughnessy had one of the best regular gigs in the world, which he thoroughly deserved. An outstanding example of a player who managed to keep his playing up to date without ever losing contact with his swing era and be bop roots. In what little time he had off from his TV gig he was also a very able small band jazz drummer (big band drummers aren’t always, and vice versa!) as well as an articulate and informative clinician. Ed had the perfect blend of groove and chops and constantly dispelled the nonsense about these two qualities being mutually exclusive. Check out Shaughnessy’s legendary drum battle with Buddy Rich on Youtube. It just stops short of necessitating a steward’s enquiry but Ed gets about as close as anyone ever did.

Top tracks

‘Walk on the Wild Side’,  (Jimmy Smith, ‘Verve Ultimate Cool’)

‘Shawnee’ , (Tonight Show Band Vol 1)

‘Everything’s Coming Up Roses’, (Broadway Basie’s Way)

For more information about clinics, masterclasses, personal tuition, guest appearances or any of my bands click here

Remain or Leave?

I've been having drum stick issues of one sort or another for a little while and am contemplating a referendum regarding the future, as they are all the rage just now.

So the question is remain or leave.
Stick or twist to put it another way.

Etiquette: What To Do When Meeting A Famous Drummer

Pass the port to the left, eat asparagus with your fingers.
Use the butter knife to get the butter to your side plate. Then spread it using your own knife.
Endeavour to avoid stupefying, poleaxing  flatulence when meeting royalty.
You know the score.
Which glass, which knife and fork?
When in Rome etc etc.
At the dinner table in China nobody takes a drink until everyone has a full glass (after which it's every man for himself but that's a different matter!)

Sometimes etiquette can be a minefield, but if you just keep an eye on what other people are doing should you find yourself in an unfamiliar social circumstance then the chances of coming unstuck can be minimised.

However, of far greater relevance and interest to regular readers of this blog is a brief but hopefully helpful guide to recognised protocols should you meet a well-known drummer you admire as you go about your daily business.

It's easy to become a tiny bit awestruck when someone you have seen in a magazine, on TV, online, on social media or at a live performance is suddenly there in front of you, large as life.
Imagine what you might do or say if you were to bump into Steve White doing his shopping in Morrison's, Ash Soan in the queue at the petrol station, or perhaps former Clash sticksman Topper Headon enjoying a day out at Chessington World of Adventures.

Famous drummers; they're just like you really.
Real people in other words.
Here then are a few simple dos and don'ts which hopefully you will find useful.

Just be yourself.
Don't point and go "a-a-a-a-a-a-a-a-a" if you find yourself lost for words.
Don't say "Do you remember me?" or "I bet you don't remember me", that conjures up images of the old joke about the Siamese twins, one of whom used to play the trombone.
Ask questions about playing. It's fine.
Ask questions about equipment, that's fine too.
Don't say anything along the lines of "Do you know who my favourite drummer is?" Professional drummers in many cases sight read, we don't mind read.
Take selfies. that's good too. Certain players made need a moment to adjust their hair, for many others however this is unnecessary.
Don't give them your 'publicity package', ask them if they'd like to watch a video of your playing or to give you industry contact details in the hope of getting endorsements.

Don't ask them to buy you a beer. Just because a drummer is in the public eye it does not mean they are on the rich list, and this brings with another set of considerations.
If they are rock drummers they probably have much, much more money than you.
Jazz drummers on the other hand might view your kid's piggy bank with envy.
If you are extremely wealthy the popular drummer will not feel ashamed should you feel inclined to offer to finance their upcoming project be it a recording, tour, educational product or whatever. You can offset it against tax as well. Should you feel moved by such philanthropic urges a word of caution. Get everything in writing as there are one or two unscrupulous characters who might use your generous donation to help support the GDP of certain Central American republics.

Returning to the subject of adult beverages or cold drinks it is absolutely fine to offer to purchase same for well-known drummers. This never causes offence or gets taken the wrong way. Fact.

I've said before that the main difference between rock and jazz drummers is that rock drummers have roadies waiting to take their drums away after the gig.
Jazz drummers have debt collectors.

