Drummer's Weekly Groovecast

In the snowy mountains of rural, western North Carolina Jeff Sipe (Apt. Q-258) resides. You may know him from his tenure with acts such as, John McLaughlin, Jimmy Herring, Leftover Salmon, Col. Bruce Hampton, Jazz Is Dead, and Shawn Lane/Jonas Hellborg. However most know him from the group that gained him his initial popularity, Aquarium Rescue Unit. To finish out our second season Jeff agreed to talk to us about all of the above including his current gigs and the publishing of his new method book, “Rhythm Patterns for Drum Set”. Stories. Everyone likes to hear them and many musicians have colorful tales about being on the gig. If you look at Sipe’s past credentials you’ll quickly recognize that he’ll have plenty to offer in that category. We start with how he received the moniker, ‘Apt. Q-258’. We also spend a good bit of time discussing his upbringing abroad and how it fostered his love for music. Jeff also tells great stories about his time in Boston and attending the Berklee College of Music. One of the

The Berklee College of Music is ubiquitous with musicians worldwide. When we think of the great institutions of education along with the world’s greatest musicians Berklee is routinely mentioned in both instances. However, with any topic of conversation that conjures legendary tales there are as many negative connotations as positive. In this episode we cover everything you’d want to know about the school from a gentleman who has been a part of the faculty for 36 years, John Ramsay. Ramsay, a Massachusetts native, was a self-taught drummer who soon realized that if he was going to make a living as a musician he’d have to seriously learn his craft. Through meeting Max Roach at the University of Massachusetts, Amherst he was ultimately steered toward private lessons with master drummer/instructor, Alan Dawson. With Dawson he learned the legendary methods associated with Ted Reed’s ‘Syncopation’, soloing with Stone’s ‘Stick Control’, and Alan’s creation of the ‘Rudimental Ritual’. After several years Ramsay be

We are back again with our illustrious panelists from the Drummer’s Weekly Groovecast Advisory Board. With the success from the last episode featuring the advisory board we knew it was a must for the second season. For this show’s topic we have employed a few past board members and welcome a few new faces to the panel. Please welcome Rod Morgenstein, Chris Fryar, Tom Brechtlein, Joel Rosenblatt, and Ted Mackenzie to this session’s advisory board. This time around we pose the question, “What important aspect do you believe is missing or should be done better in music education?” Each guest gives their answer and we discuss our own thoughts on what might be beneficial to modern students in today’s current and future music business. We analyze different topics such as: curriculum, application, concepts, student accountability, methods, technology, and much more. If you haven’t heard the previous episodes featuring interviews with our panel members you listen to them by following the links below: Rod Morgens

Jason Bittner is one of the premiere heavy metal drummers. His resume includes the bands, Shadows Fall, Flotsam and Jetsam, Burning Human, Stigmata, Anthrax, and currently he is a member of the legendary east coast band, Overkill. Not a bad way to welcome our first, straight-up, metal drummer to the Groovecast. He sat down with us from his home in upstate New York. I was introduced to Jason through our mutual friend, and previous show guest, Ted Mackenzie. A few days before Thanksgiving we found a time to chat. Aside from being a tremendous player Jason is a fantastic storyteller. He starts the interview with details about a clinic he recently conducted near his hometown. That story leads to other accounts from past tours including an unforgettable night in the UK where his clinic was held in a pub. We spend a good amount of time discussing his education (early teachers and methods) and how it led to him reading Modern Drummer, noticing ads, and ultimately attending the Berklee College of Music. He talks ab

Here at the Drummer’s Weekly Groovecast Thanksgiving is one of our favorite times of the year. It gives us the perfect opportunity to give thanks to our art form and for us, Phil and Jon, to give thanks for our listeners. In this episode we dedicate the entire time to answering listener questions. We begin the show with a short segment of listener comments directed at the last two shows, JM Van Eaton and Roger Hawkins. We often say it but never say it enough. Thank you very much for your loyal support of the show! Your comments and reviews mean the world to us! We then get to the main part of the show which is a full session of Q & A. Over the last several months we’ve received quite a few emails. We always respond personally but most of the time we don’t discuss them on the show. We decided this time around to publicly answer our most frequently asked questions. Topics we cover include: practice, injury, gear repair, recording tips and technology, music theory, ear training, and more. We finish the sho

