Working Drummer

Gary Hobbs resides just outside Portland, OR, literally steps from the house he grew up in. His father and grandfather were both semi-pro drummers, but the drum bug didn’t bite Gary until his senior year in high school. He attended a Stan Kenton Jazz Camp where he studied with legendary jazz drummer and educator John Von Ohlen, who convinced him to pursue drumming professionally. After a stint in the army, Gary was invited to join the Kenton Band and toured with them almost non-stop for two and a half years. Since then, his hometown has been his home base from which he has commanded a successful career as a drummer and educator. In addition to playing all over the Pacific Northwest, Gary teaches at The University of Oregon. He has traveled the world as a sideman with jazz greats such as Randy Brecker, Anita O’Day, and Eddie Harris, and in his own right as an educator and clinician.

In this podcast, Gary talks about:

The influence of his mentor, John Von Ohlen

Having to turn down the first call he got from Stan Kenton

Networking and hanging – difference between being a presence and being a nuisance

The Kenton touring experience – two and a half years on a bus – and how there is no substitute for that kind of experience

How he keeps his students from developing short-sighted, condescending, or egotistical notions about being a pro musician

How live jazz can and should diversify away from jazz clubs

What “hippopotamus music” is

Gary Hobbs endorses Yamaha Drums and Sabian Crescent Cymbals

This episode is sponsored by Sonor Drums

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We are excited to share a special edition of our 100th episode by bringing you a fun round table discussion among a group of Nashville drummers, AKA “The Cocksmiths”. This round table should have some familiar names as many have been guests on this podcast. It includes: Kevin Murphy, Ben Sesar, Billy Freeman, Tucker Wilson, Kyle Wilkerson, Keio Stroud, Wil Easterwood, Rob Mitchell and Jeff Brown. Missing from the discussion were Russ Whitman & Zack Stewart.

Covering a wide range of ages and music career experiences, this group of friends has evolved into a “support group” of drummers that utilizes its collective experiences as well as sick sense of humor to create a safe space for the members to hang, have fun and be there for each other.

In this podcast, the group talks about:

Playing Cards Against Humanity for drummers

The “origin story” of this group and why it exists

The intentional safe space they’ve created for each other to show support as well as give each other total shit

A group of honest friends, not a “networking” group

Favorite Spinal Tap line / scenario

Favorite Buddy Rich line ever

What would you do if you didn’t play drums

What we need more of / What we need less of

Taking honest advice from your buddies

This episode is sponsored Sonor drums

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London-based drummer and bandleader Pete Cater has built on the traditions of Buddy Rich, Joe Morello, and many others to carve a niche for himself as the U.K.’s keeper of the big band flame. The son of a semi-pro drummer in Birmingham, Pete was gigging with his dad’s colleagues by the time he was in his early teens. Throughout his 20s, he had plenty of work locally in Birmingham and on resorts and cruise ships, but after awhile he felt the need to see what he could do in London. He moved there at age 30

In this podcast, Pete talks about:

His “apprenticeship” – sitting in with and eventually working with the bands his dad played in

How moving to London at the relatively late age of 30 was actually an asset, in that he went there with a lot of seasoning and experience that younger drummers there didn’t have

The integral role that arts funding from the British government played in getting his band going

Concepts of big band drumming, and how they translate to other styles

Playing with authority to gain the band’s trust

The ways in which Buddy Rich is misunderstood, and which lesser-known and sometimes maligned Buddy album is one of his favorites.

What he considers the best book about Buddy

How to emulate your idols in a way that fits your body and your playing

Pete Cater endorses Premier Drums, Zildjian Cymbals, Evans Drumheads, and Vater Drumsticks

This episode is sponsored by Sonor Drums

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Hubert Payne was born and raised in Detroit, Michigan. Although, he was heavily influenced by his father who was a professional drummer, he was encouraged to focus on sports and higher education. During high school Hubert excelled at football and won two State Championships. His athletic skill landed him with a scholarship to play college football. While at Maryville College in Tennessee, he was voted captain by his teammates, and received All Conference honors.

