Working Drummer

On a historic night in the Winter of 2009, drummer Wes Little proved beyond any doubt that he is the nimble, adaptable, professional musician he wanted to be even before he left his small Southern home town. The occasion: the inaugural ball for newly elected President Barack Obama. The job: to back a jaw-dropping lineup of legendary talent, including Stevie Wonder, Sting, Mary J. Blige, Faith Hill and Beyonce. Through a wild variety of styles, arrangements and temperaments, Wes Little held down the groove, satisfied the most demanding stars and made the whole event bolder, smoother and better.

Star-studded as it was, the Inaugural Ball was by no means the first validation of Little’s multi-faceted musicianship. For a decade in New York and recent years in Nashville, Little has been patiently taking his place among the elite session drummers, supporting major artists in rock, jazz, hip-hop and country.

Wes is from Wingate, North Carolina, a small college town southeast of Charlotte, where his parents were both educators. Lacking big city distractions, Wes was drawn to music. After seeing a picture of fusion great Billy Cobham seated behind one of the world’s biggest drum sets in a Tama catalogue, Wes knew that’s what he wanted to do.

Most drummers get on-the-job training only, but Little had his eyes on a jazz career, so he pursued formal studies in music, including a master’s degree in jazz drumming from the Manhattan School of Music. As a new professional in New York, there was certainly jazz around, but there was also a smorgasbord variety of styles and gigs. Little played in theater orchestras, sideman sessions and rock bands. He connected with hip-hop legend Chuck D and worked in several of his post-Public Enemy bands, including Confrontation Camp and Fine Arts Militia.

While in New York, Little met his future wife Britt Savage, who moved to Nashville ahead of him. Since 2004, Little has been based in Nashville where he’s earned respect in the Music City studio scene. That said, he’s frequently on the move for work back in New York or tours across the country and world with Robben Ford, Joe Nichols, Jo Dee Messina, Billy Dean and others. He has also expanded his work as a producer and songwriter.

In this podcast, Wes talks about:

Building studios / practice spaces

Evolution of the home studio

Studying at East Carolina University

Moving from New York to Nashville

Working with Chuck D and his band Confrontation Camp

Playing at Obama’s inauguration in 2009 with many artists including Sting, Beyonce, Stevie Wonder and Mary J. Blige

The difference between studio and live playing

Recording and touring with Robben Ford

Rhythm section master class at PASIC

Being married to a musician

This episode is sponsored by Sakae Drums

Wes Little endorses Pearl Drums, Sabian Cymbals, Vater Sticks, Evans Drumheads, Vintech Audio, Ableton Live, Presonus and Carmichael Thrones

His wife’s hilarious fake Craig’s List post:

Britt (AKA Joey) i don’t need floor tom. what would you charge. Do you have a snare?

I live in Lebanon and am working until 9. please get back to me right away cuz I’m looking at another drum set on friday. do you know if I can get a loud sound with these drums. My favorite drummer is Travis barker (blink 182) and John Dalmayan (System o...

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Darren Stanley is one of the Atlanta area’s most established and well-liked drummers. His main gig is touring with Colonel Bruce Hampton, who is described by Wikipedia as a Blues Surrealist. Before that, he was the longest standing drummer for Delta Moon, with whom he toured and recorded for eight years. He is the house drummer for bassist Kevin Scott’s Tuesday night jam session in Atlanta, which is known both locally and by national musicians touring through town as a bastion for experimental music. He is also the percussion instructor for one of the biggest and best high school music programs in the state, Brookwood High School, where his wife is the band director.

In this podcast, Darren talks about:

Playing in Colonel Bruce’s band, and having to be open to almost anything, musically or otherwise

His experience as a student at The University of Georgia and as a musician in Athens

His technical foundation, from rudimental drumming to The New Breed and The New Breed 2

How his eight-year tenure in Delta Moon forced him to strip his playing down to the bare essentials

Being the house drummer for a jam session that is not genre-based and truly open

How losing his father changed his perspective on music

Teaching music to students who aren’t going to make it their careers, but whose musical experience will shape them as people

Why travelling is important for musical and personal development

https://www.youtube.com/watch?v=pAL4tFM2SDY&feature=youtu.be

https://www.youtube.com/watch?v=7VJtqkQ8xII

This episode is sponsored by Sakae Drums

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A Memphis native, Marcus Finnie has toured and recorded several years with Grammy winner Kirk Whalum. He has also toured the world with Grammy winning artists such as Donna Summer, Larry Carlton, Earl Klugh, Lady Antebellum, Billy Preston, and BWB.