“Now, Muscle Shoals has got the Swampers. And they’ve been known to pick a song or two.” Literally millions of people have heard this famous line from Lynyrd Skynyrd but how many actually know what it means? The Swampers were the famous rhythm section from Muscle Shoals’ FAME recording studio and they are responsible for hundreds of popular hits and thousands of great feeling tracks. This week we’ll christen the midway point of the second season and listen to the Swampers’ incredible drummer, Roger Hawkins, for our artist feature. Knowing that this topic would be dead center of Jon’s strike zone he details a short biography of Hawkins and discusses the many influences, sometimes unknowingly, on the drumming populace. Hawkins is sometimes mistaken for RnB studio greats, typically Al Jackson or Bernard Purdie, so we take time to explain the reasons for that. We then listen to several tracks featuring Roger and analyze what’s happening in each track. Below are the song choices from each host. Phil’s tracks: 1

It’s not an exaggeration to say that JM (Jimmy) Van Eaton was at rock and roll ground zero. It certainly didn’t hurt that he was unknowingly living in one of the great hot beds for American music, 1950s Memphis, TN. Although it’s no longer in the top echelon of music cities, being significantly overshadowed by its eastern neighbor a mere 200 miles away, Memphis paved the way for future generations of rock, RnB, country, and jazz musicians. After a long stretch of living in rural West Tennessee JM recently retired from his long-time occupation in financial services. I caught up with JM at his new residence is Memphis. From there we discussed his upbringing and how it led to his initial musical training on trumpet. He soon moved to percussion in his school’s concert band and subsequently cobbled together a complete drum set using different pieces from their percussion cabinet. Van Eaton transitioned to professional gigs ultimately landing him at the world-famous Sun Recording Studios. JM quickly moved from de

“Yeah he’s a great drummer, but he’s a jazz player.” I’d be willing to bet that sometime during a conversation you’ve heard a similar comment. What does that even mean? And more importantly what’s the rationale for saying that? It’s obviously a reference to the musical approach of the jazz player and how he’d be inappropriate for a particular job. It’s certainly no secret that many musicians devote the majority of their time to one particular musical style. That devotion however can lead to neglect and the superimposition of the preferred style while playing another genre. That’s not good. However, instead of a sweeping generalization what particular aspects of his approach make him suitable for jazz but not for rock? In this episode we welcome Marlon Patton to the show as we dissect and examine the differences between the jazz and rock mindset. What makes up the mentality of a great jazz or rock musician? We take the topics of touch, gear, independence, feel, groove construction, song structure, and gig pre

Daniel de los Reyes is one of the premiere percussionists in the world. Even if he wasn’t a member of one of today’s most popular bands, the Zac Brown Band, his resume is as impressive as anyone’s in the music business. He’s recorded or toured with: Earth, Wind, and Fire, Fleetwood Mac, Don Henley, Sting, Chicago, Ben Vereen, Aretha Franklin, James Taylor, Steve Winwood, Sheryl Crow, and Peter Frampton to name a few. All that being said he’s an even better human being. In our time together, we certainly talked drumming and music. However, we spent significantly more time discussing life, family, priorities, mistakes, ambitions, and giving back. Daniel has seen it all and has walls full of awards to prove it. Right now, one of his priorities is furthering his philanthropic endeavor, Day Glow Music. Danny blends culture, art, and music together to educate and enlighten kids with the hopes that they can share their passion with others. He’s also working to bring relief to hurricane victims in Puerto Rico. We al

Welcome back to the start of a new season of the Drummer’s Weekly Groovecast. We greatly appreciate your patience and support during our hiatus. We look forward to bringing you the best in topical conversation, interviews, and recommendation segments. After our cold open we debut our new show theme and discuss what we’ve been doing during our break. Our topic for the week is “Performance Panic/Neurosis”. In past episodes we’ve covered several subjects that deal with problems arising from outside sources: stage bullies, outdoor events, unforeseen and uncontrollable circumstances, etc. Today we discuss how to manage problems that are self-manifested. We often sabotage ourselves when we get the chance to perform with or for a great musician or personal hero. We get inside our heads and let the voice of negativity and doubt ruin our experience. We discuss our personal understanding and the different ways it has affected us during gigs and sessions. Sometimes we respond by over playing. Sometimes we play it too

