New Era Drum Tracks

I want to look back at my recording sessions, and share some of my thoughts about my drum tracks in our New Era album.

I played drums on four tracks in our album - Sweetest Thing, Don't Ever Let Go, Your Smile, and Pangako.

Sweetest Thing

"My bandmates and I were in the studio, working on "Sweetest Thing", which is the last song we finished for our upcoming album. This is an original song written for us by our dear friend Mike Luis of Freestyle. Mike is a genius when it comes to songwriting, and the song is sooo good that it gave my bandmate Paolo quite a headache while he was working on it in his computer haha, figuring out some of the notes Mike used (because Mighty Mike wasn't able to chart the notes, I think). It's a groovy, bouncy, and catchy tune. Anyway, the vocal parts were recorded on Wednesday night. Earlier that day, we had a last-minute decision to have my drum parts recorded live. At first, we thought of programming the drum parts. But I thought that I should play the drum parts live. I like the song, I like Paolo's drum ideas for it, and I was determined to put my mark in that song. And so, we booked a recording date at Blue Door Studio in Quezon City (the same studio where I recorded my drum parts for 'Pangako'). I was scheduled the next evening."

"In the studio, I set up a small kit which I felt would fit the song just right. My drumming inspiration for this song is Ahmir "?uestlove" Thompson, drummer and producer of Philadelphia-based hip-hop band The Roots. I went for the less-is-more approach. For this track, I want my drums to sound crisp and tight, almost like a toy, but still "realistic" enough for listeners to say, 'Hey, those are live drums!' I used three drums - an 18"x 20" kick and a 14" tom, which are both from my Tama Superstar kit, and my 5.5"x10" Black Panther Premium Maple, my choice snare drum for this track. I set up a few Zildjian cymbals - a pair of 12" A Special Recording Hi-Hats and a 16" K Dark Thin Crash (the said cymbals belong to my drummer friend Marco Katigbak), and my 20" K Custom Medium Ride. I thought of using my 8" A Custom Splash, but I find it too bright-sounding for the song, so I decided to remove it on my studio set-up. Paolo thought of using flammed cross-sticks for the backbeats on some of the verses, which is why I had my 13" Tama Artwood Maple snare drum on standby for that purpose (since I won't be able to play cross-sticks on a 10" snare). But later on during the session, we decided not to play cross-sticks anymore. And so, it was the 10" Black Panther all the way."

--- excerpts from my October 29, 2008 blog


I am pretty much happy with the outcome of this track, as I was somehow able to estimate the sound and feel I envisioned for the song. We got the tight, snappy, toy-like sound out of the drums, plus the bouncy & playful feel. The 10" Black Panther snare was the star of the drum set-up I used in that track. I remember feeling quite loose during this session, so it enabled me to become more playful behind the kit. Yet, I was having that "?uestlove-ish", less-is-more vibe, and I was making sure that my parts would still serve the music right. The tricky part in this track is the bridge part, where the groove shifts to a tight 16th note feel, against the shuffle grooves played through the verses and choruses.

This is one fun song to play, and drummers who'll play to this song can go loose. I look forward to playing this tune live.

Don't Ever Let Go

"I just recorded some of my drum tracks this week at SoundsRite Recording Studio in Makati, which is operated by drummer Boyet Aquino (who is best-known for his work with Francis M's band Hardware Syndrome). The studio has a good reputation for its high-end equipment and facility & quality recording results, and its clients include a good number of big names in the music biz. Though Boyet has an impressive collection of high-end drums, I still chose to use my Tama Superstar kit."

"On the Monday night session, I recorded Don't Ever Let Go, which was written by Paolo. This is quite a difficult track for me because of the crafty drum parts Paolo envisioned for the song. This was the old song which we recorded at Blue Door Studio a couple of years ago, but had some bad luck. I'm already through with that unfortunate experience, and I'm glad that I'm able to perform better in the studio this time, without any technical problems."

"I can't remember what I ate that time, or if the stars were aligned during those nights. But for some reason, I feel good with recording my drum tracks at SoundsRite."

"In the studio, I brought with me my Tama Superstar kit, which has birch shells (birch drums are tried and tested in recording/studio situations). My toms are fitted with clear Evans G2 batters. My 18"x20" kick drum is fitted with an Evans EMAD batter and an Evans EQ3 Resonant black front head (with 5" offset hole). Though my drums are pretty much set up for live situations, I was eager to hear how it performs in the recording studio. At first, the drums sounded big and boomy. After some tweaking, we were able to get decent tom sounds which responded well in the mix and complimented the songs. I should try coated batter heads next time for the toms, for a warmer sound. The kick drum's heads needed to be loosened and Boyet placed some cloth inside in order to kill some of the overtones (because of the EMAD head, I don't have any muffling inside my kick drum). We were able to get a decent, thuddy, low-end sound from the kick."