Marcus is featured on KirkWhalum’s fourth volume of The Gospel According to Jazz. This project also features Rick Braun, Norman Brown, Sheléa and several other artists. Marcus also performed with Sinbad, Keiko Matsui, Marc Antoine, Chuck Wicks, Gerald Veasely Christopher Cross.

While living in Nashville, Marcus has toured and performed with Keb Mo, India Arie, Tamir Hendleman, Monte Montgomery, Larry Goldings, Lalah Hathaway, Aaron Neville, CeCe Winans and several others.

Over the years he’s worked with Grammy winning producers Keb Mo, Shannon Sanders, Andrew Ramsey, Cedric and Victor Caldwell, Kelvin Wooten, John Stoddart, Robben Ford, Rodney Crowell, Darrel Brown, Tommy Simms, Ed Cash, and Desmond Child.

Marcus teaches at The Nashville Jazz Workshop and fronts his own band – The Marcus Finnie Band.

Marcus endorses: Sakae Drums, Vic Firth Sticks, Zildjian Cymbals, Meinl Percussion & Evans Drum Heads

This episode is sponsored by Sakae Drums

In this podcast, Marcus talks about:

Changing his set-up to accommodate the song/vibe in the studio

Working with studio engineers

Marcus’s early influences

Working with Grammy award winning Kirk Whalum

Click or no click in the studio

Nashville Jazz Workshop

The Marcus Finnie Group

The future of jazz in Nashville

Healthy road life

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Michael Duffy is an L.A. native, and has spent most of his career splitting his time between drumset and Latin percussion. He marched corps with Velvet Knights and Blue Devils and attended North Texas. He left school early to start gigging full time, first in Dallas then in Austin, where there was a lot of session work at the time. He moved to L.A. in 2002 where he has toured and recorded with a long list of rock, pop and salsa acts including OzoMatli and Poncho Sanchez.

In this podcast, Michael talks about:

How marching in Blue Devils led him to North Texas, and how the drum corps mentality was helpful there.

His first touring gig after college with smooth jazz saxophonist Joseph Vincelli, and the nuts-and-bolts lessons he learned from the bassist in that band.

How playing Afro-Cuban, Brazilian and African percussion gave him educational and professional opportunities he wouldn’t have had on drumset.

The essence of Texas Blues.

How after 20 years of playing professionally, he is now beginning to delve seriously into jazz drumming.

His first touring gig after moving back to LA, with OzaMatli, a gig that required him to cop a variety of drummers and styles “authentically and inauthentically.”

His current projects, Jungle Fire and The White Blinds

His long-game approach to living and working in L.A.–it’s a choice.

Michael Duffy endorses Heuer Drums, Innovative Percussion Drumsticks, Aquarian Drumheads, and Latin Percussion.

This episode is sponsored by Sakae Drums.

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Originally from North Carolina, Al Wilson discovered his passion for drumming at the age of 18. Within a very short time, Al was learning “on the job” working as a full time drummer. While living in Colorado, this passion turned into a time of self-discovery and learning of all things drums and percussion.

 In an effort to find more work, Al eventually moved to Nashville and began working immediately. After a short stint with singer Josh Gracin from American idol, Al was recommended for the Taylor Swift gig. Taylor was only 16 years old and at the beginning of her career. Things snowballed so fast that Al not only became the her touring drummer, he also acted as band leader, production manager and travel agent.

After six years of nonstop touring, Al decided to leave Taylor’s gig and redirect his attention towards his family. 

Most recently, Al has been steadily building his workload back in Nashville with freelance work and teaching all the while maintaining a healthy balance between work and family.

In this podcast, Al talks about:

Looking for more creative outlets and songwriting

Discovering his love of drums at 18

Self-imposed crash course in learning to play

Strengthening the left hand through songo grooves

Putting the time into learning the gig – owning the material

Working with Taylor Swift

Creating loops as organically as possible

The reason for leaving Taylor’s gig

Al Endorses: Ludwig Drums, Vater Sticks

This episode is sponsored by Sakae Drums.

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Matt Hankle grew up in New Jersey, the son of a classical flautist and a jazz trombonist. His first professional experience was at age 17 when he spent a summer touring with the Ringling Bros. and Barnum & Bailey Circus. After three semesters at the University of Miami, he re-joined the circus full-time for two years. He then settled down in New York where he worked on Broadway for over a decade, playing everything from Chicago to Mama Mia to Blue Man Group. In 2013, he moved to L.A. and hasn’t looked back, catching on with L.A.-based acts such as Yeghikian and Mulholland Drive.

In this podcast, Matt talks about:

How the circus band encompassed the traditional “boom-chick” style, but also modern rock, pop and metal.