Keeping tabs on social media use is now something all responsible people must do. Naturally we think that most of the problems generated by Facebook, Twitter, and Instagram, come from the original poster. Sometimes that is correct. However with the omnipotence of technology and its accompanying social media, savvy users have to be equally careful simply being onlookers. In this episode Phil and Jon discuss the proliferation of several social media platforms and the benefits they offer. Likewise we dive into the worm hole of exactly what can go wrong when social media use goes awry. We cover issues like: bad posting etiquette, problems arising from overconsumption, loss of productivity, addiction, and anxiety resulting from social media overexposure. We then discuss proven, practical ways to loosen the grip of social media and get you back on the road to productivity. We also talk about our recent inclusion in Drum Magazine's top drumming podcast's list. We are humbled and honored to be listed with such

Two years ago we ventured into the podcast arena with a topic that resonated with thousands of musicians. This week we revisit the original episode that started it all. Stage bullies come in all shapes, sizes, and volumes! Some musician bullies like to exercise their control when in leadership positions. Others are micro managers and like to dictate everything you play and do. Some leaders are nervous, snippy yellers who don't know how to deal with high pressure situations. You may also run into the ego maniac who likes to demean others and force his will onto the music and everyone at the gig. Conversely you may run into the brooding, passive aggressive player who sneers and gives condescending looks or comments. Those types of 'stage bullies' are only the most common! There are a myriad of others. Let us help you deal with them. If you haven't heard this original broadcast give it a listen. If you have heard it, check it out again. In this inaugural episode Phil and Jon sit down and discuss this negative a

This week's show is dedicated to our listeners! Episode 104 officially marks the two year anniversary of the podcast and we celebrate with news, listener questions, two year statistics, favorite guests, favorite show moments, and more. We start the episode with Phil and Jon discussing the benefits of hosting the show by recently being invited to two major concert events. We then tackle a few listener questions. If you've ever experienced what you believe is carpal tunnel symptoms make sure you listen closely. We also cover the nebulous topic of shuffle differentiation. In particular we answer the question: "What is the difference between the Texas Shuffle and the Chicago Shuffle"? We then give our appreciation to the listeners who've supported the show for the past two years. We talk about the continual growth of the show and then play a 'stats game'. We go over podcast stats for several topics including: the most listened to show, top countries who listen, top non-English speaking countries, top US sta

For this episode we welcome back to the show author/educator/performer, Ted Mackenzie. In a previous show Ted spoke about his relationship with master teacher, Henry Adler, and how his knowledge of Adler's method led to him to be chosen to revise the popular book, "Buddy Rich's Modern Interpretation of Snare Drum Rudiments". In that show we discussed how he revised the book, his lessons with Adler, the publication process, and his companion methods that followed. Listener response to that particular show was tremendous. However there were several listeners who wished that we had discussed the actual Adler method and how it is applied to the book. We do just that in this show. Ted takes the time to discuss Adler's thoughts on grip (both matched and traditional), stroke motion, stroke heights, accepting the rebound, accents, non-bounce vs bounce strokes, wagging the brush, and more. Here you'll get the 'flyover' concept of Henry Adler's famous method. We also touch on how the Adler technique relates to other

Every year professional musicians brace themselves from April to October. That six to seven month span encompasses outdoor gig season. In this episode we welcome David Freeman, saxophonist/keyboardist of the Yacht Rock Revue, to the show. He's a long time, power listener and part time drummer. In his decades of performance experience Dave has had hundreds of performances during shed season. Aside from giving our personal stories about perfect outdoor gigs versus nightmare outdoor gigs Phil and Dave give a host of practical tips that will prepare you for anything that comes your way. We spend some time talking about listing and packing specialized equipment that will protect your gear and survive the rigors of the elements. In particular we talk about several different ways to protect your electronics from rain, humidity, and moisture. We give tips about self-preservation including different items to bring for personal comfort (insect repellent, sun block, cooling towels, etc.). We then cover the best and

