GAVIN HARRISON – Interview (Touring, creativity, practicing, timing, recording…) Subtit. Español

GAVIN HARRISON - Interview (Touring, creativity, practicing, timing, recording...) Subtit. Español



the timing is about good listening the sound and the part are this sort of the same thing those syncopation exercises were the moment that I really grew up and realized this is what I need to do to become good was high anyone and we were connecting some days ago from Tokyo Japan or San Francisco or New York in in the USA ten thousands kilometers away but now today I can almost touch our guests because we are only two thousand kilometers away and almost in the same war time zone our guest is now in London but he was Santis ago children in Japan with some of the most important bands of all time King Crimson where the evolution and creativity never stopped and one of the first drummers musicians that comes to my mind when I think about creativity evolution and many other great things is the man on the other end of the line folks take your seats a prepare a cup of coffee a cup of tea mr. online Gramps three friends I am very happy please welcome mr. Gavin Harrison High I mean how about you very good thanks for having coffee or tea coffee guilty well I drink tea when I'm at home but when I'm whatever why I tend to drink more coffee because the tea has to be just right and it's hard to get it it's hard to get it just right when you're somewhere foreign let's say where are you now Artie at this moment what are you doing these days well I mean I've just got back from Japan I'm at home in London in my studio and I'm looking forward to having some time off and to practice because I I can't really practice the drums when we're on tour I mean I've got the practice pad and I can play in the hotel room or a backstage but on the drumset you can't really practice and I really miss doing that because normally when I'm at home I could play the drums I don't know anywhere between one and six hours a day depending what I want to do or how I feel about practicing that at that time but I do really miss it how was that king Koreans on tour around Japan yeah it was fantastic that's the longest time I've spent in Japan we made 15 concerts seven of them were in the same venue in Tokyo in a big concert hall they're all large concert halls which are very nice venues but we we rehearsed in Tokyo as well and it's a band that tours in a very luxurious kind of way we stay in really nice hotels we never play and travel on the same day so any travel day means that you're not going to play that night which in a lot of bands that's that's unheard of and we have days off so it's it's kind of it's not too punishing but it takes a long time to do 15 concerts so nearly the whole period took nearly five weeks when you won't advance and retake the tour do you agree and so I again they'll ask how does it work we normally rehearse for two weeks in every April and then we take a month off then we do some more rehearsing just before the tour so the pattern for the last five years has been like two weeks rehearsal with all the band usually in England and then we take a month off and then we go to the city that we're going to start the tour in and do maybe another five or six days before the tour starts you play in bands where the progressive concept is very present the porcupine tree pineapple thief King Crimson and your solo compositions gaben what does it mean for you and the concept of progressive it doesn't actually mean anything to me because I mean I grew up listening to jazz my father was a jazz musician but he also played in lots of other bands with lots of other artists so music was just music to me and I am fully aware of the genre divisions but I never thought of myself as a jazz drummer or a rock drummer or a progressive rock drummer or I was just you know a musician who played the drums and it felt if I could find some some interesting music to play regardless of what other people categorized the music as then that was good for me if it was rock or punk or if it's you know if it's good I'm happy if it's fusion if it's funk if it's anything if it's good then there's going to be some rhythmical interest inside that music and that's what I really got interested in is playing some good music that I could find some creative parts to play and you know progressive music allows them maybe if you play you know pop music with a with a pop artist where you're just basically playing for it's more kind of disco orientated music then there isn't so much room in jazz in fusion in progressive there's more chances for you to play something unusual nowadays I see many bands with this character of progressing to just work but many of them they miss one fundamental thing to make me connect to that music that's the melody and in my opinion these bands you play with having common not only the the concept of progressive rock but also a commitment to the to the melody and lyrics when there is a singer for me two essential parts of the music what do you think about it especially about Mallory yeah I mean I like melody I like songs I like I like playing music with singers and I like it to be accessible I don't like making complicated music just for the sake of being complicated I think I got that out of my system many years ago the the feeling that we should be playing more complex music or more complicated music it's kind of fun from a mental point of view but I can see that it's not so much fun to listen to and I'd like music I can listen to so I love songs that have a good melody good lyrics nice hooks and if I can find something interesting