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THE BLACK PAGE FEBRUARY 2010 BRUCE AITKEN kiwiinthesand

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THE B

LACK

PAGE

FEBRUARY 2010

BRUCE AITKENkiwi in the sa

nd

THE BLACK PAGEFEBRUARY 2010

THE BLACK PAGE is distributed via PDF to email inboxes worldwide.

To get the latest edition, click below:

www.theblackpage.net

Send us your feedback at:[email protected]

Sean Mitchell PublisherJill Schettler Editor in ChiefJayson Brinkworth WriterRyan Carver Writer

mEARTH FRIENDLY

No Paper, No Ink, No Waste

Bruce Aitken: 6by Sean Mitchell

Picking Your Spots: 15by Jayson Brinkworth

Filling In The Gaps: 18by Ryan Carver

Global Educators Database 19

The Final Word 22THE DRUM WORKSThe Drum Works is based in Muri bei Bern, Switzerland, headed up by British profes-sional drummer and teacher Richard “Doc Spoons” Spooner. The Drumworks offers you expert drum lessons in all styles of con-temporary music from rock, punk and heavy metal, to blues, funk and jazz.

The studio is equipped with digital music/video recording and playback facilities, three professional Ludwig drums, Paiste cymbals, DW hardware and a full range professional PA & monitoring system

The program of study can be determined by you if you need to give something special attention. You can also choose to follow a program put together by Doc such as of the popular UK Drumsense method or the Trin-ity College of Music graded exam syllabus Rock School, among others.

Click on the link below to visit us online

www.thedrumworks.net

THE JIM CHAPIN MEMORIAL TEACHER SCHOLARSHIP The Jim Chapin Memorial Teacher Schol-arship will be given annually, beginning in 2010, and is open to instructors that want to improve their teaching programs. Specific details on how and when to apply will be dis-seminated in the near future.

Said Dom Famularo, a student and friend of the late drumming icon: “Jim was a one-of-a-kind person and player. He was commit-ted to learning the art of modern drumming

and giving that knowledge away. He always had his sticks with him, ready to teach any-one who wanted to know anything about drumming. Jim was all about sharing and the scholarship will guarantee that his lega-cy continues.”

The Jim Chapin Memorial Teacher Schol-arship will be maintained by the Percussive Arts Society (PAS) and contributions can be made at any time.

Click on the link below to donate online:

http://members.pas.org/fundraising.aspx

Select #23: “Jim Chapin Teacher Scholarship” from the pull-down menu

e-mail: [email protected]

The Percussive Arts Society is a 501(c)(3) organization. All contributions are deductible in accordance with IRS rules and regulations.

To donate by mail:

Percussive Arts Society110 W. Washington St., Suite A

Indianapolis, IN 46204 USAtel: 317-974-4488 fax: 317-974-4499

Please make check payable to: PAS/Jim Chapin Scholarship

May 22 - 23, 2010Savoy Theatre

Glace Bay, Nova ScotiaCanada

Click below to visit www.capebretoninternationaldrumfestival.com

Feature ArtistsChad WackermanMichael Shrieve

Scott AtkinsSkip Hadden Pete Lockett

Dom FamularoDanny SeraphineLiberty DeVittoBernard PurdieJerry Mercer Bruce AitkenPaul Wertico

Dylan Mombourquette Chris Sutherland

Roxy Petrucci Carmine Appice Denny SeiwellBill Cobham Alan White

John MorrisonSteve Wilton

Special Guest StarsSean Mitchell, Ben Ross, Moe Hashie, Mark Marshall, Todd Mercer, and The Pete Lockett Cape Breton Percussion Ensemble.

Legends Award 2010Carmine Appice, Alan White Jerry Mercer, Roxy Petrucci,

Virgil Donati (in absentia)

2010THE YEAR OF THE LEGENDS

got gear?The Black Page is looking for gear to review in the coming months.

If you make drums, sticks, cymbals, widgets, pedals, or anything to do with drumming, we’d like to hear from you. Whether you sell five units or five million units, we want to review your stuff.

Drop us a line at:

[email protected]

Reviews will appear monthy and will in-clude a weblink to the company’s web-site.

BRUCEkiwi in the sand

AITKENBy Sean Mitchell

I n 2008, Bruce Aitken struck out on a musical journey that would change his life forever. It seems ironic that Bruce (who has two sons

who served in Afghanistan) was presented an opportuinty to complete his own tour of duty, a musical one.

Bruce was hand picked to trav-el to the world’s most dangerous place where he would entertain troops from all over the world. An opportunity that he says he didn’t even need to think twice about.

Since his return from an active theatre of war, Bruce has had many a moment to reflect on an experience that he was gracious enough to share with The Black Page exclusively.

For Aitken, his journey to Af-ganistan begins and ends with the soldiers. “It was never about the gig.” said Aitken. This was his way to give back to a group of men and women who epito-mize bravery on a daily basis.

After all, isn’t that what our mu-sical gifts are for?

How was it that you came to be on the Afghanistan tour, and why did you accept the gig?

I think what happened was I got a daily newsletter from Music Nova Scotia. One of the titles was Musicians Wanted. When I read it, it was about going to Afghanistan and I’m like, whoa, well I wouldn’t mind do-ing that.

The first thing that crossed my mind was that two of our sons had been to Afghani-stan. Dean had been twice and Ryan had been once. And there was no fear factor; it was like, “Wow, I need to do this.” So I sent an email pretty much straight away to the agency that was hiring musicians, told them a little bit about my background, and I got an email straight away saying, “We know who you are, and failing some crazy situation the

job will be yours.” I was quite surprised by this and it was

then that I decided to tell Gloria [my wife] that I applied for it. To be honest, I wasn’t expecting anything, probably not even a re-ply, because I kind of imagined there would be so many people applying for it. The fact that it was being run out of New Brunswick, I kind of thought that somebody out there would get it.

There must have been a lot of prep-aration, I would imagine.

We had to do all sorts of medical informa-tion and we had to get government clear-ance—the whole nine yards. Of course, then we’re flown up to Trenton, that’s where the rehearsals took place. But, you know, it was all very last minute stuff. It was pret-

ty rushed from what I could tell. Half the songs we didn’t have before we went and there were no charts. It was like just hit or miss. So when we got to Trenton it was dif-ficult to say the least.

What kind of rules come with play-ing in a war zone?

The first thing they did was give us heavy duty stuff that we had to read through. Rules were very, very strict. The rules were strict, but, in my opinion--being perhaps older than most of the others--to me it was com-mon sense stuff. But to some of the young-er ones, they would probably just see it as an adventure, in the sense that “off they go.” But I think a lot of them once they got here realized that the adventure could be quite dangerous. We were in intense situa-tions in more than one occasion. The most common thing was that you would never leave the base. You would never go any-where with strangers. You don’t talk to peo-ple you don’t know about things that you’ve seen—certain things we were shown that we’re still not allowed to talk about. But there were lots of things we were shown that they encouraged us to talk about. The military encouraged us over there to tell our story as accurately as possible when we come back. Once again it comes down to common sense.

So you are performing for the sol-diers?

Yeah the audience that we played to—I be-lieve it was open to everyone on the base. The base is huge, like a city. It’s like noth-ing you could ever imagine. It’s just huge! It’s being built all the time. We played two open-air concerts at Kandahar. The first

night, we played to quite a big crowd and it would be all service people—our troops and troops from other countries. The major-ity was Canadians, but, of course, everyone was welcome. We played to troops from all the countries that were represented there, which, surprisingly, is a lot of countries. This vision that there are just Canadians, Brits and Americans there couldn’t be further from the truth. There are lots and lots of countries represented.

Tell me about the shows. That must have been an interesting feeling to be playing in an active theatre of battle.

It was amazing. It was quite incredible. Just the atmosphere—I don’t know if the show was incredible as such—but the atmosphere was unbelievable. It was very moving to say the least. And then the next night we played another show. Prior to—and this is how things can change there—prior to getting ready to go for the show, the siren went off. Now the siren was a warning that rockets had been launched at the camp. And we had to flak up; we had to put the flak jackets on and helmets and we had to make our way to the bunkers. We stayed for quite some time, maybe an hour and a half or longer—I can’t recall the exact time, but it was quite a while—and we thought that perhaps we weren’t going to be doing the show because we had been in there for such a long period of time. And so what we had to wait for, of course, was the “all clear”. So we’re in the bunkers and we’re waiting and waiting, and after a while a lot of the troops that were not in bunkers were suited up and on the way out to search for insurgents, I guess.

What was the reaction from the

“The minute you get off the plane at Kandahar Airfield you realize you are not “in Kansas anymore.” Everyone is carrying a rifle—or at the very least a side arm. Armored vehicles of all shapes and sizes roll along the road, and dust fills every inch of the air around you.

While there, we had two rocket at-tacks, and in Kabul there was a sui-cide bombing outside the base where we were staying. These were definite-ly surreal moments. You almost forget where you are, and then when alarms are going off and people are shout-ing, you remember, oh yeah it’s a war zone.

These people were ready to laugh. I found them to be a great audience. At first they were a tough nut to crack, but I had the lighting guy turn up the house lights, and I went out into the crowd. They completely lightened up. Yes, it is a place definitely full of ten-sion, but for the two hours of our show, they were there to escape, just for a couple of hours, and I hope—no, I know—that we [the entire group] were able to help them do that.”

Johnny GardhouseTour MC and Comedian

troops?

I didn’t go because it was a gig; I went be-cause I believe in what our troops are doing. I believe that support has to be given and shown to the people who on a daily basis put their life on the line. I have very, very strong feelings about that. The people that I hang out with on a regular basis feel the same way—much deeper than those who might be concerned, but not passionate about it, or those that were on just anoth-er gig. There were people like that on the show, which created some friction.

Therefore a lot of the people that came to the show, a lot of people that we had met and befriended, were just so thrilled to be taken away from the threat and fear of war-fare, and be transported into another place for an hour and a half. They had that to look forward to. They had the show and then they

had that to talk about afterwards. The reac-tion was very moving. Myself, Johnny Gard-house, and Paulette Guerin, we spent a lot of time talking to soldiers, of all nationalities, but especially Canadians. I’m sure others did as well, but we really spent time doing that sort of thing, over and above what was expected of us. We all had vested interests in what was going on because I had kids there, Johnny has friends there, and Pau-lette was with the Royal Canadian Legion. The other thing that really brought it home to me was that there were Kiwis and Austra-lians there, and they sought me out. It was so cool.

Who were the performers?

The MC and the comedian was Johnny Gardhouse from Toronto [Canada]; unbe-lievably funny guy. The headlining act was Carson Downey from Halifax [Canada]. Car-son plays rock and blues. The other major performer was Alfie Zappacosta. There were a couple of young guys called Two Bullet Parade. They are twin brothers who used to be in a band called The Moffatts. They were really good. I really liked them. There were a couple of young sisters from Halifax [Can-ada] called The Keats [Jolene and Sharlene Keats]. And that was the show.

How did the Afghanistan people re-act to you? Were you able to meet some of the locals?

It must be terribly frustrating for the troops. We went on a trip one day around the pe-rimeter, just to have a look outside of the wire. We stopped at one section and we looked out at some building that had obvi-ously been rocketed to death—I think the rocket damage was caused by the Russians

during the prior Afghanistan controversy. We were told that people live in these places. Unbelievable. So we stopped and then all of a sudden out of nowhere all these kids started appearing. This little boy came up, and he had a bird with him. Anyway, people started taking photographs of this kid, which I personally found a little distasteful; to me, it was so sad. It was almost like a touristy thing, which kind of seemed very strange in a war zone. And the little boy he asked for gifts; he wanted money and I think we were told not to do stuff like that. I kind of stayed on the bus, because, to be honest, I thought it was obscene. Anyway the boy kept ask-ing for stuff and he kept getting told “no.” He started off being a really friendly little boy— “We love you”—and then eventually once he was told “no,” the language that came out of his mouth! He swore and worded threats, just kiddy stuff, but behind the kiddy stuff it’s something a little deeper because it is Af-ghanistan. So off the kids went, they threw stones and off they went.

A couple days later there was a bizarre inside of the compound, and who should be there dressed to the nines was that little boy, polite as anything. That got me thinking about what it is that you had to deal with in a warzone. And then it dawned on me, one of the reasons that it’s so difficult for people to understand what’s going on there is be-cause the people there are difficult to un-derstand. I would imagine after years and years of conflict—as far back as you want to go—someone has been trying to invade their country. We were told that their loyal-ties lie to the highest bidder; the reason for that is they don’t trust anybody. We were told things like a bunch of insurgents came into a village and offered them $10 to be on their side, they would be on their side; if a bunch of troops came in and offered them $15, they

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would be on the troops’ side. If the insur-gence came back and offered them $20, they would go back to them—because no one has ever been loyal to them. This is the way I understand it. They have no loyalty other than to survival.