Full-time subbing on Broadway, i.e. learning multiple shows and playing a different one each night

Gaining trust on the LA scene, musically and socially

How breaking away from the New York theatre scene required him to break away from New York

Day-to-day life in New York vs. L.A.

The importance of accepting invitations to hang, sit in, etc.

The no-frills, old school metal approach of Yeghikian

Hitting hard and “putting weight behind the notes” without sacrificing groove, sound quality, or physical health

Matt Hankle endorses Vic Firth sticks, Remo heads, and Paiste cymbals

This episode is sponsored by Sakae drums

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Peter Erskine has played the drums since the age of four and is known for his versatility and love of working in different musical contexts. He appears on over 600 albums and film scores, and has won two Grammy Awards, plus an Honorary Doctorate from the Berklee School of Music (1992).

Peter graduated from the Interlochen Arts Academy in Michigan and studied at Indiana University under George Gaber. In 1972 Peter commenced his pro career playing with the Stan Kenton Orchestra. Four years later, he joined Maynard Ferguson before working with Jaco Pastorius in Weather Report and moving to Los Angeles. Peter recorded five albums with the band. He won his first Grammy Award with their album ’8.30’. During this time in LA, he also worked with Freddie Hubbard, Joe Henderson, Chick Corea, Bobby Hutcherson, Joe Farrell and George Cables. Peter then moved to New York City where he worked for five years with such musicians as Michael Brecker, Mike Mainieri, Eddie Gomez and Eliane Elias in Steps Ahead, John Scofield, Bill Frisell and Marc Johnson in the legendary group Bass Desires, the John Abercrombie Trio plus Bob Mintzer’s Big Band.

He has also played with Steps Ahead, Joni Mitchell, Steely Dan, Diana Krall, Kenny Wheeler, Mary Chapin Carpenter, The Brecker Brothers, The Yellowjackets, Pat Metheny and Gary Burton, John Scofield, et al, and has appeared as a soloist with the London, Los Angeles, Chicago, Frankfurt Radio, Scottish Chamber, Ensemble Intercontemporain, Royal Opera House, BBC Symphony, Oslo and Berlin Philharmonic Orchestras. Peter premièred the double percussion concerto Fractured Lines, composed by Mark-Anthony Turnage, at the BBC Proms with Andrew Davis conducting, and has collaborated frequently with Sir Simon Rattle. He also premiered the Turnage opera “Anna Nicole” at the Royal Opera House in London. Turnage has composed a solo concerto for Peter titled “Erskine,” which received its world premiere in Bonn, Germany in 2013, with the US premiere scheduled for September 2014 at the Hollywood Bowl with the LA Philharmonic.

Peter has been voted ’Best Jazz Drummer of the Year’ ten times by the readers of Modern Drummer magazine. Fifty albums have been released under his own name or as co-leader.

Peter’s lived in LA since 1987 but has been travelling around the world all of that time, working with such artists as Diana Krall, Joni Mitchell, Vince Mendoza, Steely Dan, plus European musicians Jan Garbarek, Kenny Wheeler, Palle Danielsson, John Taylor, Kate Bush, Nguyen Lê, Rita Marcotulli, the Norrbotten Big Band in Sweden plus Sadao Watanabe in Japan. He won his second Grammy Award as the drummer of the WDR big band in Köln along with Michael Brecker, Randy Brecker, Vince Mendoza and others for the “Some Skunk Funk” album. Meanwhile, Peter keeps busy in LA with such artists as Alan Pasqua, Bob Sheppard and Bob Mintzer as well as playing in studios. Films where Peter’s drumming can be heard include Memoirs of a Geisha, the new Pink Panther films and all three of the Austin Powers movies, plus the title music of the Steven Spielberg/John Williams collaboration “The Adventures of Tintin.”

Peter produces jazz recordings for his record label, Fuzzy Music, and is an active author with several books to his credit; the latest titles include “No Beethoven (Autobiography & Chronicle of Weather Report),” “Time Awareness for All Musicians,” “Essential Drum Fills,” and “Everything I Know, A Work in Progress” (DVD). He is also authoring new iOS Play-Along apps suitable for all instruments.

Peter is Professor of Practice and Director of Drumset Studies at the Thornton School of Music, University of Southern California.

Many of the products that Peter endorses include: Tama Star Drums, Zildjian Cymbals,

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Todd Strait was into jazz from the very start and has played with some of its biggest names over his a 35-year career. After studying with Ed Soph and Joe Morello, he made New York his home base and built an impressive resume there which included Marian McPartland and Woody Herman. In the 1990s, he relocated to Kansas City where he became the drummer for Eldar as well as two of the most celebrated vocalists in jazz, Kevin Mahogany and five-time Grammy nominee Karrin Allyson. For the past decade, he has split time between the local scenes of Kansas City and Portland, OR, and continued to record and tour internationally with Karrin Allyson.