"Opting to play simpler drum parts in the recording compared to what I would normally play on a gig, I only used the 10" and 14" toms, though I had the 12" tom set aside, in case it's needed. I was also able to use my 5"x13" Tama Artwood Maple and 5.5"x10" Black Panther Maple snare drums. I tried my Old Faithful 5.5"x14" Tama Starclassic Maple, but the Magic Drum and the Cat sounded more fitting for the songs. I was also able to use my two broken Zildjian K Custom Dark crash cymbals. Even if they had those cracks and were de-modified, they still retain that K Custom magic in their sound. It still has that complex, trashy & sophisticated character, while the damages dried up its decay. I kept these old cymbals because I felt that they'll work well in the studio. And gladly, they did."

--- excerpts from my April 26, 2008 blog


Don't Ever Let Go has become a favorite among most of our loyal friends and following. The story behind the making of this song is interesting. First of all, Paolo wrote this love song based on one bandmate's past relationship experience (guess who). Second, during the first couple of drum recording sessions for this song back in '07, the computer at Blue Door Studio crashed - twice! And during that time, never did that incident happened in that studio, which pretty much has a decent track record. And it's so funny and coincidental that the two gear crashes happened during the sessions for this one song. There's really something about this song.

Finally, we were able to record the drum parts at SoundsRite studio in the summer of '08. I think the delays on the drum recordings in '07 were destined to happen. Because during the SoundsRite sessions, I was more confident, I was more prepared, and I had my then-brand new Tama Superstar kit prepared for recording.

I think I finished the recording in a couple of hours, which surprised me because I never thought I'll finish that soon, considering the sensitivity of the song and some of the more specific drum parts Paolo wanted. Those drum fills during the bridge and the last chorus? I can't remember the number of times I did retakes! I would have played the drum parts differently in this track. But this was Paolo's composition, so with him being the composer and producer, I have to respect that.

I said this to most of our friends, and I'll say it again... Don't Ever Let Go is the most challenging song that I've recorded in our album. And it's even more challenging to play it live. Believe me, it's not as easy as it sounds.

In this song, my main snare drum is my workhorse "Magic Drum" 5"x13" Tama Artwood Maple. Plus, I have once again proven my theory on broken K Customs in this recording session. Despite the defects, they sounded lovely in the studio.

Your Smile

"I recorded Your Smile, which was a bit easier for me because of its groovier, more straight-ahead nature; yet we need to make sure that my parts feel and sound right for the songs."

--- excerpt from my April 26, 2008 blog

Many listeners would think that the drum parts in Your Smile are programmed. But no, the whole thing is 100% live recording. It might not sound obvious during the first half of the song, which is mostly straight-ahead cross-stick grooves. But once the snare drum comes in at the last chorus after the bridge, that would hint the use of real drums played by a real drummer. Listen to the dynamics of the snare drum backbeat. I was in my "drum machine" mode during this song's recording session, yet I still want it to feel like it's human. And I have to say, this is one of my favorite tracks in our album.

Two snare drums were set up for this track. The main snare is my "Old Faithful" 14" Tama Starclassic Maple. It has the die-cast hoops, so I played the cross-sticks on that drum. On the left side of the kit is the 10" Black Panther Maple, where I played the backbeats of the last chorus. In case you're wondering about the splash cymbal model I used for this track, it's a 12" Zildjian Extra Thin Splash, which my good friend Rommell Garcia lent to me.

Pangako

"Recording began at around 12am. I did a couple of practice takes then made adjustments such as fine tuning the drums, making sure that the drum sounds will fit nicely with the song. (Studio Assistant) Ian double-checked the microphone set-up and prepared a click track for me. Then we went on with the actual recording. I'm not aiming to finish quickly or become a one-take wonder. The most important thing for me is to serve the music by playing drum tracks which will compliment the song. But still, we need to be efficient and productive with our studio time."

"On my first take, I wasn't quite warmed up yet, and I was still absorbing the feel of the song, the drumkit, and the studio room. But I felt confident that I'll be able to do better takes as we progress. I think it was on my third or fourth take when I finally got in the zone. I was fully warmed up and my focus was on a high level at that point. I thought I made a couple of good takes. But we know the drum parts can still get better."
"Recording resumed at around 3am. I lost a bit of momentum, and my hands got cold because of the strong air conditioning. But good thing I regained focus, and I was able to do my best takes of the night. In order for me not to repeat the whole take, we just went back to the parts which needed refinement, such as cymbal crescendos and embellishments, some fill-ins, and some hits which will lock in with the bass guitar parts."