Now that you have been over there, has your opinion of the war changed at all? A lot of stuff you see in the newspaper here is not what goes on there. That was my big-gest thing. I wouldn’t say it shocked me. Having been in the entertainment indus-try, I am aware that papers write whatever, “selling a paper is more important than the truth.” As they say in war, the first casualty is the truth. But my impression of what our guys are doing over there is different than what’s in the paper.

What I believe the troops are doing over there is they’re helping establish a democ-racy, and they are helping the people of Af-ghanistan to look after themselves. They’re building a society. They’re building schools, hospitals and helping. Our troops don’t get

up in the morning and go hunting insurgents. I believe that in that situation, if you were fired upon, you would have the orders to do what is required (I don’t know what those or-ders are) but from a personal point of view, if someone fired at me, I’d fire back.

Tell me about the environment. It must have been different to be playing in such an extremely hot climate coming from the Atlantic coast of Canada.

In Kandahar the dust is everywhere. I swear

to God. You’re breathing that horrible crap day in day out. When you go out you have to put something over your nose to protect your breathing. Everybody got sick. Some of them had to have medical attention, they were so sick. They tell me you get used to it; I don’t think you could ever get used to it. It was really cold at night, quite warm dur-ing the day. It was the middle of winter but it didn’t feel like winter to us.

Are you able to tell us how you got around, as far as ground trans-port?

There’s a convoy of vehicles and we had three entertainers in the back, and the driv-er and navigator in the front. These vehicles were amour plated, the whole nine yards—the proper military vehicles to transport per-sonnel. We were told that there was no such thing as 100% because it was a war zone, and we knew this. Then they split us up into the groups. I was in the lead vehicle with

the Keats sisters. (above picture) The sol-diers came and they said to us, “You have to strap yourself in. You have to wear your helmet and flak jacket. Sitting right beside or in front of you is a little red box with a button on it. If for any reason we are fired upon or hit and the vehicle cannot move, you have to push the button and sit tight and wait for the cavalry to arrive.” They told us that if we were penetrated by missile or a bullet, in the exact same spot, we were relatively safe from stuff going through the windows, but they also told us that the percentage of hits in the same place in a moving vehicle is low. They also told us that they don’t stop for anything. If somebody gets in the road, it’s just too bad. Their objective was to get us from A to Z safely.

Were you nervous when you were travelling on the ground?

I wasn’t nervous and I had total faith in our troops. I knew that if anything went wrong,

they would look after us. You have to have that kind of belief; you can’t second guess or have a wrong thought. You have to have total faith.

Being in a war zone, did you experi-ence any tense moments?

[One day] somebody come and woke me up and said, “Did you hear it? Did you feel it?” And I said, “Did I hear what?” There was a massive explosion. I slept through it, to be honest. So I got up and everybody was talk-ing about it. That day was American Thanks-giving. Evidently what had happened, there was a convoy of sorts—troops going out and checking stuff—and they were with a bunch of Afghani nationals. Anyhow, as they came to the roundabout, a suicide bomber came towards them and got a little bit ner-vous, I guess, and pushed the button too soon. And, anyway, the bomb exploded and there were five Afghanis killed outright and lots and lots of people injured. The buildings were leveled. Now this is when being in a

warzone really hit home to me because not more than 20 hours before we were at that roundabout. Contrary to what other people have reported, we were safely in the com-pound when this happened.

What message can you pass along to other musicians? Would you rec-ommend taking a gig like this?

I would say that to do a trip like this, you can take the choice: you can do it as just an-other gig, or you can do it because you be-lieve in the cause. I mean, it’s not up to me. I’m not saying that it’s wrong to do it just as another gig, but that’s not what I would do. I think the common thread that was apparent through all wars is that music and the shar-ing of music has only been a good thing for people. It’s been the backdrop and the basis of all soldiers in all wars. That they can take themselves away, even if it’s only momen-tarily, through music because music’s the only thing in the world that everyone has in common. c

PICKING YOUR SPOTS

his month I want to touch on our role as the drummer in a band and give you a few tips on how to stay employed and keep your phone ring-ing.

First off ask yourself, “What is my role when I play with other musicians?” The answer is pretty obvious at

first, to play drums and create energy. But there is so much more to what we do, or should be doing.