But I digress.

The oft repeated received wisdom is that you should never meet your heroes as they can disappoint you in real life.

Over the years I have met all kinds of drummers, some were people I admire tremendously and actively sought out, others I bumped into in the line of work.
Here are a few thumbnail  reminiscences;

Louie Bellson, complete and utter prince of a man, would do anything for you; humble, generous with his encouragement and an ego free zone.

Buddy Rich, complicated, sometimes charming, other times prickly. Totally unpredictable. It often felt as though a storm might kick off at any time, just like his playing.

Kenny Clare, the first famous drummer I ever met. Like so many noted players very generous with his knowledge, encouraging to a (then) young player hoping to make his way in the world.

Mel Lewis, dry, funny, no bullshit. Told it as he saw it and didn't sugarcoat anything. The first time I met Mel was at a summer NAMM show in New Orleans in 1985. Istanbul cymbals had just launched and Mel was one of the key artists. Jack DeJohnette was also on the stand and drawing a big crowd. Mel was quietly in the corner minding his own business so I sat and talked to him. When I asked to take his picture he began playing the ride cymbal. I learned more about the ride pattern in the ensuing five minutes or so than I had assimilated in the preceding 22 years. Thanks Mel.

Steve Gadd, (see Bellson, Louie).

Billy Higgins, stoned. Played great nevertheless.

Ed Shaughnessy, disappointing. Very offhand and unfriendly, maybe I caught him on a bad day. Nevertheless I think no less of his fabulous artistry on the drums.

Mitch Mitchell, the greatest drummer the world has ever seen. I know this because he told me so himself. Rude, condescending and the classic example of how not to deal with people. Shame, I had some respect for one or two of the things he had done as a player but such as it was evaporated in a split second.  Thanks for the free lesson in people skills.

Ed Thigpen, the perfect gentleman who was as immaculate a human being as he was a drummer, especially with a brush in either hand.

Ian Paice (see Bellson, Louie and Gadd, Steve). Paicey told a sold out concert hall that I was the closest thing to Buddy he had ever heard. That meant a huge amount and came at a time when I was very much a new (albeit 44 year old) face on the British drum scene. For someone so revered in the drum world to say something like that about another player who was not at all known at the time is one of the best lessons in generosity of spirit that I have ever learned.

In conclusion two very old sayings;

'It's nice to be important, but it's more important to be nice'.
To have any sort of acclaim or public profile as a player is a privilege, and it's good to remember the people who support you and put you there in the first place.

'Be nice to the people you meet on the way up because you'll meet them again on the way down'.
So true, but if you play well enough that people cannot possibly ignore you, and treat people as you yourself would wish to be treated there's always a chance that you'll stay at the top forever!

For more information about clinics, masterclasses, personal tuition, guest appearances or any of my bands click here

Making Your Mind Up

There are few things I dislike more than being told what to do.

I didn't like it when I was a child, I didn't like it when I was an adolescent, and I don't like it now.

If for no other reason than that you will surely understand how pleased I will be when Friday June 24th rolls around. In 1981 Bucks Fizz instructed us that the time would come for making your mind up and that can't happen soon enough.

Irrespective of which side of the argument you favour (and my point of view is nobody's business but my own) I shall breathe a massive sigh of relief when the politicians, pundits and commentators draw a line under the whole damn thing and move on to the next hot topic.

Even more than that I shall be pleased when social media gets back to selfies, your dinner, cats and event invites.

Honestly, the moral superiority, the hubris of supremacy of one's opinion, the temerity to instruct one's acquaintances which way they should vote is staggering if at the same time disappointingly predictable.

And then there are the lists of names. Names for, names against. I even saw one list containing two former IRA terrorists being offered up as a 'positive'. Try squaring that away with anyone who grew up in Birmingham in the 1970's.

What do your opinions have in common with your vintage snare drum, your old K thin ride cymbal, your vintage watch and your classic car?

Simply this.
They're worth a little bit less than you think.
In spite of being very precious to you maybe you ought to just hold on to them instead.

