Von Ohlen – It’s Not in Books, You Fool

Posted on March 16, 2020 by Scott K Fish
John Von Ohlen

SKF NOTE: From the transcript of my interview with John Von Ohlen, published in the March 1985 Modern Drummer. This interview was done by phone. I was in my MD office. John was home in Indiana. My introduction to John’s playing, years earlier, was through Stan Kenton’s Live in London album.

Scott K Fish: How do you feel about drum method books?

John Von Ohlen: I’ll have to tell you a story, reportedly true, about a wise old Indian sage.

This German came to the village where this sage lived and he wanted to find The Truth.

The German was in a bookstore one day and this sage happened to walk by and see him in there. And this wise man knew what the German wanted.

So the sage picked the guy up by the collar, threw him out of the bookstore and said, “It’s not in books, you fool.”

That’s the way I feel about drumming. I’m sorry, but I look at things in an ass-backwards way.

I know it’s nice to have a book. I know these teachers who put out books are well-meaning. Maybe some of them are just trying to make a buck. If some of them have families — they ought to put out a book. But it’s not in books.

What book did Mel Lewis study out of? What book did Elvin Jones study out of?

You might study rudiments. Okay, that’s a good foundation. It’s like learning the scales on a piano. Once you’re past the rudiments, I’d say don’t get too steeped in the book knowledge of drums. You need to go out and work. That’s where you get it. You get it on the job. If a guy works, and he’s a well-meaning drummer, and he’s right in there pitching, and he’s working all the time, these things will come to him anyway.

My main gripe is in developing musclebound chops from practicing things that aren’t natural for you anyway, in the name of speed.

You’ve got your own natural licks. If a guy just keeps playing, man, he’ll come up with some bomb licks that nobody can play. It may not be that big a thing, but there will be nobody else who can play it. Like you’ve got a patent on it. That’s the kind of chops you should have. You should have things that came out — an you didn’t even know how you did it.

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The Lightfoot Band Welcomes New Guitarist Bill Bell

Posted on February 20, 2026 by Scott K Fish

FOR IMMEDIATE RELEASE
February 19, 2026
Toronto, Ontario, Canada

The Lightfoot Band Welcomes New Guitarist Bill Bell

The Lightfoot Band is proud to announce the addition of acclaimed guitarist Bill Bell as its new lead guitarist, marking an exciting new chapter for the celebrated group known for honoring the timeless music of Gordon Lightfoot.

Bell joins veteran band members bassist Rick Haynes, drummer Barry Keane, and keyboardist Michael Heffernan, along with vocalist and rhythm guitarist Andy Mauck, who joined the band in 2024, ahead of the group’s 2026 touring season which includes stops at the Orillia Opera House and Massey Hall in Toronto.

Bill Bell brings fresh energy, exceptional musicianship, and a deep appreciation for the rich legacy of Lightfoot’s iconic catalog. Over the course of his distinguished career, Bell worked, performed, and recorded with a wide range of internationally recognized artists including Jason Mraz, Tom Cochrane, and Andy Kim.

Fans can expect the same authentic Lightfoot sound they know and love—now enhanced with renewed vibrancy and Bell’s dynamic stage presence.

“We’re thrilled to welcome this incredible talent to the band,” said veteran Lightfoot Band drummer Barry Keane.

“As we continue sharing Gordon’s music with audiences across North America, Bill’s addition strengthens our commitment to delivering powerful, heartfelt performances,” added bassist Rick Haynes.

The Lightfoot Band has built a strong reputation for preserving and performing beloved classics such as “Sundown,” “If You Could Read My Mind,” and “The Wreck of the Edmund Fitzgerald,” along with many deep cuts that have not been performed live for decades.

With this new addition, the band looks forward to expanding its live shows and continuing to connect with longtime fans and new audiences alike.

Details about upcoming tour dates and appearances can be found at:
thelightfootband.com

Media Contact
B. C. Fiedler
info@bcfiedler.com
1-416-809-4272

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Toy Factory Project Live – ‘Take the Highway’

Posted on December 16, 2025 by Scott K Fish

SKF NOTE: Paul T. Riddle, co-founder/drummer and Grammy Award winner of the original Marshall Tucker Band (MTB), formed The Toy Factory Project in memory and celebration of MTB co-founder Toy Caldwell and his songs.

