We’re back in rehearsal for some April, May and June 2022 gigs! Hit the Live Gigs! page if you’re in NYC to check us out! We’re also playing a few as Lulu Lewis (same personnel, different genre), so drop in.

One time for my greatest influence as a drummer, Mr. “Funky” George Brown.

I played drums on this new Soul Supreme cover of “We Gettin Down”/”Award Tour”. It’s streaming everywhere today, like Bandcamp and Spotify. He even gave me a solo! Weldon Irvine/ATCQ fans, enjoy. Here’s a promo vid:

The Du-Rites are the rhythm section – Pablo on bass and guitar, me on drums – on this new cut from Buenos Aires’ own Mimi Maura. If obnoxious amounts of bass drum pedal squeak on a record in 2022 is your thing, look no further! That pedal died on me soon after but at least we cut this. Dig the hummingbird and a very cool tune – something to hold us over till album #7 later this year:

A brief change of pace, from music to film! I’m not even close to what you’d consider a film buff, but when it comes to small-but-loyal following ’80s flicks, count me in! I discuss my picks with Force Five Podcast host, Jason Kleeberg, and I had a blast.

Listen here!

Or here on Spotify

No over-drummy, white whale breaks today; just me having fun grooving to an Ultimate Breaks staple and funk 45 classic from Brother Soul. Drums aside, I cut added sugar from my diet cold turkey last year and felt a big difference. My only sweet tooth was for cookies. It took awhile to find a sugar-free cookie that didn’t taste like cardboard or an aspartame sandwich, but these Aunt Gussie’s cookies I discovered are the jam. I keep a box in the house for moments like this! C is for cookie, F is for funkin’!

One time for the great Greg Webster, original drummer and last surviving founding member of the mighty Ohio Players, who passed away last week. I was fortunate to interview Greg for my RedBull Music Academy (Give the Drummer Some) column in 2016 – great spirit, great musician. Greg had a shuffling, swinging style that made the band’s early Westbound and Capitol releases groove so hard. He had a killer left hand and light touch – these things appealed to me early on and continue to inspire me and drummers everywhere till this day, whether they know his name or not. This tune (“Laid It”) has the tricky intro with the accents in free time, which Ohio Players did A LOT of early on. (Peep “Singing in the Morning”). Tempo changes, passages coming and going at a moment’s notice, trading fours in the middle of a ballad…a testament to long hours of rehearsal, dedication (I was told Sugarfoot slept in bed with his guitar) and the genius of Junie Morrison as a key composer. Woodshedding to these albums helped me when I started touring with (singer) Ben Pirani, who used a lot of sudden accents in the live show. Indebted for life to Greg for his contributions and sharing his stories. Here’s me having fun to The Players. Soulful journey, Greg.

Another one of those funk solos on my list to decode, I finally got around to learning this one piece by piece. Like most obscure funk 45s, the players on Tony Avlon & The Bel-Airs’ “Sexy Coffee Pot” I don’t know. If I had to wild guess I’d say they were from Philly, but I can’t be sure. Drummer was likely a jazz cat who played funk gigs on the side by the feel and phrasing, which was common in the late ‘60s. I first heard this on an Eric B. & Rakim album in middle school and thought it was the funkiest thing ever, then Cypress Hill, Kings of Swing, etc. and set this up also as a nod to some of those by putting other elements on top of me playing to the Tony Avlon stems.

Enjoy here on YouTube!

Or the Tweet at the top of the post.

January is “do or die” time in terms of the woodshed, writing new material and wrapping up records and endeavors for the year ahead. So I won’t have much in the way of shareable news or content till the Spring. That said, here’s a bit of a surprise to keep the site alive!

Kool Kim (of one of NY’s great early 90s rap duos, The UMC’s) aka NY Oil got hold of a video clip of me practicing some soloing ideas and jumped on it with a complimentary rap verse. And it works! Salute to Kim for hearing something in my playing. More music soon! Enjoy:

* If you’re not into the nerd nuts and bolts of music DNA, skip the long caption below and enjoy the music!

Joe Farrell’s “Upon This Rock” is my jam not only because of all they classic breaks, but the insane guitar work (Joe Beck) and the way Jimmy Madison (the drummer) swung his ass off (check his discography). Whole band smokes. Obviously this song has been sampled a billion times yadda yadda so I cut up the other elements from a few of my personal favorite uses of it and put em underneath me playing through all the different breaks in the song.

This sounds nothing close to the original sonically and here’s why: I always thought the first part (Artifacts section) was a ride cymbal groove but after picking it apart, it’s actually a 16th hi-hat being smothered by the long sustain of a riveted cymbal that was hit on the downbeat before the loop (and probably compressed by overheads). That’s where the wash is coming from, with the harder attack of the hi hat underneath, so it’s impossible to get it exact without a riveted cymbal. I used the ride cause well…I don’t have a riveted cymbal (or one with that kind of sustain) so…dassit. Only RJD2 and like 6 other people on this entire Earth would be fascinated by that shit and those psychopaths are probably following this account, but I figured someone would note in the comments would eventually note it.

P.S. – Also, I get a lot of feedback about camera angles. Can’t see my left hand much here. My bad, I’m not a “content creator” so I never think about that! Not much left hand action on this one anyway besides a few ghost notes in the first part. Next time! Here’s the original tunes in the medley: