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Unbelievably, I'm sitting in the front row of the theater in a casino in Jackson, Mississippi. To my immediate right sits the legendary Roger Hawkins from the famed Muscle Shoals rhythm section that cut so many great southern soul classics in the 60s and 70s. We are sitting waiting for a rehearsal to begin for the legendary Aretha Franklin. My good friend Tom Roady has the enviable job of playing one of three percussion slots in the huge band which sports 22 great musicians. A classical percussionist playing timpani and vibes and a kick ass back up singer playing a ferocious gospel style of tambourine round out the percussion section in this huge 22 piece band (replete with a crack 11 piece horn section).
I feel like I'm in a dream. During some tough emotional times growing up when I was still slightly pre-pubescent, I got through some of the bleaker times by shutting my bedroom door and singing unison in falsetto with Aretha's fantastic album, "I Never Loved a Man the Way I love You". In those days trying to match every single vibrato, every single curlicue in her phenomenal voice, made me feel like there was some magic and promise in life. I love her voice. In a way, I could say that her muse saved my life. It certainly isn't hyperbole to claim that she was a major inspiration in my decision to become a professional musician (some major kudos have to go to Mssrs. Jagger and Richards as well).
This experience caps a just a fantastic week of hanging with Tom in his beautiful new home/studio outside of Nasvhille. On Sunday evening and Monday we played together with Tom (on the Roland Handsonic -- he's the most sophisticated user of this electronic hand percussion that I've witnessed) and Kirby Halstaad, a really interesting multi- instrumentalist (slide guitar, kalimba, percussion and drums) for a live improvisatory live looping trio on Nashville's NPR station. We multi-track recorded over an hour's worth of jams which will be sent to me in raw form so I can mix them in my studio (Tom and Kirby will be doing the same at his) in a couple of weeks.
The NPR show was a great success. We got offers to play the Montreal Drum Festival next summer and a potential modern dance commission gig in Indiana. Of course, in the music business you know you are doing something when you have the check in your hand but these seem like strong possibilites and it's exciting to see one performance having a palpable effect on future gigs.
Then, nervously, on Friday I gave a clinic/performance on hardware live looping techniques for the PASIC convention. Almost 7,000 drummers from all over the country (and the world) attended this year and I began my clinic with three great drummers sitting right in front of me in the front row: Jerome Deupree, Billy Ward (who I'm in awe of) and Tom Roady, one of the premier session percussionists in Nashville. (Check out his website at allmusic.com. It is sick!) The who's who of famous musicians that he has played with is incredible, from Leanne Rhimes to James Taylor; Aretha Franklin to Paul Anka. He is also the head of the New Technology Committee for PAS and has championed the cause of live looping in general and my clinic appearance specifically for this trip.
Needless to say, I'm nervous as hell. All around me are the creme de la creme of drummer/percussionists in the US, at least. As I do frequently, I try to use humor with audience to diffuse my nervousness.........and somehow, I cover everything I intended to, and survive one EDP malfunction (damn, I wanted to demonstrate it's drum and bass glitch techniques but that'll come next time).
The guy who does sound comes up to me immediately afterwards and tells me that it's the best clinic that he's ever done sound for at a PASIC. I don't believe him for a second, but it sure feels good to hear him say it.
A funny moment comes in the middle when I demonstrate the Repeater's ability to play loops as a melodic instrument. I say , "If anyone knows the owner of Drumkat, please tell him that I need an endorsement because this _Oland drum pad won't send CC messages to the Repeater." I'm joking, but someone points to the side of the theatre and there sits Mario, the owner of Drumkat. He's wearing a bright orange shirt that exactly matches my bright dyed orange hair (dyed specially for the show) and , as Jerome Deupree says later, "suddenly my hair didn't seem so reddish, as I blush bright red." In a really obsequious voice, I say, "wow, what a beautiful shade of orange your shirt is". Everyone laughs and it palpably cuts the tension caused by how embarrassed I am.
The next day at the PASIC is wonderful: The last 18 months have been wonderful and hard........touring Europe, my mom passing away suddenly, two enormous efforts to produce the Y2k3 and 4 festivals, almost being evicted from my home of over 20 years, and a ton of work. It all feels like it has come to a symbolic end and despite a week of lack of sleep, I feel a sense of relief.
Now I'm back home in Santa Cruz, getting ready to finish up my fourth CD and 2nd Abstract effort, "Purple Hand", before the end of the year. Wish me luck.