"My drumkit for this session is a Premier Artist Birch kit, which belongs to my good friend Ernest Ramos. I used two toms - an 8"x10" rack tom and a 14"x14" floor tom. Both toms are fitted with Evans G1 Coated batter heads. The kick is a 16"x18". Don't let its small size fool you. It's the biggest-sounding 18" bass drum that I've ever heard. It has a solid low-end thump, which often surprises those who hear it. The kick is fitted with an Aquarian Super Kick I Clear batter head, which contributes to that huge sound. The front head doesn't have a hole for the mic. I don't want to make a hole because the kit isn't mine and I don't want to ruin the nice white Aquarian coated front head. So we removed the front head and put a pillow in it (Ernest didn't put any muffling on his kick). The snare drum I used is my Old Faithful 5.5"x14" Tama Starclassic Maple, which is fitted with an Evans G1 Coated batter head and an Evans Snare Side 300 resonant head."

"I used my Zildjian cymbals. My hi-hats are a pair of 14" K Custom Dark Hats and my ride is a 20" K Custom Medium Ride. The two crash cymbals used are my semi-retired damaged cymbals, which I both acquired from my friend Bennii Obana sometime last year. On my left side was my freshly-cracked 17" K Custom Dark Crash, which I recently retired from gigging. On my right side was my de-modified 18" K Custom Dark Crash which had so many hairline cracks when I acquired it, I had it cut after I wounded my finger. Even if these crashes are damaged, they still have that spirit in their sound. I thought that I'd just save these cymbals for studio work, where I think they'll sound well. And they did sound exceptional in the studio."

--- excerpts from my November 16, 2007 blog


My drumming inspiration on Pangako is Jeff Porcaro. This is a love song with a pop arrangement and mass appeal, and I can't think of any other musical inspiration better than Jeff Porcaro, who was not only a groovy pop rock drummer with a solid foundation. He was a master of great feel and sensitivity. He had the knack for playing drum parts which fits best for the music, in relation to its theme and emotions. What mattered to Jeff the most is how the listeners feel the music. I recorded my drum parts for Pangako with Jeff Porcaro in mind. In fact, I think some of the drum fills I used reflected his huge influence on me. May this be my humble tribute to one of my favorite drummers. May God bless Jeff Porcaro's soul.

To fellow drummers who are curious about the accent cymbal I used during the bridge/guitar solo part, that was the broken 18" Zildjian K Custom Dark Crash on the right side of the set-up, which was trimmed down because of multiple hairline cracks. It sounded like a trashy china/crash hybrid, and it sounded great on recording. So, before disposing those broken cast cymbals, think about it first. You'll never know how they'll sound like in the studio. You'll never know if it's magic.

***


Final thoughts...

The music on Dry Your Eyes and Pangarap Ko'y Ikaw were arranged, programmed, and recorded by Jay Durias of South Border. So, if the songs are coming from a musical master, I wouldn't dare touch it! But if Jay would ask me to record the drum parts, I would have done it.

That Side Of Me and Prelude To Ecstasy might have been more slamming if we were able to record live drums for it. But it's alright, because it turned out just fine. Playing it live during our gigs would be a different story...

Come Back... It's the most perfect drum recording... Because there are no drums on it! ;)

I'm planning to play more live drums on our next album, and I would love to do something more refreshing and out of the box. I'm looking forward to that.

Lyric Drum Day 2009

Lyric, the local distributor of Drum Workshop drums, pedals and hardware, and Meinl cymbals and percussion, had a Drum Day last weekend, at their Head Office and Showroom in Horseshoe Village, Quezon City. The Saturday afternoon event featured some of today's top Filipino drummers and percussionists. Performers include drummers Benjie Mendez, Franklin Benitez, and Otep Conception, and percussionists Maki Estrella (Roots of Nature), Francis Gaspar, and Paul Zialcita.

A couple of side notes before going through my blog... First, I wasn't supposed to attend the event because I needed to stay home and look after our house construction. But thanks to a text message from my buddy Michael Ong (guitarist of progressive rock band Fuseboxx), he urged me to drop by, and so I did. And second, I only witnessed the performances of the drumset drummers. Though I stayed for awhile after the drumset performances, I didn't really watch the percussion performances. So, my apologies to Mssrs. Estrella, Gaspar, and Zialcita. I had to leave early too (but I did hear some cool live performances before I left, when I was still there elsewhere in the venue).