Whenever I make any kind of major decision (and I'm in the throes of one at the moment) I'll start with a blank piece of paper and try to pull together all the salient facts. That's facts, not vested interests disguised as facts, which can take a bit of filtering.
The pros and cons.
Once I feel I have the information I need the decision gets made.

This is exactly what I shall do a week from today.

Vote wisely and with consideration and may you get the outcome you wish for.

But most importantly of all, vote.
Whichever way you prefer. It's your prerogative and your democratic privilege to decide for yourself.

For more information about clinics, masterclasses, personal tuition, guest appearances or any of my bands click here.

Big Band Drumming, Part 1

If you are serious about the drums then you need to know about the heroes of big band drumming, the music they made and why they were pivotal in the evolution of our instrument.

How many of you players out there are using a 'one up, two down' set up? I hope all of those of you who are know that this arrangement of drums was introduced by Gene Krupa.
Krupa was the first drumming 'celebrity' for the want of a better expression. He propelled the star drummer as both team player and soloist into the mass consciousness of America and later, the rest of the world.

The drummers of this time were not college educated, they didn't have drum camps, clinics or the internet. Most of the study material that was available had its roots in the rudimental tradition. Krupa and Buddy Rich were two among many who gave their names to tuition books, but even they shone comparatively little light on the drummer's function in the band when you compare them to what we have available today. Of course there were legendary drum authorities back then like Billy Gladstone, Sanford Moeller, Henry Adler, Murray Spivak and countless more, but the drummers of the day got the bulk of their education on the bandstand, on the bus and on the road.

In order to be a big band drummer you needed ability, dedication and experience. Not that these are not prerequisites of drummers of all styles who wish to pursue a performing career, before or s evbut this was a time when hit making, chart topping music was at an unprecedented level of sophistication as never before or since.

Over four parts I'm going to be discussing some of the great players as well as attempting to give a little insight into some key concepts of the style.




There is probably no era or musical style that influenced the development of the modern drumset as we know it today than the golden age of big band drumming during the 1930s and 1940s. Key elements of the drum set; hi hats, ride cymbals, tuneable toms (a big innovation for the time) all first came into common usage during this period. In addition a great deal of what we play on the drum set across all manner of styles and genres can be traced back to the swing era. One key player made the biggest impact, and to this day is irrefutably one of the few genuine ‘star’ drummers, the legendary Gene Krupa. Krupa simplified the drum set, tripping away of ‘traps’, temple blocks, effects etc, leaving us with bass drum, snare drum, tuneable toms and cymbals.


The biggest innovation of the period which changed drumming forever was the introduction of the hi hat. Prior to this drummers did a great deal of their timekeeping on the snare drum using press rolls and embellishments, but with the introduction of the hi hat a whole new rhythmic landscape opened up, and it was Papa Jo Jones (1911-1985) who was generally acknowledged as the originator of the jazz ride pattern that we know today.

I get asked very often why many of the players of the era would hold the hi hat cymbals between the thumb and first finger whilst playing with the right stick. Two possible answers are as follows. Firstly, prior to the development of the hi hat drummers would often keep time by playing a cymbal with one hand and choking it with the other. Thus creating a primitive version of the ride pattern we know today. Ride cymbal timekeeping didn’t play a major part in drumming until years later. The cymbals of the swing era were too small and thin to carry a sustained ride beat. Also, it’s highly likely that the relatively primitive engineering of those early pedals made control of the cymbals difficult with just the foot alone.

Something we always need to keep in mind as drummers is that it’s important to be authentic both in the manner in which you play and crucially your choice of equipment. Ultra heavy duty cymbals designed for highly amplified heavy metal aren’t going to cut it in a big band. I like a medium weight bottom cymbal with a slightly lighter one on top. The A Zildjian New Beats are ideal in this regard. If the hi hat cymbals are too heavy they will have too much fundamental (stick sound), and not enough harmonic (wash). It’s also vitally important that the hats make a bright, clear, ‘chick’ sound when stepped with the pedal. In spite of its inherent subtlety, that 2 & 4 with the left foot is crucial to a successful big band drummer. That’s what the musicians are listening to in order to hear the tempo clearly.

