Buddy Rich Ludwig Ad Photo 1959

SKF NOTE: This is a full-page ad from the December 24, 1959 Down Beat magazine.

152005_garychester_buddy_0005

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Steward Copeland: A Sense of Relief When It’s Time to Go Home

Police drummer Stewart Copeland still keeping busy
BY JANE STEVENSON, POSTMEDIA NETWORK
MONDAY, MAY 18, 2015 02:07 PM EDT

102134-stewart_copeland_617_409Q. [D]o you foresee another Police reunion in your future?

A. I’m trying not to imagine such a thing… I mean, we all get along really well, there’s no reason not to so who knows but it’s absolutely a blank page…of history yet to be written!

Q. Why was it “a relief,” (as stated in your bio which you didn’t write) when the Police reunion tour ended in 2008?

A. Because even the most incredible adventure when it’s time to go home, there’s a sense of relief. And it was an incredible adventure but it’s all encompassing. ‘Tour-zilla’ we called it… We were relieved when we could back to our families, to our lives, to our own cool stuff.

Full Story

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Gary Chester: The Japanese Rose Plant Lesson

SKF NOTE: How I came to interview Gary Chester is explained here. The typed transcript is 64-pages, edited for publication in the April 1983 Modern Drummer

Gary gave many life beyond the cymbals “life lessons” during the interview. Here’s one example that probably deserves explaining in one area. When Gary says, “I look at them as little people,” he is not demeaning his students. He is saying that he talks to his young students as if they are adults in childrens’ bodies. As if Gary’s spirit is speaking to the student’s spirit.

Gary Chester: A perfect example of what I’m trying to explain to my children, my students. I keep saying “children” because I call them all “baby” and “honey.” I look at them as little people.

Anyway, I bought a thoroughbred Japanese rose plant one day. The most beautiful rose. It had maybe three hundred petals on it. It was gorgeous.

But, I put it in the wrong place.

Now you, as a student of mine, are this little rose. What ate my rose up? The weeds!

So, when you’re playing with musicians that are beneath you, they’re going to eat you up.

The first thing you should do is find somebody who’s close to your level or better so you can learn something, rather than play with people that are worse than you to make yourself feel good. Because that rose died because the weeds ate him  up.

That’s my philosophy. And it has been like that ever since I was a kid. Every time I learned the book – with all the bands that I’ve been with – I quit!

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Les DeMerle: How Did You Get Your Break?

SKF NOTELes DeMerle‘s interview appears in the October 1984 Modern Drummer. The back story is here:

lesDeMerleScott K Fish: What are some of the common questions you’re asked at clinics?

Les DeMerle: One of the questions I’m asked alot is, “How did you get your break?” That’s a good question.

You really have to be interested in music first. Alot of guys will spend nine hours a day writing their resume and an hour a day practicing. Do your musical homework first. Have your credentials right. Have a good tape. Be on top of the auditions. Show up on time. Look as well as you can.

It’s unbelievable. I hire many musicians to work as sidemen. And no matter how well they play as musicians, if they come to the gig dressed sloppily, it still bugs me. I come from the school where, if you take a Saturday night gig, and you’re going to hit at nine o’clock and be paid well, you should show up on time and look right.

Alot of this has to do with the attitude of playing.

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Chick Corea: I Really Wanted to Connect with the World

TOC_depth1SKF NOTE: Chick Corea is near the top of my list of “Musicians to Dig Deep.” That is, I want to give a more thoughtful, chronological listen to his music. I’ve heard quite a bit: Chick with Mongo Santamaria, the ARC Trio with Barry Altschul and Dave Holland, the trio with Roy Haynes and Miroslav Vitous, Return to Forever, Chick with Miles Davis,  Chick with some of his electric and acoustic bands.

I either like Chick’s recordings very much or not at all. He is one of those rare musicians – at least to my ears – who never releases a record I can listen to as background music. Either I give Chick’s music my full attention or I can’t listen to it.

I want to know why. Chick’s 1985 comments on communicating through his music offer a clue.

  • “The use of free improvisation…. There was no real intention to communicate with an audience. Then after awhile nobody cared. We returned to a form of communication that somebody could understand.”
  • “I [had] totally re-evaluated my past. I started my life anew – totally anew. Musically my intentions were no longer to just satisfy myself. I really wanted to connect with the world and make my music mean something to people.”
  • “There are so many ways of communicating, and there are so many cultures and forms of communication, that I find it very limiting to stick to only one.”

Source: Chick Corea, Soldering The Elements, Determining The Future, by Lee Underwood, Down Beat May 1985

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