Anyway, when I arrived at the Lyric office and showroom, the first things I noticed are the several drum and percussion gear on display and on sale. That day, Lyric was offering their drum and percussion products at huge discounts (and because of the success of this event, Lyric just announced that they extended their sale for one more week). There are plenty of quality, drool-worthy, GAS-inducing (Gear Acquisition Syndrome) equipment, mostly from Vic Firth, Meinl, DW, and PDP (Pacific Drums & Percussion, a subsidiary of DW). Several accessories and instructional books and videos are also available.

Plenty of friends from the drumming and music community were present for the event, and it's always a blast whenever we are on drumming events like this. It's also great to see three great Pinoy drumming phenoms together in one drumming event. When I arrived, Franklin, Otep, and Bagets were warming up and preparing for their respective sets. Most of my attention was also focused on the three beautiful drumkits set up for the three masters. Franklin used a 5-piece, gold-plated DW kit with a simple cymbal setup similar to Steve Gadd's (one ride, two crashes, and a pair of hats). Otep was on a rack-mounted, 5-piece PDP drumkit loaded with effects cymbals and a second pair of hats on the right side, which was mounted on a DW remote hat, its pedal positioned on the left side of the bass drum pedal (!). Bagets was all out on a black, 7-piece DW set-up, which included a 10" auxiliary snare drum and a 14" brass snare drum. All cymbals are Meinl, mostly from the Byzance series.

First performer was Franklin Benitez, best known for his work with Barbie Almalbis. Franklin played along to a Latin-style track for his first number, where the veteran drummer highlighted his Latin-style drumming skills. During Q&A, he entertained questions regarding his experiences performing with black musicians in the US. Franklin emphasized the importance of discipline, and how black American musicians are so particular with groove. One observation of Franklin is the playfulness of most Filipino drummers on timekeeping (ride/bell syncopations, for example), while most black drummers really mark the quarter notes on their grooves. Another observation he noticed is how dedicated several American drummers are. The great American musicians are really good, and they're really focused, pushing themselves to become the best they can be. He also cited how frank Americans are compared to Filipinos. While we Pinoys tend to be tactful and careful with our suggestions and criticisms to our bandmates, Americans would get to the point and work out things fast! I agree with Franklin's insights, and I'm glad he opened up those insights in regards to attitude. Later, Franklin shared some hand/foot combination exercises, and played a couple of drum solos, the last one accompanied by Otep and Bagets playing time on the PDP kit.

Otep Conception is a technically-gifted Pinoy drummer, and he showed us why during his set. He improvised on several odd meters and groupings, while being guided by a click on his earphones. What I admire about Otep's drumming is his articulation and his speed, most especially his right foot. This is one drummer who does not need a double bass pedal to play fast kick notes. But if he one day decides to play double bass, now that's a scary thought! I once told Otep that I wish I can have his lightning-quick right foot. Otep also highlighted some Gospelchops-inspired licks, which he shared to everyone. When a drummer asked Otep what he was thinking during his improvisational number, the latter said that he was thinking a lot about Bagets. Otep concluded his set with another impromptu performance, together with the next performer...

Benjie Mendez is the main event, and the most anticipated among the drumset performances. Bagets is a legend in the Philippine drumming and music scene, known for being a musical prodigy eversince his childhood days. His first big break was becoming the drummer of Side A at age 15, replacing original drummer Mar Dizon, another Pinoy drumming great. Mar is credited for giving Benjie the nickname "Bagets" because of the latter already being a phenomenom at such a young age. Bagets has played and recorded with several local and foreign artists, and he is currently with top Filipino band South Border.

Bagets is my mentor, one of my biggest drumming and musical inspirations, and not to mention, a dear friend. I've known Bagets for a number of years, and how much he would "hide" from drum-sharing events. But this time around, he was really eager to spread his message. He started his set by casually talking to the crowd and sharing some of his thoughts and emotions about drumming and the current state of local music. He stressed on the idea that music should not be a competition. Instead, we should do music to share the love and to glorify God, because without Him, we wouldn't have the gift of talent to make music. Bagets also became open, sharing stories about his life, his personal experiences, and his thoughts about the artists and drummers who have inspired and influenced him over the years. The talk given by Bagets was a revelation of what the man is all about. He is a natural artist, and I've known him as an eccentric and unpredictably moody guy. But last weekend, Bagets was at his element. The infectious enthusiasm he's known for was clear that day. To those who were present last weekend, especially the young drummers who came to see and hear Bagets preach and play for the first time, consider yourselves lucky.

Whenever Bagets is at the top of his game and playing with all his heart and soul, I can't help but be inspired by the power of his drumming. When I say power, it's not necessarily physical; it's what I feel whenever I witness this prodigy do his thing on the drumkit. There's magic in Bagets' drumming. His drumming is a melting pot of his major musical influences, from Vinnie Colaiuta to Jeff Porcaro, from Allan Holdsworth to Michael Jackson... Plus he puts his personality into it. For me, that's one huge factor among great musicians which I admire the most - personality. And there's so much personality in Bagets' drumming. It's so inspiring to watch and listen to artists who have that.