Similarly the ride cymbal should be thin enough to double as a crash. When you’re on stage some of the musicians are going to be a fair distance from where the drums are set up. They will want to hear your ride beat clearly, but the wash is important too, so just like when choosing hi hat cymbals it’s important to have the right blend.

When you play the ride cymbal you should use a really relaxed technique. There are two particularly good reasons for this. Often you maybe called upon to play the swing rhythm at faster tempos, and if you’re choking the stick and becoming tense your endurance will be seriously compromised. Also, the more relaxed you are, the better quality of sound you will get. The legendary big band drummers were all revered on account of having a great touch on the instrument. Personally I play downstrokes on beats 2 and 4 and upstrokes on 1 and 3. The skip note (2 and & 4 and) is part of the upstroke motion. 

In addition to having the right sort of cymbals for the job we need to take a look at drum tuning and head selection.  The first thing to bear in mind is that just like in the heyday of the big bands, the music is largely played largely acoustically. More often than not your kit will have few if any mics, you’ll quite possibly be working without monitors and most importantly of all you are playing with acoustic instruments and your drum sound needs to reflect that by being wide open and resonant, so single ply heads are going to be the order of the day.

The snare should be tuned so that it bright, crisp and clear. That means no tape, and no damping. I favour a fairly tight batter head and medium tension on the bottom head. Many times drummers make the mistake of over tightening the bottom head to the pint where it chokes up and won’t resonate effectively. After all you wouldn’t expect the guitarist in your band to over tighten that really thin top string to the point where it simply won’t produce a note, (unless your guitarist is an idiot of course).

The typical big band drum set up takes up back to Gene Krupa’s legacy yet again. Krupa, along with Buddy Rich, Louie Bellson, Sonny Payne, Butch Miles and countless others favoured one hanging tom and two floor toms. My personal setup has been adapted inasmuch as I’ve reduced the tom sizes to 12, 14 and 16 as opposed to the more traditional 13, 16, 16 configuration.  The 12 is tuned reasonably high, and the 14 is medium low. There should be a reasonably wide interval between the two pitches and this should resolve pleasingly when rounded off with a bass drum note. Check the video for an example of this. The second floor tom is a great place to keep your towel as every Buddy Rich fan knows. I tune the 16 tom quite low, to the point where it’s just on the cusp of bass drum frequency. The reason for this is that when I’m doing swing style floor tom solos I like to give tham a modern twist by incorporating contemporary linear ideas. There will be notation and video examples of this in the fourth part of this series so stay tuned.

Lastly let’s look at the bass drum. Getting the ‘right’ bass drum sound is absolutely critical to sounding good and authentic in the big band rhythm section. A single ply head, sometimes with an old school felt strip damper, is ideal but not always essential. Of far greater importance is the type of beater and the technique involved to get the right sound. Vater have just introduced a vintage style beater, which is perfect for achieving that warm, round tone, which blends perfectly with the acoustic bass.

Okay. Now we’ve got ourselves geared up with all the right tools to become the next hero of big band drumming. In the next part we’re going to begin to take a look at some of the key techniques required to set you on the road to swinging stardom.

I'm currently working on a book which will break down and analyse all of the key techniques required to play big band drums, both as time keeper and soloist, with authority, authenticity and conviction.



Listen and Learn

There are many great compilation recordings available which give you the opportunity to compare and contrast a whole range of players. Legends like Krupa, Jo Jones, Buddy Rich, Sid Catlett, Ray McKinley and many more besides. The ‘Jazz Drumming’ series on Fenn music is especially recommended if you want to get right back to the roots of the style. However we need to bear in mind that the music has progressed right up to the present day, so throughout this series I’m going to nominate 20 great big band players from all the eras and endeavour to explain what made them great and recommend recordings for you to check out.