to play on the drums then I'm very happy about composing roofs the progressive concept can also be present in many styles I mean not playing what it's expected not the typical grooves or course giving you always try to play something unique especial to to each song no matter if it's a pop song with some brown or in rock context if we want to incorporate that creative thing to our grooves could you give us some starting point to do that maybe playing in other elements of the set thinking melodically thinking out of the box what's your approach to that the creative composing move yeah that's a good question how do you think out of the box well I mean try to take your inspiration not from other dramas try to take your inspiration from art from Architecture from other players from trumpet players from guitar players from things that you see in life they will be more useful to you than just having a very large vocabulary of other drummers styles I think when you're younger you know you get to learn a few of your favorite drummers styles and then you can probably do a reasonable impersonation of Steve Gadd or Vinnie Colaiuta or Stewart Copeland but you're not being original and to be original I mean you are original because you're the only person who is you and you just need to accept that you're not anyone else except you and that things could influence you that are not musical it's a it's a frame of mind really it's just it's a state of mind that makes you think in a creative way that makes you steer past the cliches of what you could play so it's a it's a really hard question and I'm still fighting with it every day when I try to think of an groov sometimes it takes me ten seconds sometimes it takes me ten days until I can find a musical solution that I like maybe it sounds a little bit like someone else who I like and sometimes it sounds it just doesn't sound like me because I you know I I know everything I've played and no one is more bored with with my drumming than I am so I'm always happy if I sound if I play something that I've never played before and I'm not talking about more clump complex I mean just something interesting something simple something that's in 4/4 that I have not played before or I've not heard another drummer play before so that is really my goal with any musical situation now I think that all those possibilities come mainly because of two reasons first it comes from creative mind and of course from many many years of practice of a good practice talking about practicing having how was your approach to practicing in your early days in your heavy practicing days well heavy practicing days really was struggling with technique and coordination when I think back to some of the days where I really practice six or seven hours a day some of it was purely technical but I would always try to have some time in the practice sessions that I would improvise or I would just let my mind go and try to play or I'd play along with music and try to feel some new inspiration but definitely there were hours that I would try you know coordination things that I were just too difficult for me to start with what exercise book page a groove from a song or something concrete drumming wise meant our before and after in your leveling experience that thing that was a big boost in your plane yeah the thing that really changed changed everything for me when I was 18 I had a lesson with a drummer called Dave Cutler and Dave had just come back from Berklee School of Music he'd been there for three years it was my dream to go to Berklee School of Music but we're talking about 1979 1980 1981 that sort of time there was nothing like that available in the United Kingdom and for that kind of school really Berkeley or P IT in Los Angeles were really the only two that I knew of anyway I couldn't have afforded to go anyway but I heard about this drummer Dave Cutler and he was giving lessons in London and I went to see him and he showed me the Ted Reed syncopation book and some of the systems that you can apply to the Ted Reed system the Ted read reading now what was interesting for me is that it was a concept and I'd never really worked on a concept before every book everything I'd studied before was already written out I just had to play it and you know the first lesson I had with Dave he said okay look at this music I want you to play it interpret it as swing I said well what does that mean and he said well okay it looks like this but that's not what you're going to play you're gonna play the the syncopated rhythm but interpreting a swing so that was the first problem the second problem was coordination that the way he asked me to play these exercises were beyond my donation ability at the time and he showed me a set of exercises based upon the eight pages of syncopation from Ted Reed's book and he just said look don't come back next week come back when you can do it and so I went home with you know my mind was blown and I realized this is gonna take me a long while to play this but I think one thing I were two things I think I had was I was very observational as a child I could notice small things you know I could observe detail very well and the other thing was that I was very determined so when he said to me look don't come back next week come back when you can do it it was a bit of a slap in the face and I thought okay I'm gonna come back and I'm going to show you this I'm really gonna I'm going to show you this I'm gonna shove it to you and I went home and I practiced it for three months and before I could play it and the interesting thing was that he you know I said to him listen I'm very curious