Paul is a longtime friend. Forty-five years ago he was my first feature interview as Modern Drummer magazine’s Managing Editor. We maintained our friendship from then on.

During our phone calls over the years I listened to Riddle talk about his dream of recording an album of Toy Caldwell’s songs. I knew when Paul was choosing musicians for his project, including Derek Trucks and Vince Gill.

Then, awhile ago, Paul told me his dream album was complete.

As far as I know, The Toy Factory Project album is still unreleased. But, finally, fans do have this one YouTube video of the band’s maiden voyage at the Telluride Bluegrass Festival in June 2025.

Here’s what I said about The Toy Factory Project in my first post about the band:

This is a band of giants honoring Caldwell’s music.

In addition to Riddle, The Toy Factory Project is:

Grammy nominated lead vocalist/guitarist Marcus King (The Marcus King Band)

Grammy winning bassist Oteil Burbridge (Dead & Company, The Allman Brothers Band, Oteil & Friends)

Lead vocals/guitarist Charlie Starr (Blackberry Smoke)

Keyboards/vocals Josh Shilling (Mountain Heart, Wynona Judd)

Violinist/Fiddler Billy Contreras (Lionel Hampton, George Jones, Zach Bryan, Ricky Skaggs, Bela Fleck)

I need to ask Paul Riddle about his Gretsch drumset. The drums sound great. Cymbals too. And Riddle sounds better than ever.

Also, I have seen one online announcement for The Toy Factory Project upcoming February 2026 performance at The Capitol Theater in Port Chester, NY.

Exciting music. Top musicianship.

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Mel Lewis’s Sage Health Advice

Posted on December 7, 2025 by Scott K Fish

SKF NOTE: Putting on a happy face on Day It-Seems-Like-Forever with (bronchitis)? Coughing until my middle-back hurts. Then coughing until my lower back hurts.

Whatever this is, it’s getting better. These last two days I slept through the night. Mucinex DM? Benadryl?

Robitussin Maximum Strength Nighttime Cough DM works best. 20 mL of the dark red liquid right before bed is the magic.

My spirit-mind-body doctor recommended “Throat Coat” tea. The original “Throat Coat” slippery elm tastes great, feels great on throat and chest, and causes a coughing “time out.”

Years ago, when I was 26 years old, the great drummer Mel Lewis told me, “If you have your health, you have everything.”

I thought, at the time, Mel’s advice was something old people say. (Mel was age 48.)

But the older I get, the more times I slip in-and-out of sickness, the wiser Mel’s words become.

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Journey Through Sound with Charli Persip

Posted on November 26, 2025 by Scott K Fish
Photo of Charli Perip from “The Jazz Soul of Porgy & Bess” album

SKF NOTE: This is post #2 of my life’s drumming milestones; revisiting drummers/recordings having a major impact on how I gauge drums, drummers, and drumming. Hearing these milestones appreciably broadened my drumming perspective.

Drummer Charli Persip, in the early 1980s, came by bus from NYC to visit with the editorial staff at Modern Drummer‘s Cedar Grove, NJ offices .

As MD‘s designated driver, I met Charli at the NJ bus stop, Then we drove in my car to the office.

During our ride I told Charli about my introduction to his drumming. It was “The Jazz Soul of Porgy and Bess” big band date with brilliant arrangements by Bill Potts. Charlie was among a big band of “A” jazzmen:

Alto Saxophone – Gene Quill, Phil Woods
Baritone Saxophone – Sol Schlinger
Bass – George Duvivier
Drums – Charlie Persip
Guitar – Herbie Powell
Piano – Bill Evans
Tenor Saxophone – Al Cohn, Zoot Sims
Trombone – Bob Brookmeyer, Earl Swope, Frank Rehak, Jimmy Cleveland, Rod Levitt
Trumpet – Art Farmer, Bernie Glow, Charlie Shavers, Harry Edison, Marky Markowitz

I was given my original album copy circa 1968 by neighbor Ed Mathews. Ed was then head A&R man at CBS records. I was about age 17. “Jazz Soul” was first released in (1959) on the United Artists label.