Bagets' first performance was an improvised 6/8 solo, based on his live performance on South Border's hit song Ikaw Nga, from the Mulawin soundtrack. Then, after an inquiry from a fellow drummer about shuffles, Bagets played several shuffle grooves such as Jeff Porcaro's Rosanna (Toto) and Bernard Purdie's Babylon Sisters (Steely Dan) grooves. Bagets ended his set in grand fashion, by inviting Franklin and Otep to jam and play triple drums. Watch the videos on Lyric's YouTube Channel.

I'm really glad that I showed up at Drum Day. I got several doses of inspiration, thanks to that. Great job, Lyric! Thanks for Drum Day!

* All photos by Anthony Dio, captured from his mobile phone.

The Jeff Porcaro Influence

Today is the death anniversary of Jeff Porcaro, one of my favorite drummers. Seventeen years ago, he succumbed to a heart attack, shocking the entire drumming and music community. He was only 39 when he passed away.

I would occasionally imagine how drumming and music would be right now if Jeff is still alive up to this day. I'm sure there would be plenty more incredible drumming performances from the master. And how I wish he's still around, because today's kids can learn so much from him. His groove, his great feel, his sense of emotion, his impeccable taste, his genuine musicality... Jeff made the modern music world a much better place. Though he may be gone, his spirit is still very much alive.

I consider Jeff Porcaro as one of my major drumming and musical influences. I learned to love grooving and how to make the song more heartfelt. In fact, when we were recording Pangako, I was thinking of Jeff a lot. He was my drumming inspiration for that song. When I was figuring out my drum parts for that song, I was often thinking, "If I were Jeff, how would I approach this tune?" If I didn't have that spirit of Jeff in me, I wouldn't have played Pangako like how you hear it right now.

Jeff's influence on me is so strong that some of his principles have already been instilled in me. Nowadays, I prefer to simply groove, play for the song, and make it feel good. I aim to make the music beautiful and more meaningful. Unlike before, I was finding ways to highlight my technique and chops. I guess most of us musicians have gone through that phase, where in we are trying to prove something and impress our audience. I may have already matured as an artist (though I'm still growing). Now, I'm not looking for a solo spot or any kind of drumming highlight reel. I'm no longer playing to impress people in a technical sense. It's no longer about how much chops I can do. I'm now trying to make a connection; I want listeners to feel the music. That's the magic of Jeff. His heart and soul are infused within the songs he played on. That's the most significant thing I've picked up from Jeff.

Toto members have stories about how Jeff was burning behind the drumkit on certain rehearsals and studio sessions. They would tell him that he should have a solo spot during their shows, but Jeff was like, "No. That's not me! I just want to groove." Jeff actually had the chops and the technique to stretch out. But he was quite vocal in how he hates doing drum solos. Seeing and hearing Jeff perform a drum solo may be a thrilling thought. But to listen to his drumming on numerous recordings is such a musical bliss! He may have had the tools to solo, but for me, he doesn't need to. His drumming speaks for itself. Jeff had so much personality and class.

I discovered Jeff back in college, when I was with the DLSU Pops Orchestra. Thanks to my friend, the great drummer Junjun Regalado, I became more familiar with Jeff's works. Like most drummers, it was with Toto where I first heard Jeff. We all know the obvious - Africa, Hold The Line, 99, I'll Be Over You... But like most drummers too, it was Rosanna which made its very huge mark. That signature rolling shuffle, inspired by Bernard Purdie & John Bonham... Oh it feels so good, no matter how many times you listen to it over and over. And oh how I felt the agony when I was still learning how to play it! Thanks to Junjun, he taught me Jeff's Rosanna shuffle groove, and encouraged me a lot. From that moment on, shuffles weren't the same again for me. Shuffle grooves are now amongst my favorite things to play on the drumkit.

Another thing I dig so much about Jeff's playing is his way of interpreting love songs. Through careful listening, we can really feel the expression on Jeff's drumming, which complements the song with so much sincerity. As far as I'm concerned, Jeff Porcaro is the best drummer for love songs. I can recall love songs which not only made me cry because of its message or what it's expressing, but also because of how Jeff interpreted it. It proved to me how powerful drums can be in expressing emotions.

For me, as a drummer, playing and understanding love songs are essential. It is key to a more convincing sense of feel. It unleashes emotions. It makes one a more sensitive human being. No matter how cheesy some love songs can be, try playing along to it. It's no joke. Get into your Jeff Porcaro mode. That must be the secret; well, at least for me.