Throughout his youth and into college, Hubert had always retained his love and interest in drumming. But it wasn’t until 2006 that he began working as a professional musician in Nashville. From 2006-2009, he was a member of the Tyrone Smith Revue Funk Band, and decided in ’09 to move to Los Angeles to hone his craft at the LA Music Academy.

In January of 2010, Hubert was tragically attacked by a stranger at a Nashville concert venue. He was stabbed multiple times in the hand and leg. Hubert underwent surgery on a severed hand tendon, and required a year of rehabilitation. Even after sustaining a permanent handicap in his left hand from the attack, Hubert applied the discipline he learned during his athletic career to his musical goals.

Since then, Hubert Payne has landed positions with many nationally-touring country artists including: Love & Theft, Jana Kramer, David Nail, Casey James, Josh Gracin, Danielle Peck, Joel Crouse, and currently (since January 2015) resides as the drummer for Little Big Town.

Hubert added a couple impressive recording credits in 2016 including Little Big Town and Pharrell Williams.

When he is not on tour with LBT, Hubert travels all over the country telling his story. His motivational speeches surround his message of how to “Prepare for the Performance Moment”, which is the routine that Hubert has perfected.

In this podcast, Hubert talks about:

Being a person of color, touring through middle America with a country act and the challenges and opportunities it presents

His gig with Little Big Town

Recording with Pharrell Williams

Creating a recording environment to practice and learn how to perform in the studio

Building a simple recording rig that works

The influence of his pro drumming father

Studying at the LA Music Acadamy

Getting stabbed in the hand and leg at a night club

“Stepping out on faith” and opening himself up to new opportunities

Hubert endorses: Sakae Drums, Vicfirth sticks, Zildjian cymbals, Cymbolt Percussion Dynamics

This episode is sponsored by Sonor Drums

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A Native of Garland Texas, Billy Freeman grew up around local Opry houses and by the age of 12 took over the job as house drummer for the Garland Opry and performed every Saturday night till the age of 18. In addition to the Opry gig, Billy stayed involved in every music activity he could throughout high school. Beyond high school, his passion for drumming continued. 

(From the on-line publication – Nashville Three-Sixty) – By age 20, he was a proven player attracting attention. He did session work and played some gigs with LeAnn’s (Rimes) band members and spent a decade in the Dallas music scene networking and freelancing a burgeoning career. At one time, he was juggling playing with ten different artists. He met a lot of players during his years playing the club circuit and focused on building real relationships from his associations. Billy wasn’t content to be a casual bystander in the Dallas music scene. His intent was to be as present and vital as a pulse in his community, creating a body of work to further and sustain his musical growth.

This experience put Billy on the fast track to becoming an extremely competent player and in 2012 beat out over 5000 other drummers to make the Guitar Center Drum-Off grand finals. This led to his touring gig for a year with country legend, Neal McCoy. In 2013 he moved to Nashville after successfully auditioning for singer Dustin Lynch and has been touring with him ever since.

In this podcast, Billy talks about:

Learning from others while on tour

Discovering the drums at a very early age

Understanding subtlety in musical drummers at an early age

The Dallas music scene

Responsibilities of a musical director

What lead to the Dustin Lynch gig

Preparing for a future off the road

Facing your doubts and fears

Maintaining your chops while on the road

His responsibilities with Dustin’s gig

Billy endorses: Ludwig drums, Zildjian cymbals, Vic Firth sticks, Kelly Shu mic mounts and 1964 in-ears

This episode is sponsored by Sonor drums

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Herman Matthews has been an L.A. fixture for almost three decades and his resume includes names such as Tom Jones, Kirk Whalum, Tower of Power, and Hugh Laurie. Between the big gigs, his “have drums, will travel” attitude has always kept him working with other acts, either on smaller tours or playing locally in L.A. He is currently the touring drummer for Timothy B. Schmidt of The Eagles.