about your other students how long did it take your other students to play this and he said you're the only one who ever came back so that to answer your question that book together with the idea of the original concepts that Dave Cutler showed me and then I began making my own concepts and I still do now based on the Ted Reed syncopation because really the Ted Reed syncopation book if you look at it is kind of binary you know there's notes that are on and there's notes that are not on that you know the rests or the note value is where you could think I'm not going to play or maybe you just play in between the notes and you start to realize there's a whole world of possibilities based on that so really that lesson that first lesson I had within based on those syncopation exercises were the moment that I really grew up and realized this is what I need to do to become good because I saw Dave Cutler play about two months before my first lesson and he played things I'd never even dreamt of and I thought I want to know what inside this guy I want some of what's inside this guy and so I think I only ever had about ten lessons with him over two or three years but each lesson required so much homework for me to get the point and to get to the level that I could play what he showed me he was right there was no point going back the next week because I wouldn't be ready yeah I totally agree with you going yes one page of the syncopation book is a word a system yeah I do some teaching here in my studio and if I have to select three advices about practicing I think I would say learn to play with a metronome learn to read some basic rhythm and record yourself as much as you can about this last concept recording yourself to evaluate your playin improve what kind of information did you take and from that listening well when I oh yeah I used to record my cell phone cassette all the time later on about 1984 I got a little porter studio for track Porter studio and that was very educational to me trying to overdub you know trying to put hi-hat on one track bass drum overdub snare drum overdub and realizing how difficult that is also recording myself to a click I could turn the tape machine slower listen and hear the errors much bigger and all kinds of creative ideas that I could think of in ways that I could record myself and and it'd be educational later on by the late 80s so a friend of mine lent me his video camera and I videoed myself playing and that was very educational to me especially about the movement the body the way that you hit the instrument and all sorts of you know physical things that you don't realize you do until you see yourself recorded that was that was very helpful to me some tips about practicing about how to take the most from our practice session something that you can share with us about practicing Gavin well it's nice to have an idea what you want to achieve and make sure that the idea is not so ridiculous you know if you are beginner drummer and you say okay I'm going to practice the black page by Frank Zappa you're going to be in tears within 10 minutes and probably give up so your goals need to be achievable and sometimes think people you'll see exercises or people will show you exercises and you can try to make a simpler version of those exercises and in fact that's exactly what I did with the Ted Reed exercises that Dave Cutler showed me the first thing I did was okay I can't play this the second thing I did was how can I make a simpler version break it down into much simpler pieces until I can play those pieces and then start to include other complexities to do with it you know you've got to you need to understand yourself some people can play for six hours some people can play for 30 it's before you lose good concentration if I if I'm thinking of an exercise that I can't play I might work on it for twenty minutes and then stop and do something else I might come back to it later in the day I'll come back to it tomorrow I'll come back to it the next day and usually within three four or five days I can play what originally was impossible you just need to understand what is your sort of progressive graph and of course as you get better you can solve rhythmical problems much quicker what might have taken me three weeks to play thirty years ago maybe it's going to take me three days to figure out something of that complexity now because I understand more of what I'm like I mean we're not all the same person so we're not all the same character and some of us have a better attention span some of us are better at coordination things some of us are better at speed things so you need to understand yourself another important aspect in every player not only drummers it's the sense of time our internal clock our timing along and with the band some tips about how to develop that internal clock our chiming in the practice room some routines for that well there's a couple of things that I worked on that was very helpful one of them was an exercise that Steve Gadd showed in his first video and if you play a very simple groove just one and three on the bass drum two and four on the snare drum and record yourself playing quarter note on the high hat so really slow and then after eight bars start to play eighths on the hi-hat and then after another eight bars play 16s on the hi-hat and then go back and play eight and then go back and play quarters now when you listen to the recording of your exercise right from the beginning tap six things straight away and then you'll listen you'll hear when you change from quarter notes to eighth notes if you sped up or if you slowed down and the same