Our role spans a wide range of responsi-bility, from being the dynamic controller to directing traffic through the arrangement of a piece of music. We, along with everyone else in the band, are also responsible for keeping very good time. We also need to play with confidence so the band knows they can trust us hitting things behind them.

Drumming has been minimized a lot by other musicians, but ask those players what it is like to play with a bad drummer versus a really good drummer and they start to see our value as a musician.

The drums are 95% of the time a support instrument for the melody and harmony in

a song. We don’t have solos like the other players, nor are we at the front of the stage in the spotlight. But once we grasp our role and embrace it to it’s fullest, we can make the earth move with our focus and commit-ment to our job and responsibility on the drums.

I had the good fortune of attending the Montreal Drumfest in 1993. I learned a lot and met some great players, a few of which have become good friends of mine. There were many highlights from the weekend: Antonio Sanchez and his independance freakshow, Flo Mournier and Cryptosy, Gary Novak’s trio doing an instrumental bossa version of “Tom Sawyer”, Billy Ward’s musi-cal genius, Tommy Aldridge’s Rock and Roll and Jojo Mayer’s right foot and chat time af-ter the clinic.

Amongst all of this was a performance and the point that one very groovy Randy Cooke made so clear to all of us that day. Randy hit the stage with his boundless energy and spirit and launched into a solo that was out of this world! Once he finished and the ap-plause died down, everyone was waiting for him to breakdown the licks and tricks we had just witnessed. Instead of this his ex-

T

act words were, “Well, I have never been hired to do that, so let me show you why my phone keeps ringing.” Can you hear a pin drop? Randy went on to play a 45 minute set of tunes that he has recorded, playing along with the studio tracks minus drums. The styles ranged from funk to R & B to jazz to heavy rock to country to latin to pop to, well you get the point. Randy Cooke has chops oozing out of every pore in his body, but Randy gets hired to groove like mad and make every band he plays in sound great.

With Randy’s great playing and attitude, he has went on to work with Ringo Starr, Dave Stewart, Mick Jagger, Five for Fighting, Ian Gillan and this list goes on and on. He can play a solo for days, but Randy knows how to pick his spots.

How do we learn to pick our spots? Can this be taught? How do we know what the right spots are?

Well the first thing to understand is that experience and time are the only things that can teach us this lesson. Also the music we listen to and how we listen comes into play in “getting” it. We have to set our ego aside and ask lots of questions and not be afraid of the “not knowing” and being honest with ourselves.

One of the first things we have to embrace is the sheer brilliance and (what appears to be) simplicity of players like Charlie Watts, Ringo Starr, Phil Rudd, Jim Keltner, Benny Benjamin, Pistol Allen, Uriel Jones, Russ Kunkel and many others. When listening to these players, have you really listened? All the details: crashes (or lack their of), fills and where they fit in the song, how they set-up different sections, dynamics and creative ideas with sounds and tones on the kit.

It is one thing to listen to a piece of music, but put on your musician ears and pay at-tention to all details. This takes a lot of men-

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tal energy, but it takes even more to play the parts correctly. One thing I find students don’t want to do is exert a lot of mental en-ergy. But the payoff is priceless in the long run.

What if the players listed above aren’t your cup of tea (which is funny because they have all changed drumming in one way or another); what does this mean? Well even if we listen to Neil Peart, Gavin Harrison, Mike Portnoy, Dave Lombardo, Bill Bruford, Billy Cobham and other progressive play-ers, they still pick their spots. These players are typically busier than a Charlie Watts, but exercise restraint and discipline throughout the music they play, even if there are many notes flying by.

When we are playing with our band or jam-ming with friends, we should keep some im-portant things in mind. Do we need to crash on the 1 every 4 measures or at the start of every section? Do we need to play a fill ev-ery 4 measures? Are we paying attention to our dynamics and feel, or have we become too excited and let it all go? Is our playing taking away from the parts others are play-ing and singing, or is it supporting and mak-ing those parts sound even better ?

When we play in a band, we are there to serve the music, it is not the other way around. A great quote I heard years ago goes like this: a musician is asked, “What is your favorite song?” and his reply is, “The one I am playing at that moment.” Brilliance!

Once we start really getting inside the mu-

sic we listen to, I mean really getting inside the music, we will start understanding how to pick our spots. Play a song with your band and place only three crashes in the most perfect spots. Can you do this, or does your mind wander and you play them all over the place? Take away fills you normally play in songs and see if the song can breath a little more. Listen to Fleetwood Mac songs; Mick Fleetwood has a very unique approach and can really get us thinking about all of this stuff.