I was recently doing some Jeff Porcaro research on the web, and I found this site which lists and updates Jeff's discography (see links below). Check it out. You'll be surprised with some of the songs Jeff played drums on. It's unbelievable.

Here is a list of selected Jeff Porcaro recordings, and some of my thoughts about it.

With Toto:

Child's Anthem (from Toto I, 1978) - I remember playing this song with the DLSU Pops Orchestra. It's one of the first pieces I ever played with Pops. The rock shuffle is gorgeous.

I'll Supply The Love (from Toto I, 1978) - This is a fine example of a groovy rock song, which best represts Jeff's style and personality. Quarter notes on the snare, disco-esque grooves on the verses and instrumental section, tasteful fill-ins, perfectly-placed crash cymbal accents, and the exciting drumming on the outro for the win!

Hold The Line (from Toto I, 1978) - Tight, tight, TIGHT! We can't play this tune in any other way. A rock-solid 12/8 groove, and it feels so SO good!

Mama (from Hydra, 1979) - This is another fine example of Jeff's mastery of the shuffle groove and feel.

White Sister (from Hydra, 1979) - Check out what Jeff did at the fade-out ending of this song, beginning at the 5:20 mark... Bonham's influence on Jeff is strong.

Goodbye Elenore (from Turn Back, 1981) - Look for this track's music video on YouTube. Jeff is ripping here!

Rosanna (from Toto IV, 1982) - Jeff's signature song, featuring his signature shuffle groove. Only Jeff!

Lion (from Isolation, 1984) - The opening track of the album. This rocks hard and grooves so tight!

Till The End, Without Your Love, I'll Be Over You, and Somewhere Tonight (from Fahrenheit, 1986) - Fahrenheit is a fine album, and these 4 tracks feature incredible drumming performances from Jeff.

Anna (from The Seventh One, 1988) - One of my favorite Toto ballads. Jeff hit the spot.
Stop Loving You (from The Seventh One, 1988) - I used to play this song with my bandmates from the DLSU Pops Orchestra. One of my favorite Toto songs to play drums on.

Jake To The Bone (from Kingdom Of Desire, 1992) - Kingdom Of Desire is probably my favorite Toto album, and the heaviest during the Porcaro era. Jeff was able to finish recording this album before he died. The band's music in this album seems to be heading towards a heavier and more progressive musical direction. The instrumental track Jake To The Bone may be Jeff's best drumming performance in the album, with its amazing chops and odd-time signature grooves. Could this be the new musical direction where Jeff was headed? Could this be Jeff taking his already-established drumming prowess to greater heights? Only God knows what might have been...


With other artists:

Take This Love (Sergio Mendez) - Those fill-ins! I'm sold.

When A Man Loves A Woman (Michael Bolton) - Jeff's drumming on this love song is PERFECT. The big-fill in on the song's climax? What a beauty.

Is There Something (Christopher Cross) - That big fill at the end of the last chorus is a signature Porcaro fill, and I love how it complemented the "'coz part of me will always be with you" line. I cry to this song.

Arthur's Theme (Christopher Cross) - Yes, Jeff played on this...

Only Love (Stephen Bishop) - ...and this...

We're All Alone, Look What You've Done To Me (Boz Scaggs) - ...and these...

Love Is All That Matters (Eric Carmen) - ...and this! We all thought some love songs are cheesy... Until we found out who played in it.

I Keep Forgetting (Michael McDonald) - Grooooovy!! Warren G. used this groove on his rap hit Regulate.

Light and Shade (Fra Lippo Lippi) - I thought Jeff had some Steve Gadd vibe in this track. Elegant.

The Girl Is Mine, Beat It, Human Nature, The Lady In My Life, and Heal The World (Michael Jackson) - These are the MJ tracks Jeff played drums on. The Girl Is Mine and The Lady In My Life are tight!

Jeff Porcaro on the web:

An online reproduction of Modern Drummer's tribute to Jeff Porcaro, December 1992
Jeff Porcaro's Discography - Toto's Website
Jeff Porcaro Session Tracks list
Wikipidea
Drummerworld.com
MySpace tribute sites - jeffporcarotribute, jeffporcarototo

Plus, I highly recommend that you look for Jeff Porcaro's instructional video.

Note: I may update or add items to this list when necessary.




Jeff Porcaro photos from drummerworld.com.