In this podcast, Todd talks about

Creating a practice routine in high school that mirrored his dad’s 9 to 5 schedule.

Bad habits that Ed Soph helped him break

His short but educational tenure with the Woody Herman Band

The different types of legwork needed to get beyond a local scene

Playing behind vocalists vs. instrumental groups

Using volume, orchestration, tuning, and cymbal selection to mix and EQ your own sound as you play.

How family life brought him from New York to KC to Portland

Todd Strait endorses Yamaha drums, Sabian cymbals and Canopus snare wires.

This episode is sponsored by Sakae Drums.

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Zack Albetta grew up in Santa Fe, NM, where he began drum lessons at age 8. Music was the focus of his high school years and he went on to earn a bachelor’s degree in Percussion Performance from Ball State University.

In 2003, Zack entered graduate school at The University of Missouri-Kansas City and in four years, Zack earned Master’s degrees in Percussion Performance and Jazz & Studio Performance. While at UMKC, Zack’s primary mentor was alto sax legend and Grammy nominee Bobby Watson. Zack also studied drumset with Doug Auwarter, a master of jazz, Brazilian and Afro-Cuban styles, who impressed upon Zack the importance of playing various styles authentically.

By the time he graduated in 2007, Zack was already in high demand on Kansas City’s rich and vibrant music scene. He spent the next three years playing with many of the area’s top artists and organizations including Bobby Watson, Shay Estes, Mark Lowrey, The Kansas City Symphony, the Kansas City Repertory Theatre, and the 18th & Vine Big Band, with whom he backed up legendary vocalists Karyn Allison, Mary Stallings and Ernie Andrews.

In 2010, he set his sights on Los Angeles in search of new performance opportunities and a bigger musical market. Soon after arriving, Zack won an open audition to become a member of Disneyland’s Five & Dime Band.

In 2014 he joined The Jennifer Keith Sextet, a retro-swing band led by Royal Crown Revue founder Mando Dorame. During Zack’s tenure, the group headlined at The Cosmopolitan in Las Vegas, The Catalina JazzTrax Festival, and LA’s marquis venues including Cicada Club and The Edison. During five years in LA, Zack amassed a deep and varied list of performance credits including Grammy and Oscar winner Johnny Mandel, Grammy nominees Kim Richmond and Pete Christlieb, Jacques Lesure, Ty Bailie, Nick Mancini, Center Theatre Group, Musical Theatre West and 3D Theatricals.

Zack relocated to Atlanta in 2016 and hit the ground running. In just a few months, he has become a go-to for some of the best talent in the Southeast including Jacob Deaton, Kevin Scott, The Atlanta Funk Society, Louis Heriveaux, and The Emerald Empire Band.

In January, 2016, Zack began his contribution to this podcast as a co-host.

Zack endorses: UFIP cymbals, Aquarian drum heads, Vater Sticks

In this podcast, Zack talks about:

Studying at UMKC (Masters of Music (classical percussion) & Master of Arts (Jazz studies))

Teacher & Sax player Bobby Watson teaching him the value of “The Hug” – connecting with audience and having fun.

Chart reading skills

Moving to LA and starting over in a new scene

Working for Disney

Leaving your ego at the door an learning the gig

Creating a network of colleagues

Current gigs in Atlanta

Zack’s interest in writing

The value of effective writing

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Wes Anderson recently became the drummer for the U.S. Army Jazz Ambassadors, the military’s premier touring jazz ensemble. Born and raised in Phoenix, AZ, Wes graduated from Arizona State University and marched drum corps with The Arizona Academy. In 2012, he landed a gig at Disneyland and moved to L.A. A few months after moving, he joined pianist Eric Reed‘s trio, with whom he continues to perform in his off-duty time. His on-duty time with the Jazz Ambassadors involves performances all over the country, bringing the American art form to a wide variety of audiences in towns and venues big and small.

In this podcast, Wes talks about:

His Disneyland audition, and how the Disney gig facilitated establishing himself in L.A.

Matching Eric Reed’s intensity, focus, and musicality on the bandstand

How being too territorial about a gig can deprive you of other experiences

The audition process for the Army Jazz Ambassadors, and how his audition tape was basically a full-length, professionally produced album

What life in a military band is like, and the similarities and differences it bears to working for Disney.

Click here for the Army Jazz Ambassadors touring schedule.

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