Chick Webb (1907-1939)

A name spoken with awe by his contemporaries and those who followed him, Chick Webb was undoubtedly an intuitive rhythmic genius. He triumphed over the adversity of disability and in his short life left a legacy of recordings, which sound remarkable even today. Power, energy, creativity, and breathtaking facility were his trademarks. Disabled and short of stature Webb nevertheless cast a giant shadow from his residency at Harlem’s Savoy Ballroom and changed the life of every drummer fortunate to see him play live.

“He represented true hipness. His playing was different, original and completely his own”. (BUDDY RICH)

TOP TRACKS

‘My Wild Irish Rose’.
‘Liza’.
‘Harlem Congo’. All by Chick Webb and his Orchestra.


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Gene Krupa (1909-1973)

Arguably the biggest ‘drum star’ of them all. Krupa cut his musical teeth in the bustling Chicago Jazz scene of the late 1920s but it was as a star sideman with Benny Goodman’s orchestra that Gene achieved national and international acclaim, and the legendary recording ‘Sing Sing Sing’ blazed a trail in the evolution of the drum solo. An extraordinarily charismatic man whose appeal extended far beyond specialist music fans, inevitably Krupa branched out as leader of his own big band in 1938. He had a unique career with recordings, live appearances and frequent cameos in Hollywood motion pictures. After the big band era had waned he led many small groups and was a regular on Norman Granz’s Jazz at the Philharmonic concert tours through the 40s and 50s.

“He had a unique feel, a groove, a hell of a groove when he played”. (STEVE GADD)

TOP TRACKS

‘Sing, Sing, Sing’. Benny Goodman and his orchestra.
‘Leave Us Leap’. Gene Krupa orchestra.
‘Drum Boogie’, Gene Krupa trio, The Drum Battle.

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Jo Jones (1911-1985)

‘Papa’ Jo Jones came to prominence as one quarter of what was dubbed the ‘All American Rhythm Section’ when Count Basie’s band arrived in New York from Kansas City in 1937. Jones almost single-handedly defined the role of the hi hat cymbals in the rhythm section. His endlessly propulsive, light and swinging time created an airborne feeling in the Basie rhythm section, and in the countless small groups he appeared with until the 1980’s. Of particular note is a BBC TV recording of him soloing on the Duke Ellington composition ‘Caravan’ recorded at Wembley town hall in 1964. An innovator and consummate musician, who used showmanship to great effect without it compromising the integrity of his playing.

“King of the hi hats, a very tasty drummer, in his heyday I thought he was the best around”.  (JAKE HANNA).

TOP TRACKS

‘Doggin’ Around’. Count Basie.
‘The World is Mad’. Count Basie.
‘The Drums’, Jo Jones.


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Dave Tough  (1908-1948)

You could be forgiven that the point of view that drumming is all about the groove and not the chops is largely a contemporary opinion. However, Dave Tough was half a century ahead of his time in this regard. Technique and showmanship played no part at all in Tough’s approach to the drums, and yet he could light a fire under bands both big and small like almost none of his contemporaries. The esteem in which he was held in the industry was such that in the era of the star big band drum soloist Tough held down the chair with the bands of Benny Goodman, Artie Shaw and Woody Herman without ever playing a drum solo or twirling a stick.

“He had a certain sound on the cymbals that nobody else could do. He was a mystery really”. (LOUIE BELLSON).


TOP TRACKS

‘Prince of Wails’, Bud Freeman.
‘Wild Root’, Woody Herman.
‘The Good Earth’, Woody Herman.

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Sid Catlett (1910-1951)

I have to claim a vested interest here. Although he passed away many years before I was born Catlett (aka Big Sid, immortalised in a Max Roach solo drum composition) has had the most profound effect on my stick technique. Watching him play in archive movie footage I couldn’t help but notice the sheer fluidity and total relaxation in his hands. When you see him play a drum everything looks so natural, relaxed and totally devoid of any tension. I was so impressed by this (Jo Jones had a very similar quality in the way he played) that I was inspired to re-evaluate my approach. Catlett was as much at home with Charlie Parker and Dizzy Gillespie as he was with Louis Armstrong, and was a massive inspiration to the young, upcoming drummers of his time.