If I’m precise, the album’s opening track, “Summertime,” was my introduction to Charli Persip..

What an introduction!

An album photo shows Charli playing a four-piece Gretsch drumset; probably 9×13 and 16×16 toms, a 22″ bass drum, 5.5×14 snare, two cymbals, a hi-hat.

Listening to “Summertime” at 17 I was impressed with how confidently Persip navigates the chart. No hesitation. His time is impeccable. His comping and fills beautifully weave the chart together.

Bonus! Charl’s drums sounded so friggin’ good. Fat, open sounding toms. His crisp, medium tuned snare. And a killer bass drum. Plastic drum heads were available in 1959, but I wouldn’t be surprised if Charli was using calf heads.

My respect for Charli’s drumming on “Jazz Soul” went up several notches when he told me during our drive that he remembered the songs on “Jazz Soul” as first takes.

“Washington City Paper’s” Eddie Dean has an interesting and informative piece of the “Jazz Soul” recording sessions. Dean tells us the recording budget was tight- no overtime-and there were three rehearsals. Dean mentions one first take, and that all the band members were “first-class sight readers.”

So, Charli Persip’s memory of “Summertime” as a first take could be spot on.

There is one more Charli Persip cut on a different album among my milestones. I will write about it up the road.

But, Charli Persip on this date remains a favorite 57 years after hearing this album for the first time.

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Exploring Drumming Milestones: A Journey Through Sound

Posted on November 23, 2025 by Scott K Fish

SKF NOTE: I think a lot about drummers and drumming. Often when driving, but most any time I’m in my own head: grocery shopping, savoring the day’s first cup of hot black coffee, gathering pinecones and sticks from the lawn, snorkeling – anywhere really.

For example, yesterday I thought about completing the snares and snare throw-off work on my 1930’s metal Ludwig Universal Model 6.5×14 Snare Drum.

The overall state of drumming often comes to mind. Maybe I’m getting old, because I was moved by more drummers when I was younger, than I am now.

Why is that?

I think musician Robert Glasper nailed it in his November 9, 2025 Facebook post. Laying in bed rubbing his eyes, head propped up on a pillow, Glasper looks directly into his camera. Speaking to all musicians, including drummers, he says in part:

Y’all playing too m-f’in much. Too much. I’m exhausted. Everybody’s playing too much. Too choppy. Y’all ain’t even got no original sound.

Listen, everybody has chops. Everybody’s fast. What else do you have? No one gets hired ’cause they’re the fastest. You need more diversity in your playing. Make people feel good. That’s what separates the greatest from the not. Choices. Choices is everything.

Glasper’s musical Eureka! has me thinking of the drum tracks and drummers in my life who formed my conception, my view, of drums, drummers, and drumming.Many of them are not “choppy” or “fast.”

As long as I’m revisiting my drum milestones, why not write posts about them?

I remember the [drum] bug bit me in the drafting room at my grandparents’ Charles R. Fish Nurseries, listening to my Uncle Bob’s record of the Gene Krupa Quartet playing “China Boy.”

I was six-years old. The memories of standing in front of Uncle Bob’s record player, the black Verve label with silver lettering spinning around, especially Krupa’s press rolls, were captivating.

I wondered, “How does he do that?”

With the little I knew at age six about drumming, I imagined I was hearing Krupa playing single-stroke rolls (RLRLRLRL, etc.) at an ungodly tempo.

Holding a pair of Uncle Bob’s drumsticks I tried playing RLRL as fast as Krupa’s “China Boy” press rolls.

Of course, I failed, but Krupa on that “China Boy” track sparked my lifelong love of drums.

To this day I love listening to Krupa, especially his small group drumming, which was always swinging, dynamic, and melodic.

I leave you with this exact “China Boy” I heard at six-year old.

More drumming milestones ahead.

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