when you go to 16 if you sped up or you slowed down and if you just play along like you are a bongo player and imagine you're listening to a different drummer imagine you're listening to a guy you don't know and you're just playing I mean even with a stick on the hi-hat just playing six things you'll be surprised what you hear and good timing is about good listening you'll never be better than your ears so your ears need to be better than your drumming so it's important that you practice hearing and listening to timing and starting to recognize when things speed up things slow down things are late things are early this all comes up with years of experience but really playing in time a plain good time is about good listening and also another thing is that when you play something complicated or something that's challenging to you you don't have enough room left in your head to listen so you don't know if it's in time or not because you're too busy concentrating on the the complicated thing and the only way you can tell if it's in time is if you record it and then listen to it but then it's too late so you know for definitely practice you know technical things complicated things but when you get on stage if you feel like you're unsure about your timing then simplify what you're playing so you and relax and so you can start to listen to the quality of the time and it's only when you can listen judge and adjust that you can actually do something about it it's no point listening to that a recording of last night and saying wow it was terrible yeah there's 12 hours too late you need to be doing it as you're playing and that took me a long time to understand to realize that I needed to be really listening as I was playing in real time and not be so focused on the mechanics of playing the drums that I wasn't really listening so that's that that's a good exercise you know for trying to improve your time and understanding really what's happening with your time I mean I I used to try this exercise that I would with my I mean I was using cassette at the time I would record put the cassette machine in record I would think of a tempo and then I would think one to one to be poor and then start playing the drums play about eight bars maybe I'd play a fill at the beginning so I go one two one two three but Bogota dukkha don't bet then I would stop the recording rewind the recording and then when I was listening to the recording I would play six things on my leg or eight one one two three dodonpa and you will hear if you speed up or slow down even in the counting and usually if you play a fill at the start of the song you're going to come in too quick and rush the film so I would you know for sure I would record myself I would make horrible mistakes learn from it redo it I might redo it ten times until I felt that the counting was in time the fill was in time and then the groove that I started to play was all the same tempo I wasn't judging it on a computer I was just judging it playing on my leg like I was a conga player or a bongo player to just try to assess whether it was good time or not you know even time thanks for that information Gavin that's wait I would like to talk about the sound first sound and on a stage on a live situation I know you always use in ear monitor system and some low speaker and reinforcement in your in your in your throne yeah Dave Weckl always uses in here but with some external speaker is back Simon Phillips only external monitors never in here do you think is it possible to get a full expectrum makes a musical mix only with an ear monitor system the problem with the problem with the drums is that they're so loud so to get a good mix you never have a good mix really you can hear the other instruments you can balance them to get them level but if you're playing rock music or you know rock based music where you're hitting the snare drum pretty hard the snare drum even if you have any air monitors in the volume of the drums is so loud that you're never going to get a mix like a CD if you're a keyboard player or a guitar player or a bass player you can get a really good sounding mix but if you listen to my mix that I have you know when I'm playing live it's it's the mix that I need to play – it's not a mix that you'd want to put on a CD because it's horrible it's what I need to play – more than ice just perfect it's like a CD it's just amazing it's never that because of the volume of the drums to start with and I damage my ears many years ago from playing too loud and playing two clicks playing live with clicks before the days of isolation you know just with the Walkman headphones on and you know my ear I've got pretty bad tinnitus so now I've got fully molded in ear monitors in and I try to keep the volume as low as I can but you know that the volume of the drums the way that I want to play the drums is quite aggressive for the intention and for the sound I want so it's it's a problem that I can't solve really about the studio work Gavin what differences do you see or what's your experience in these next two pollution situations one epic production with all the time you need and two versus a production with a time limit with the stress of the clock running yeah I have done both I always think I could have done a better job any record I listen to I listen to it now and think yeah I could hey I could play it better now and be if I had more time maybe I could have found a better solution a better groove or a better part or maybe I could have made the music feel better so I prefer to have the time to record I don't do so many sessions anymore where people want me to record 10 