As musicians, we are so used to hear-ing ourselves and our parts from all of the practice we do. When we interact with other musicians, we have to place more value on listening to the other parts and not ours ex-clusively. This boils down to the old chicken and the egg adage, which came first? For all of the songs we have learned over the years, think about this: What do you think came first when the song was being written: the drum part or another instrument that shaped the drum part into what it became? There are definitely songs that the drum groove was the starting point, but most music starts out with a guitar/keyboard lick or rhythm, lyrics or something else that the drummer had to mold his part around.

Next time you are out on a gig or jamming with friends, think about what the listener is hearing from the band. Do they hear play-ers that are listening and focusing on pick-ing the right spots to help the listener really hear the song that they are playing? c

Jayson Brinkworth is an accomplished drummer, percussionist, vocalist, educator and writer. Click on the link below to visit him online.

www.jaysonbrinkworth.com

www.carverdrums.com

Filling In The Gaps: by Ryan CarverLast month I gave you the core essential foundation of drum grooves. This month I wrote out some ways that I like to fill in the gaps. Once you are comfortable with those basic grooves you can start to embellish on them and come up with some new patterns. I will pick one of the grooves and keep biulding on it. The ways can add to each groove is endless. Move the hands around, roll, open the hi-hat, be creative. Start simply at first then chal-lenge yourself. Once again, don’t forget about the original starting groove. Have fun!

Ryan Carver is a world reknown educator with a private practice based out of Brick, New Jersey. Click on the link below to visit him on the web or to email Ryan your questions and groove re-quests. For videos of Ryan’s lessons click on his Youtube link.

Mike MichalkowVancouver, BCContact Info:[email protected]

Randy RossWoodstock, New BrunswickContact Info:[email protected]

Chris BrienKowloon, Hong KongContact Info:[email protected]

Richard “Doc” SpoonerMuri bei Bern, SwitzerlandContact Info:[email protected] : doc-spoons

Stefano AshbridgeLos Angeles, CaliforniaContact Info:[email protected]

Jake BurtonNashville, TennesseeContact Info:[email protected]

Ryan CarverBrick, New JerseyContact Info:[email protected]

Chris DeRosaNew York, New YorkContact Info:[email protected]

Dom FamularoNew York, New York

CHINA

USA

Saskatchewan’s hippest music school.

Click below to visitwww.musicinthehouse.ca

SWITZERLAND

Dan SlaterMelbourne, VictoriaContact Info:[email protected]

Bruce AitkenMarion Bridge, Nova ScotiaContact Info:[email protected]

Jayson BrinkworthRegina, SaskatchewanContact Info:[email protected]

Adam HayToronto, OntarioContact Info:[email protected]

Sean Jesseau: Music WorkshopThunder Bay, OntarioContact Info:[email protected]

Hand drumming/kit drumming

THE BLACK PAGE WANTS YOU

The Black Page is looking for a few good educators. The Global Educa-tors Database is published every month in The Black Page. To submit your contact info to our database, email Sean at: [email protected]

Listing is free for all pro/semi-pro educators. Please provide reference material to be considered.

GLOBAL EDUCATOR DATABASE

CANADA

AUSTRALIA

Contact Info:www.domfamularo.com

Sean J. KennedyAmbler, PennsylvaniaContact Info:[email protected]

George LawrenceCleveland/Akron, OhioNashville, TennesseeContact info:[email protected]

Dave McAfee Mount Juliet, TennesseeContact Info:[email protected]/davemcafee

David NorthrupMurfreesboro, TennesseeContact Info:www.davidnorthrup.com

Intermediate to Pro Level

Mike OttoBaltimore/Westminster, MarylandContact Info:[email protected]

Dyrol RandallDallas/Fort Worth,TexasContact Info:[email protected]

Rich RedmondNashville, TennesseNew York, New YorkLas Vegas, Nevada

Los Angeles, CaliforniaContact Info:www.richredmond.com

Billy WardNew York, New YorkContact Info:[email protected]

Click below to visit www.drummerconnection.com

The most complete online drum community.

If your hardware case doubles as your fine luggage,

you might be a drum geek!

I always tell people the music comes first. Put your ego aside, put your style aside, just play the song. Play what the song means.

Simon Phillips

THE FINAL WORD