Herman grew up in Houston, TX, and began playing drums in his uncle’s blues organ trio at age 11. He moved to L.A. in 1987, when he was offered the drum chair in saxophonist Kirk Whalum’s band.

In this podcast, Herman talks about:

The challenge of diversifying your playing in a market full of specialists, and avoiding being seen as a one-trick pony

The experience of getting fired, along with the rest of the band, from the Tom Jones gig

His approach to navigating songs and the group dynamic when taking over for another drummer

Trends in drumming, and incorporating only the ones that fit his character

Why he prefers bigger drums and cymbals, and finding the drum sounds that compliment your particular tendencies as a player

His favorite bassists to play with

Knowing how to negotiate to stay busy

Herman Matthews endorses DW Drums, Sabian Cymbals, Remo Drumheads and Innovative Percussion

This episode is sponsored by Sonor Drums.

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While Garrett Goodwin began his career playing in the backdrop of worship movements across the country (Zoegirl, Jeff Deyo of Sonicflood, Lindell Cooley, two-time Dove Award winner By The Tree), he has since transitioned fluidly through the musical world. Most recently, Garrett has spent the last decade as the drummer for Carrie Underwood. He’s also performed live with Lindsey Buckingham of Fleetwood Mac and Steven Tyler of Aerosmith; on Saturday Night Live, Jimmy Fallon, The Grammy Awards, The American Music Awards, The People’s Choice Awards, Billboard Awards, among others.

Garrett resides in Nashville, Tennessee, where you’ll see him co-leading KMLM.org, a non-profit organization with the mission of sending bags that give hope to children in need. For every bag purchased, another bag full of educational materials is sent to a child.

Throughout his career, Garrett has played for over 1 million people… for each tour he’s been on, and was named #1 up and coming drummer in Modern Drummer Magazine in 2013. Just this year, (2016) Garrett was nominated for Country Drummer of the Year.

Garret has also shared the stage with Little Big Town, keith urban, Hunter Hayes, Vince Gill, Randy Travis, Brad Paisley, Miranda Lambert, Orianthi, Dolly Parton, Josh Turner, Craig Morgan, Billy Currington, David Cook, Bryan Adams, Sons of Sylvia.

Garrett has played at these notable places: Grand Ole Opry, Royal Albert Hall, Madison Square Garden, Hollywood Bowl, Sydney Opera House.

In this podcast, Garrett talks about:

Making good use of his downtime while on tour

What advice he gives to aspiring players

Using electronics on the Carrie gig

How the Carrie Underwood gig came about

His less than conventional set up

The Nashville Sampling Company

HIs Modern Drummer accolades

His non-profit organization – Know Me Love Me (KMLM.org)

What the future holds for Garrett

Garrett endorses: DW Drums, Sabian Cymbals, Remo Drumheads, Promark Sticks, DRUMTACS, BIG FAT SNARE DRUM

This episode is sponsored by Sonor Drums

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Larry Aberman was handpicked to be the drummer for Cirque du Soleil’s Zumanity, a show specifically conceived to be featured in a 1,200 seat theatre at New York New York in Las Vegas beginning in 2003. Before that he spent time in LA and New York maintaining a busy touring and recording schedule, primarily with pianist Joe Sample. In 13 years with Zumanity, Larry has been involved in the show’s creative process, working with musical directors, composers and fellow musicians to help create and subsequently update the show.

In this podcast, Larry talks about

What it means to be a generous player

Working with different musical directors on Zumanity, navigating his role in the show, and knowing who is boss is

Networking in Las Vegas

Teaching at UNLV, and how the Las Vegas scene informs the curriculum there

How most auditions are designed to see how you perform under adversity

The trade-off of turning down work because of his commitment to Zumanity

His long-standing relationship with DW

The physical demands of playing ten shows a week in Vegas vs. five shows a week with a band on the road

Larry Aberman endorses DW Drums, Remo Drumheads, and Zildjian Cymbals & Drumsticks.