songs in three hours under pressure I don't do those sort of sessions anymore so the kind of sessions I do most of them are at home and most of them I can spend five minutes or five days and I take as long as I think it takes until I found what I think is the best solution at that time I still might have a better idea you know a few months later though that's life you know about some in-studio Kevin your sound is very articulated clean powerful life and on recordings some general rules that you use in your mixes of course it depends on the music but in general for example what importance do you give to the to the room mics in your mix your go to mixing techniques yeah I mean first I try to play the mix if I want more hi-hat I try to play the hi-hat louder because if I turn the hi-hat up I can hear the snare drum as well if I want the ride to be louder I try to play that the ride harder or maybe I'm going to play you know with with the this end of the stick and I'm gonna or maybe it's the wrong ride cymbal so my first thing I try to do is to play the mix that I want for sure you can do lots of things inside the mix you can start with the bass drum I've got sometimes three bass drum mics I need two bount balanced which ones are the clicky bands which ones are the thumpy ones which ones are the sub ones and the phase between those three mics changes everything and then I could start with the snare drum and bring all the drums in one at a time and then think of the overheads for cymbals or you can start with the overheads and say that is the mix that's how I played it and I'm just going to bring in a bit of bass drum and maybe a little bit of TomTom because they're too thin in the overheads I have I'm lucky that I have a very large hole in front of my drum set so I use that for ambience I sometimes I use that as the the leading age I start with the live room and then I bring in the other faders behind so the the kind of leading edge is the live room sound and then I bring in the other sounds to reinforce it you know or you can start from dead dry drums you can put digital reverb compression EQ phase alignment but if it's not played correct in the first in the in the first time in the first instance you're never going to be able to mix it well if it wasn't played right and consistently you know from a timing point of view from a sound point of view if you're hitting the snare drum in the same place or pretty much the same place every time at the reasonable value it depends what the music is and what you're trying to do but I mean there are a few little tricks you can do but it's nowhere near as much as what you can really do as the drummer so when I get a new song I usually have some inspiration about the snare drum sound the right cymbal the high hats the type of cymbals I'm going to use and then very quickly I will start to record myself with the track and at that moment I will immediately start mixing maybe the right cymbal is the road and right cymbal maybe the snare drum I need to maybe I'm not going to hit it quite so hard in the verse maybe the high hats are the wrong high hats or maybe I need to play on top of the high hat instead of the side of the high hat I start making mix decisions before I even have a drum part because sometimes the sound is going to dictate the drum part the sound and the drum part is really all the same thing if you heard one of the songs that I played you know that you might know if you've heard it mixed differently it would sound completely wrong because that wasn't the intention and this is the problem that I have when I work remotely and people ask me to send the tracks is that they might mix it in a way that I didn't I didn't want I didn't intend and it doesn't work so more recently in the last couple of years I just send people a stereo mix and say this is my rhythmic solution for your song the sound and the part are this sort of the same thing absolutely you might remix it and completely destroy it in your study you have your drum set and Monty's over a drum riser what's the concept behind that the drum runs that the idea was that I could move it around the room when I used to go into studios sometimes there would be a large studio room and I would say where do you normally put the drums and the engineer would say in that corner and I would say why and he would say I don't know we always put them in the corner and I would take the snare drum and go all around the room and I might find an area in the room where I think the drums sound better or at least the snare drum then I would get the bass drum and just play the bass drum and snare drum and then maybe we would move in the middle of the room or the edge of the room or in different areas and find what I thought was the sweet spot of the room sometimes it was the original place but sometimes I found another place that I thought sounded better so the idea was that I could put my drums on a riser I could move it nearer to the hall or I could move it nearer to the wall or more in the middle of the room and change the the way that the drums sound naturally in the room so it's not for for a sound reason for some low-end and in for cement with with the drum riser no no no no no you get no no better bass response at all I mean from a producer engineer and composer point of view what things do you believe the most in a drummer a part of being musical playing for a song what's your thought about it groove it's got to be the timing if the drama hair is inconsistent in the timing or inconsistent in the way that they hit the drums is going to be a nightmare to mix it's you're going to be chopping it all out