Paul T. Riddle and Max Weinberg: Don’t Get Lazy, Keep Learning

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SKF NOTE: My full three-way exchange with drummers Max Weinberg and Paul T. Riddle remains unpublished. In the early 1980s, Max and I were collaborating on a drum book. This interview was done for Max’s book. Part way into that project, Max wanted to take the book idea in a different direction, which I found less interesting than our original book concept. I retained this interview.

Paul Riddle and Max Weinberg are talking in this segment about their passion for continuing to learn, to study, even when they both had reached a level of success with the Marshall Tucker Band, and Bruce Springsteen and the E Street Band, that sometimes causes musicians to skate, to stop improving.

Paul T. Riddle: It really aggravates me, sometimes, to see players that do get lazy, though. They get to the point where we [Max Weinberg and Paul T. Riddle] are, and they get lazy.

Scott K Fish: They stop dreaming.

PTR: Yeah. They feel satisfied or whatever.

You asked me before if I felt I was at the point where I could just lay back. And that aggravates me. I can’t really understand that. I don’t relate to it. I guess that’s why it aggravates me so.

You might as well put the sticks down and go do something else that makes you happy. Because evidently you aren’t happy doing it any more.

Max Weinberg: I’ve been taking lessons really heavily this whole year.

PTR: Good for you.

152108_weinberg_max_tiredMW: Because, I could read when I was a kid, and then I got away from it.

PTR: That’s the same thing I did.

MW: I practice three hours every day and I practice before a session. Because it takes me three hours to get through this whole routine that I’ve worked up.

And I come upstairs, and my wife gets home from school, and I said, “You know, it’s fun learning this stuff just to learn it. Just to know that you can do it.” Because I’ll never do any of this stuff playing with Bruce [Springsteen].

PTR: But, doesn’t it gve you confidence?

MW: Much more confidence. This is the first time where I’ve really gotten into it at this level; where my playing is so much better than it was a year ago.

It’s going to be interesting going on tour. I always get very nervous before a show. Not scared nervous, but I do a lot of practicing, and I pace a lot.

PTR: I do that too. I found that I can really relax better before a show if I’m by myself. Some people don’t understand that. I get uptight if I don’t have that time. That’s when I get nervous.

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Roy McCurdy: Taking More Private Students

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SKF NOTE: From Roy McCurdy’s Facebook page. What a great opportunity for drummers. If you need Roy McCurdy backgrounder info, here’s Roy’s interview with me late last year.

Roy McCurdy
October 13 at 1:39pm ·

I have decided to take more private students for drum lessons at my home studio, drummers interested may contact me at my email address: roymccurdy1@aol.com

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The Dog Chewed My Drum Heads

rawhideSKF NOTE: Wiiliam F. Ludwig Jr., former President of the Ludwig Drum Co., comes to mind everytime I walk by rawhide dog bones or chews in pet products sections of food stores.

Specifically, I  remember a conversation Mr. Ludwig and I were having about the birth of plastic drum heads and the demise of calfskin drumheads.

The base product for calfskin drumheads, said Mr. Ludwig, are now those rawhide dog bones.

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Fred Below on Backing Singers (Audio) July 9, 1982

SKF NOTE: Fred Below was always on my short list of drummers to interview, who, as far as I knew, had never shared their stories for posterity. My first chance to right that wrong came while I was at Modern Drummer. The short version of how this interview happened is posted here.

In this part of our interview, Fred Below was answering my question about drummers backing singers. One of Mr. Below’s trademarks is his ability to, using his own word, “blend” with other band members. In answering my question, Below gives a mini-history of drummers working with popular music groups. First, he says, popular vocal groups like The Mills Brothers, relied strictly on a “strong guitar” for rhythm. When these vocal groups recorded with drummers — it was an adjustment for everyone.

Later on, Below recalls, small rhythm sections became part of Rhythm & Blues groups, and then Rock ‘n Roll bands.

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Papa Jo Jones: We Played Who We Were at the Time

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SKF NOTE
: Chip Stern‘s 1984 Modern Drummer feature interview with Papa Jo Jones is still, in my opinion, the definitive piece on the great drummer. “It could only happen once,” Papa Jo says, telling drummers born after Papa Jo’s heyday, it’s impossible to play like Jones and his contemporaries. If we weren’t there, we missed it.

Over the years, every time I hear someone singing like Frank Sinatra or like Billie Holiday, for example, I think of what Papa Jo Jones says here. Our musical pioneers are teachers compelling us to learn from them to be ourselves.

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Papa Jo Jones: It takes a whole lot of living to do what we did. That’s why I tell these little kids that came after us not to try to play like us, because that’s impossible. We were having a conversation about our lives. You weren’t there; you can’t know what we were talking about.

What I played had to do with who I rubbed elbows with…. We played who we were at the time. You can’t recreate that. You can’t copy that. It could only happen once. I didn’t have to play a thing. All I was doing was sitting there listening. I always was an audience, and I will be an audience as long as I live.”

Source: Chip Stern, Papa Jo Jones, Modern Drummer, January 1984

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