This episode is sponsored by Sonor Drums

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Steve Smith‘s drumming, while always decidedly modern, can best be described as a style that embodies the history of U.S. music. His command of jazz, from New Orleans music, swing, bebop, avant-garde to fusion, is applied with his powerful rock drumming sensibilities and allows him to push the boundaries of all styles to new heights. 

Originally from Massachusetts, Smith began studying the drums at age nine, in 1963. After high school, Smith studied music at the Berklee College of Music in Boston from 1972-76. There he received valuable instruction from such renowned teachers as Gary Chaffee and Alan Dawson. 

   Smith’s professional career began in full at 19 years old and began touring and recording right away with jazz artists like violinist Jean-Luc Ponty and rocker Ronnie Montrose. In 1978, Smith was asked to join the popular rock band Journey which brought his playing to the attention of a rock audience. In 1985 Smith left Journey to pursue his original passion, jazz, and to continue his developing career as a session player.

   Steve began leading his own fusion band, Vital Information while still a member of Journey. The group recorded their first album in 1983 and continue touring and recording to this day. He has also maintained an extensive touring and recording career, appearing with many jazz luminaries such as Mike Mainieri’s group Steps Ahead. Other high profile jazz touring and/or recording gigs that have filled Steve’s schedule include such artists as Ahmad Jamal, Michael Manring, Stanley Clarke, Randy Brecker, Zakir Hussain, George Brooks’ Summit and the Buddy Rich Big Band.

   As a drummer, Steve has worked for, and with, the best. He is consistently pushing the boundaries of creative drumming and constantly expanding his strong musical voice at the top of the international drumming community. As an educator, Smith is both the eternal student and perpetual teacher of the drums with many books and DVD’s to his credit including his latest book/DVD combo: The Pathways of Motion. 

In this podcast, Steve talks about:

His touring schedule in 2016 and the variety of styles he covers

Mixing yourself and creating balance on the kit

Using in-ears for the first time with Journey

Preparing for the Journey tour

Creating a center of balance on the kit

His new book “Pathways Of Motion”

Defining “Drumset technique”

His lessons with Freddie Gruber

Learning to play the instrument in the information age

His art project: The Fabric of Rhythm – stevesmithdrumart.com

Steve endorses: Zildjian Cymbals, Remo Drumheads, Sonor Drums, Vic Firth Sticks, Puresound Snares, Sure Microphones, Cympad, Hudson Music

This episode is sponsored by Sonor Drums

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Jamison Ross is doing what no drummer has ever done – drumming, singing, composing (music and lyrics), and bandleading, all from the front and center of the stage. He is the 2012 winner of the Thelonious Monk Jazz Competition. He won only as a drummer but at his showcase concert, he shocked the jazz world by singing as well. This set him on his current path bringing his unique concept to jazz which combines the influences of his church roots, his jazz drumming heroes, and the great voices of Soul and R&B.

Jamison grew up in Jacksonville, FL, graduated from Florida State with a degree in Jazz Studies, and went on to earn a master’s degree at the University of New Orleans. He has made his home in New Orleans since. Before entering the Monk Competition, he was already busy as a sideman with Ellis Marsalis, Carmen Lundy, Marcus Roberts and many others.

In this podcast, Jamison talks about:

Growing up in Jacksonville and being exposed to many different art forms from an early age

How the lineage of the drumset is tied to the lineage of jazz, and how funk, R&B, rock, and other styles can be traced back to jazz drumming

The experience of competing in and winning The Thelonious Monk Competition

His concept as a jazz artist and bandleader – bringing the blues and songwriting back to jazz

The intricacies of playing drums behind vocal jazz

The personal and musical factors that went into choosing his band

The importance of pre-BeBop jazz and jazz drumming, and of the New Orleans drumming lineage (Baby Dodds, Idris Muhammad, Zigaboo Modeliste, Smokey Johnson, Herlin Riley, etc.)

How he can lead his band from the drums in ways that other singers or instrumentalists can’t

Jamison Ross endorses Yamaha Drums, Sabian Cymbals, Remo Drumheads, and Vic Firth Drumsticks

This episode is sponsored by Mapex Drums

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