you're going to be triggering it's gonna be a nightmare so I mean really if you can find it's it's first and foremost the timing and then the sound that they make every drummer makes a different sound even on the same drum set and it's it's kind of interesting that everyone hits the drums slightly different and that produces a different a different tone so really I would look for groove I mean something that has been very useful for me is to play the bass even if I play I'm not a good bass player at all but it's very interesting for me to play the bass with a drummer sometimes a friend of mine will come round and I say please play my drums I want to play the bass and all of them play the groove play their time in a very slightly different way the way their hi-hat snare drum and bass drum lineup is all unique and when you start to play the bass with them then you understand what a bass player wants from a drummer and the only thing a bass player wants from a drummer really is that they've got good consistent time and hopefully a good sound but really is it's all about the timing and it's a it's I know so many I mean what I've done a master class so many people have struggled with their timing it's been inconsistent or moving around it's a funny thing I mean the drums are an instrument which fundamentally have one purpose and that is to supply the tempo since the 60s the drummer is the conductor before the 60s you know a band had a conductor standing at the front of the orchestra and they controlled that the tempo and everyone played with it okay when those big bands went out and groups came in well then the drummer was the tempo the drummer was the conductor but it's curious to me that so many drummers were attracted to the instrument and that their personality wasn't really ideal for the purpose of the instrument I mean some traumas play the drums because they want to rip the shirt off play with their tongue out and play there you know that's what excited them that's what brought them to the instrument but actually that mentality isn't it you're never going to get someone who is going to be precise and someone who's going to have a concept about timing and evenness of time maybe the kind of personality type is someone who is more analytical and more mathematical that they think about time and they think about the concept of time rather than just going at the drums like you know animal from the Muppets that's sane and of course we've seen everything from all extremes and it's all fine it does make me think sometimes some people their personality type might not have been the right thing for the instrument then getting the the keyboard is consistency in many aspects sound time a groove anything that's the foot that's the first thing I mean obviously finding a good drum part having a good sound playing musically all those things are important too there are so many things that we can learn from others who don't play our instrument maybe the the keyboard player the singer the producer with words and advices that can affect directly in our plane what concrete lesson or experience from others non drummers this did make you improve or be a better player a better musician well I had a lot of good you know advice and guidance from my father because he was a trumpet player and I tried to play the trumpet too as did my brothers but I wasn't the right it wasn't the right instrument for me I wasn't the right personality to play the trumpet so my father gave me lots of good advice sometimes my father would hear me practising and he would walk in the room and say you know if I had to play the trumpet on top of that it wouldn't be good you're not listening musically you're just listening from a drum point of the try to listen from an audience point of view or try to think about how the trumpet player or the bass player or the guitar player are going to play with you and as I said learning other instruments I play the bass I play guitar I play keyboards are all bad all badly but it gives you an idea of what you want a drummer to be and it gives you a completely different perspective if you're a young drummer wondering what to do try to learn another instrument it will really help your drumming a lot selling tickets with so many months away from your home traveling all around the world in those years of heavy chilling with your band's how do you keep in shape physically and bling wiser how do you do it oh I mean I I try to eat healthy I don't really drink alcohol and asleep you know normally when the band get back to the hotel quite a lot of them go to the bar I always go straight to bed I like to sleep I like to sleep nine hours nine and a half hours I need the rest if I've been playing for three hours or two hours very physically I really need the rest I don't need to sit in a bar for a couple of hours drinking alone it'll only get worse it's hard to stay healthy on tour I always catch a cold I always get food poisoning or something so I try to look after myself I don't do any physical exercise when I'm on tour when I'm at home I can write the bike sometimes you know you need to be fit to play the drums playing the drums won't make you fit you need to be fit to play the drums and you know as I get older as well you know just to be really secure about not having problems with my hands with my fingers warming up properly and monitoring the concert you know in terms of energy level where you need to save energy and where you can use energy you know when I was younger I would just go on stage and go crazy in the first two songs and then be exhausted so you need to pace yourself but that's really just experience