My Reflections on Michael Jackson

It's been a month since Michael Jackson's sudden death; the sad news swiftly heard and spread around the world, shocking virtually everybody, from state leaders to die-hard fans. We've seen the media coverages and a lot has been said, in tribute to this legendary artist. We've exchanged our MJ stories through blogs, social networks, and various forms of media. Our tears rolled down during the memorial service. His music and videos are being played everywhere. A month later, we are still heavily mourning over this great loss. The King of Pop may have already passed away, yet he's still very alive and relevant. I agree that Michael Jackson is the greatest entertainer who ever lived. For me, he's one of the most significant human beings who ever stepped in this planet. He's left his huge mark; his legacy - in music, dance, entertainment, philanthropy, pop culture... An eccentric, a megalomaniac, a true artist, a genius. I can't imagine life without MJ; at least, for my generation.

I belong to the MTV Generation. My sisters and I grew up listening to his music and watching his videos. When I was a kid during the early 80's, music videos were a new art form, and I vaguely remember the first time I saw MJ's early music videos (in particular, Billie Jean & Thriller). We all know now how MJ revolutionized music videos. And somehow, our generation witnessed and followed its evolution. From mini-movies to mega-budget masterpieces, plus his showcase of unbelievable dance moves and unique vocal abilities, I was an instant fan.

I grew older, and I became a musician. Later on in my career, when I became the drummer of K24/7, that's when I began further appreciating the music of MJ, his contributions to modern music, and his genius as a musician, a dancer, and a performer. One cool thing about MJ is the fact that he worked with some of the most brilliant musicians, songwriters, and producers of our time.

Here's a list of some of my favorite MJ tracks, plus my thoughts on its relevance to me as a drummer, as a musician, and as a person.

I Want You Back (from Diana Ross Presents The Jackson 5, 1969) - I first heard The Jackson 5's music later in life. I Want You Back is probably my favorite Jackson 5 tune. K24/7 used to play this song with Aliya Parcs. Though it was a fun song to play, the arrangement is quite tricky. I dig this song because it epitomizes MJ's pure talent, youthful energy, and star quality during his childhood era. If I were to introduce somebody to Jackson 5's music, this will be the first on my playlist.

Got To Be There (from Got To Be There, 1972) - This sweet number is another favorite of mine from MJ's childhood era. The singing skills, dynamics, and interpretation of then-13-year old MJ is convincing.

Rock With You (from Off The Wall, 1979) - This is the first MJ song I ever played live as a drummer. The signature opening fill is instantly recognizable, and the whole song is simply fun to play. I may have played this song thousands of times, but I never get tired of it.

Wanna Be Startin' Something (from Thriller, 1982) - Let's face it... Everytime we hear the intro to this song, with its tight bass lines, quirky beats & brasses, it just instantly makes us wanna groove and dance with it. This should be a fun song to play live. My bandmates and I jam on this tune during soundchecks.

The Girl Is Mine (from Thriller, 1982) - I once played-along to this song at a drumming event, citing it as a drumming reference for great feel, taste, simplicity, sensitivity and musicality. I love Jeff Porcaro's drumming in this song. Beautifully done! Jeff Porcaro was probably MJ's favorite drummer. Thank you God for these two wonderful souls. May they rest in peace.

Thriller (from Thriller, 1982) - When I was little, I was always waiting for this music video on TV. I think I want to have a red jacket like MJ's.

Billie Jean (from Thriller, 1982) - Whenever I hear this song, one thing runs in my imagination - the moonwalk. How in the world did MJ thought of that? Genius. This song is a staple for drummers who need to learn how to play straight-ahead grooves while making it feel good. No big fills and fancy licks here; just pure, solid groove in respect to the music.

Human Nature (from Thriller, 1982) - It's remarkable that Toto members were keys in making this song a part of the Thriller album. Steve Porcaro wrote it (together with John Bettis); David Paich handed the demo to producer Quincy Jones; and Steve Porcaro, David Paich, Steve Lukather, and Jeff Porcaro played on the recording. What a beautifully crafted song! My band and I cover this song. Admittedly, this is a tough song to nail down. It's so smooth, moody and dynamic, so I need to focus on making the groove feel right. The drum parts need to be in good taste, and I can't dare overplay, for I feel like I'll be disrespecting this MJ classic if I do. I focus mostly on the guitar and vocal parts whenever we play this. This is one of my favorite MJ songs.

Pretty Young Thing (PYT) (from Thriller, 1982) - PYT is one of the songs included in my band's Old School Medley (an upbeat medley which features songs from MJ and Earth, Wind & Fire), and it's my favorite part of the medley. It's a gorgeously groovy tune. And what's cool about it are the behind-the-scene credits - keyboardist Greg Phillinganes co-wrote the original demo version with MJ, James Ingram and Quincy Jones re-wrote the song from its slower demo version, and two of its several back-up singers were MJ's sisters Janet and LaToya.