“I can swing seventeen men with one wire brush and a phone book” (SID CATLETT)

TOP TRACKS

‘Sleep’. Sid Catlett quartet.
‘Here Me Talkin’ to Ya’. Louis Armstrong and his Orchestra
‘Pound Ridge’. Benny Goodman and his Orchestra.

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Mr PC

What a lucky day it was for me when Phil Collins decided that perhaps big band drumming wasn't really for him after all.

After a brief period of negotiation I met him at the car park of Morrison's in Catford, handed over a small wad of cash and the music stands were mine.

Take a look at me now.

Dough, Ray, Me

This post picks up on the slightly awkward subject of musicians and money once again. Previously I raised the issue of artists and bands performing for free (just don't, please!) and this time I'd like to share some thoughts regarding gigs which do pay, but either a) take forever to do so or b) surprise you by paying far less than you had possibly imagined upon accepting the gig.

It would be nice to think that the performance end of the music industry was exclusively populated by people who are in it for the love of music above all other things, with money taking second place.

Such people do exist.
They are called musicians.

Thankfully the vast majority of people I deal with in the industry behave ethically and reasonably. If a bandleader is taking the risk on concert dates (almost the only remaining option in the sector) don't expect to be paid 24 hours after the gig. That's just a fact of life. Band leaders are almost all fine. There is only one indivdual from whom I insist on a pro forma payment given his past indescretions, and in fairness if he books me that's just what he does.

Agents can be a problem, but with the access to artists and musicians via the internet we are far better equipped to deal directly with clients without the services of 'Mister Ten Per Cent'. (There was such an individual, a real industry character who was an early pioneer of fake tan, so much so that I used to call him 'Agent Orange')

Or Ms Ninety Per Cent as  the case may be.

Some friends of mine were recently hastily booked by an 'event planner' at the very last minute for a function. It wasn't a regular band and a lot of the set list had to be put together on the fly. This isn't unprecedented. There were ten musicians on stage and they had agreed to a fee of £180 each.

However this event turned out to be a rather grand, upmarket affair and it soon became apparent that the hostess was less than pleased with the quality of the entertainment.
Making no secret of her displeasure to the assembled musicians thus;

"I paid £20,000 for this band".

True story.
You do the math, as they say across the pond.

The negotiating process either as an individual player or the leader of a band  is relatively uncomplicated. The price is discussed, you say yes or no. Sometimes it's reasonable to ask for a higher amount about which more later.

Cash flow is frequently a problem as a freelance musician. All too often I hear tales of woe from players who are kept waiting an excessively long time to get paid for gigs they have done. Try getting 90 days free credit from your dentist sometime why don't you? Fill your shopping trolley at Tesco's, head for the checkout and ask for an invoice which you will pay as and when. We really do put up with a lot don't we?

Is it part of the price we pay for the privilege of doing something we love for a living or are we too cowed by the threat of not being called again by some of the more mendacious employers out there?

Don't be fooled into thinking what an avaricious bunch of mercenaries the freelance musician community is. The days of five decade careers with residual payments on everything are long gone. Today's player is just looking for a reasonable day's pay for a day's work built upon a lifetime of development, practice and experience. That's not to say that there have never been outbreaks of greed however. An in demand session drummer of years past (more renowned for his extraordinarily large nose than anything else) was in the habit of demanding in excess of the Musicians Union agreed recording rates. Guess what happened? He lost work to his competitors.

But with the Union largely ineffective in the prevailing free market economy it's easy for unscrupulous bookers to take advantage. I have no idea of current union approved gig rates but I am certain that they bear little or no resemblance to real world remuneration.

One of the problems we all face is supply and demand. Fear of lack of work results in a distinct reluctance to play hardball with tricky employers. Understandably so, but there are times when enough is enough.