For this mini-episode of 'Accountability Thursday' we'll take a look at the companion piece to last week's show solo "Trip-It". "Flip-It" authored by Herman Wiegman is a traditional solo written in two-four with a couple interesting twists. At the start of the solo we roll off with a traditional, ternary seven stroke roll. However when we get to the first ending and prepare for the repeat we notice there's no seven stroke roll! This can be interpreted literally where upon repeat we'd play a single stroke on the downbeat of the first bar. However I took the liberty to 'correct' what could be a misprint and played the traditional seven stroke roll that would finish the first ending and lead back to the top (like the introductory roll off). Ultimately do whatever feels best for yourself but always remember that certain interpretation liberties can be used on these old solos. The next interesting twist is found at the beginning of the second half of the solo. The author writes the Lesson 25 rudiment three time

We begin our show this week asking our audience for a little help. No, it's not for money! Rather we are in the market for an intern! That's right. We need some help in the I.T. department and feel sure that there's a student or professional musician out there that would love to help us. If you are familiar with social media promotion, web site design, SEO, and don't mind helping answer and send a few emails than you might have yourself a gig (or some college credit). Head on over to our website at: www.drummersweeklygroovecast.com and drop us a line. Before we get to our main topic of the day Phil breaks the news that he's had an article published in the July issue of Percussive Notes magazine. We also discuss the passing of drumming legend, DJ Fontana. We also talk about his contributions to rock and roll and his lesser known role as a Nashville studio drummer. This week Phil and Jon step outside the lines and do a show recommending some of their favorite things. We intentionally stay away from genres t

Rod Morgenstein is one of the preeminent musicians of our time. He is known for being in one of the most important fusion bands (Dixie Dregs) in history, one of the most popular hard rock bands (Winger, also known for their individual musical virtuosity as well) of the 80s, and a legendary educator (author of several popular method books, hundreds of pedagogical articles, and a twenty year stint at the Berklee College of Music). Fresh from an extensive North American tour with the Dixie Dregs, Rod was kind enough to join us from his home in New York to chat about drums, his education, performing, the music business, and his passion for writing and teaching. We discovered during our chat that Rod has connections with DWG guest and advisory board member, Tom Brechtlein. Both drummers studied under Ronnie Gould while attending Nassau Community College. Rod then transferred to the University of Miami where he befriended Danny Gottlieb, graduated with his music degree and ultimately formed the Dixie Dregs with

As we move into the month June and close in our 100th feature episode we continue pushing forward in the NARD book. This Thursday we'll be looking at the solo, "Trip-It". It'll be our second solo composed in six-eight hence the solo's name. Like most of our traditional rudimental solos this piece is felt in two but with a triplet undercurrent. Another facet of this solo that lends to its name is the author's use of triplets in the second half. One thing to watch out for is his use of triplets leading into paradiddles at the end of the third and fourth lines. In both cases he uses the triplet to turnaround the stickings forcing us to play three notes on one hand. That sticking is crucial to the feel and execution of the rudiments that follow those measures. Also pay particularly close attention to the crescendos that occur in the second half. They add texture and excitement to the solo since there are no other dynamic markings written aside from accents. Lastly, play the accented triplet rhythms (at the start

The North Georgia country side doesn't normally evoke the thought of rock stars. However Interpol drummer, Sam Fogarino, doesn't particularly care to live up to stereotypes. He's experienced the city life and finds himself quite comfortable living miles away from the rat race. Recently Sam invited me to his home and we set up shop in his guest house turned studio. We discussed the local music scene and his recent move just before the mics were turned on. Once we began our conversation flowed freely and easily. Sam discussed growing up in west Philadelphia and how he started playing drums. He navigates through his learning process and how his curiosity and spirit of investigation led him during his formative years. After several relocations Sam took a chance and moved to New York City with the hopes of finding like minded musicians to form a new band. While working in a clothing store (which sold vinyl as well) and contemplating the woes of the music business he was invited to watch a friend's band play