that you you learn along the way first Ringo Starr Ringo Starr yeah I wasn't a Beatles fan I didn't grow up listening to the Beatles despite being English and being alive when they were recording I appreciate what he did now at the time I wasn't interested at all you know in the 60s and when I heard them in the early 70s it wasn't when I was into jazz at the time and I didn't really listen to The Beatles when I was young but I appreciate when I hear a track now I like that he was a rhythmic designer and that he found interesting drum parts so it took a long while for me to realize that mr. Kapil and Stuart I really loved Stuart when I heard the police I was a big fan because he he played like no one I'd heard before and again he had you knew it was him in five seconds so he had his own sound and his own ideas and I thought that's something I want to aspire to I want to have my own sound I don't want to be a drama that can be a chameleon that can change drum sound and do this and that and the other I just want my sound and to have good ideas and Stuart is a perfect example of that John Bonham John Bonham is another person who has his own sound and his own ideas and for the time it was very interesting to hear John plate leg back tiny big thick laid back time he played on the back of the beat and very few British drummers did that at that moment in time I could hear you know American drummers play like that I could hear you know American funk music where people were playing on the back of the beat and John was kind of unique that he could play that heavy and that back on the beat and it was just you know with that sound just an amazing part of the band it shows you how much a drummer can change the sound or be the central part of the band Neph weapon Dave what I love Dave buckel in the 80s I went to the London drum show I guess I was early twenties and Dave had just come out of that time he just released that that play-along package you know the foot yeah they're contemporary and hammer yeah temporary drawing yep and I saw Dave play a drum clinic and he had his own mics and he had his own PA and it was so impressive I've never seen live anyone played that well I was absolutely gobsmacked and I think Dave is someone who's got better and better over the years it hasn't Stood Still he's progressed and you know he's someone who has got a great jazz feel to great jazz do you have good friend Sam on Phillips I've been a fan of Simon since I was a small child because maybe you know this but my father used to play in Simon's father's band so when I was about eight nine years old I would sometimes go to a concert to see my dad play and Simon was on drums and he's about five years older than me and then when Simon you know when he when he grew up and he started playing with Jeff Beck it was just fantastic it was a big influence on me Nene yeah any kind of you tap really the the guy with the most advanced drummer in the world I think the most the person with the most facility when you listen to him play you just don't know what he's gonna play next and I don't think he knows what he's gonna play next he'll play something so surprising you just think what was that that is amazing I got to see Vinny play in the late 80s I went to Los Angeles and threw a we a friend we have in common Larry Williams he's people play a sax player and Larry took me to a small club that Vinnie was playing in I think he was playing with Brandon fields and Alan Pasquale and maybe Jimmie Johnson and I'd never heard anyone play like that before it's it's just it's beautiful and it's amazing he is just an artist it's just incredible and watching him close a few meters away if must be amazing absolutely yes poor cat Oh Jeff Porcaro yeah a massive influence on me I think I saw him play twice with Toto but my early years of you know I used to go to a record store close to my house I used to go there on my bicycle and the guy who worked in the record store was a jazz drummer and he played me Steve Gadd records and he played me Jeff Porcaro records and he had all these American import records so I would buy anything that had Jeff's name on it or Steve dad's name on it so the two of those those two guys were such a big influence on me I loved the way that Jeff played his time everything just felt so great with a great sound and and it still does now when I hear those recordings from the early 80s I think I think about Jeff a lot when I play I think if I could make this feel a little bit Jeff Porcaro that would be a great thing that was fantastic thank you well what's in your a close future what's next what's next there is another tour with pineapple thief coming up we're going to rehearse at the end of January we've got a European tour in February and March April there's King Crimson rehearsals June and July is the first tour September October is the second tour with King Crimson and then in November we're hoping to go to the states with pineapple thief and plus we need to write and record a new record so it's looking very busy already Gavin and force there are three common aspects that I find in the indie artists that I love the most consistency in the sound and unique boys creativity and love for sharing his passion his knowledge and for me there are three drummers in the top of the list about these three things Dave Weckl Simon Phillips and mr. gavin harrison galleon thank you so much for being here it's been a real pleasure talking to you from Spain to to London best of luck on the road in your studio with your music so thank you and goodbye thanks well tell amigo you

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