I had a particularly acute cashflow problem back in 1997. For some reason '97 had turned out to be a unusually tough year. Having worked pretty much flat out throughout all of '95 and '96 it had become impossible to keep so many balls in the air so I let one of my two main regular bill-paying gigs go. Then my other primary gig folded quite abruptly. We'd seen it coming, but the guy who was booking us always seemed to come up with a new datesheet at the eleventh hour. This time he didn't so all I was left with were a few deps and the odd 'fifty quid jazzer'. (A fifty quid jazzer was a gig which at the time paid you fifty quid cash in hand to play some music you like with some good musicians who you also like. It has been superseded by the forty and twenty five quid variants. In fact, a recent invitation to go clear across town for £25 was thus politely declined; "I'm sorry, I'm not active in that price range".)

Anyway, around about June I received an offer to spend five weeks doing an extended overseas tour. Very good musicians were involved, it was a genre I particularly enjoy, the money was reasonable and the treatment first class.

A minor digression, during the tour I ran into a whole gang of famous American jazz musicians who were out there doing a package tour. The three great drummers involved were Jeff Hamilton, Terry Clarke and Jake Hanna, who were enduring bum numbing bus rides from city to city whereas we were riding in first class on the Shinkansen. Jazz musicians at the bottom of the food chain yet again.

Anyway, back to the plot. We got a small advance prior to leaving, did the tour and came home.

Then we waited.

Then we waited a little while longer, after which we began to wait some more. Phone calls were exchanged, "You had anything yet?" was the usual opening gambit, "No, nothing mate" was the standard reply.
My short career as a self-employed credit controller was effective and I recommend it to anyone. Call the person concerned at 10:30 am EVERY day until you get paid.
Don't be rude, don't be intimidating, be nice or even better, be boring. Engage them in dull conversation with regular interjections as to the true reason for the call. When you call again tomorrow make it sound as if you haven't spoken to them for weeks.

They'll be so desperate to get rid of you it will always hasten a prompt settlement.

In this instance I got a result within five days.
Of course you don't endear yourself to these people by merely asking for what is rightfully yours.
It didn't surprise me that the people concerned were no longer calling me.

But memories fade and eventually the phone began to ring again.............

I took on a 'hit and run' gig in Europe. Flight and hotel, drums and dinner provided.
£200. Not great but I've done more for less.

This was followed by the offer of two short tours, of three and nine days duration. Based on what I had been paid for the previous trip I said yes, the day came, I drove myself to Gatwick and off I went.

First tour successfully completed, drum feature brought the house down every night.
Nice people, decent band, thank you very much.

About three days before the second, nine day tour, I came home from work one evening and just happened to log in to my bank account. Lo and behold, payment for the three days had arrived.

£550
£550!!! In case you thought that was a typo.

With a flight to catch for the next run of concerts in a little over 48 hours I thought it might be time to enter into a little correspondence.

Here it is reproduced. Feel free to copy, paste and adapt it to your specific circumstances should you ever find yourself in a similar predicament.

Good morning ***,
Thank you for the payment received yesterday.
Whilst I had not discussed a sum with you in advance I would have expected the gigs to be worth no less than the date I did for you in December.
Quite candidly I am frankly horrified and beyond insulted by the truly derisory remuneration that you have seen fit to offer me, especially given that there was no further payment of per diems nor any consideration of my parking costs at Gatwick.
I don't need to remind you of the quality of my work and I bring a great deal to your concerts as evidenced by the audience reaction at all three shows.
I would be most grateful if you would outline exactly what you are intending to pay me for the upcoming concerts in **** in order that I might make a decision as to whether or not I wish to be involved. Should you require a steer as to what I would consider acceptable I will be happy to issue a detailed pro forma invoice and we can pursue matters from there.

It didn't take long for the phone to ring. Hasty renegotiation raised the £550 to £700. After all, imagine the cost and inconvenience of changing the flights had I decided not to do the upcoming tour.

So the moral is keep your head, don't fly off the handle, wait until the ball lands in your court and when it does that's your cue to play hardball.

Suffice to say they haven't rung me since and have almost certainly found somebody who will do it at a lower fee, but that's market forces and people want to work.

Sometimes though there can be a distinct pleasure from watching a bridge burning.

Dough, Ray, Me so to speak.


For more information about clinics, masterclasses, personal tuition, guest appearances or any of my bands click here