The Way You Make Me Feel (from Bad, 1987) - When this song came out and became a hit, my sister Rica would dance to this tune, then she'll be all over me, and we would dance together during the chorus. Shuffles are sweet.

Man In The Mirror (from Bad, 1987) - Hands down, this is my favorite MJ song. The message is crystal clear, and the music is well-done. I would often get teary-eyed, listening to this classic. I love playing this song with my band.

I Just Can't Stop Loving You (from Bad, 1987) - One of my favorite MJ ballads. Sweet.

Remember The Time (from Dangerous, 1991) - What struck me the most about this track is its music video - the grand production, complicated dance sequences, and its star quality (actor/comedian Eddie Murphy, NBA legend Magic Johnson, model Iman, and actor Tom "Tiny" Lister, Jr.).

Black or White (from Dangerous, 1991) - This is another song from Dangerous where in its music video brought me a lasting impression. During that time, I was crazy with Guns N' Roses, so I was thrilled when I learned that lead guitarist Slash played in this track.

Gone Too Soon (from Dangerous, 1991) - This is another beautiful MJ song that occasionally makes me cry whenever I hear it; one of my favorite MJ songs.

Childhood (from HIStory, 1995) - This is a biographical song, centering on MJ's difficult childhood years. The musical arrangement beautifully interprets the sadness, pleading, and sense of fantasy expressed by MJ. I'm so moved by the lines MJ sang - "No one understands me...They view it as such strange eccentricities, 'cause I keep kidding around"; "People say I'm not okay. 'Cause I love such elementary things... It's been my fate to compensate, for the Childhood I've never known..."; "Before you judge me, try hard to love me. The painful youth I've had." When this song came out, MJ was in the middle of controversies, criticisms, and media cruelty. Whenever I listen to this song, I can empathize with MJ; I can feel the pain. I cry to this song.


Just like many modern-day artists and musicians, Michael Jackson has influenced me in certain ways. And just like many good people around the world, he has touched my life. Thank you very much, King of Pop. You will never be forgotten.

Dom Famularo Drum Clinic in Manila

Dom Famularo Drum Clinic - Yupangco Showroom, Makati City. 11 July 2006, 5pm.
Sponsored by Sabian Cymbals, Vic Firth Drumsticks & Yupangco Music (local distributor of Sabian and Vic Firth products).

*****

Dom Famularo is famous in the drumming world, in particular within drum clinic circuits. In fact, he won again on Modern Drummer Magazine's 2006 Readers Polls. He was voted as the # 1 Clinician in the world. I read stories about Mr. Famularo being an excellent speaker and motivator. And of course, drummer friends who are more familiar with him have told me about his excellent drumset technique. Prior to the drum clinic, I did my research, checking out his website, reading his testimonials & about how great he really is as a world ambassador of drumming.

The clinic began at 5pm. I arrived just on time, together with my drummer buddy Ernest Ramos, who hitched a ride with me because his car wasn't available. The weather was gloomy, as it rained late afternoon. I brought with me my Tama Starclassic Maple snare drum for signing. Ernest and I entered the showroom. I noticed all the drummers in the house. It wasn't as crowded as past drum clinics, which is relieving because that means we can easily find a great spot.

The first guy whom I looked for to greet was JP Buduan, another drummer friend of mine who happens to work for Yupangco. He's the product manager of Sabian Cymbals and Vic Firth Drumsticks, so he was really busy preparing for this event. We found him near the area where the lounges (or should I say, former music rooms) are located. Beside him is the main man himself, Dom Famularo! JP was entertaining Mr. Famularo while waiting for the cue to start the clinic.

Dom Famularo is a familiar face in the drumming world. I always see photos of him in my Modern Drummer magazines, Sabian catalogs and other drumming-related publications and websites. He's described as an affable man. He always wears his trademark big smile. I instantly recognized his familiar grin the moment I first saw him. There's so much positive aura coming from Mr. Famularo. Every time people pass by and greet him, he gives back a warm smile and a handshake. He's such a friendly dude. What a down-to-earth guy! No superstar attitude whatsoever.

By the way, plenty of familiar drummers in the crowd - Benjie Mendez, Wendell Garcia, John Angeles (MYMP), Dindin Moreno (Parokya ni Edgar), Bennii Obana, Vinci Rodriguez, Paolo Manuel, Cyrus Laroco, Mikah Azurin, Steven Mora (Sitti)... lots of fellow drummers from the Pinoydrums community... The local drumming community is one solid bunch.

Clinic begins. Dom enthusiastically greets everybody. Yeah, I'm calling him by first name basis; that's how friendly the man is. He began by asking everybody to come closer to the stage. Audience instantly responded. The drumkit was set up sideways, which is always good so that people can have a good view of what he's doing behind the kit.

The next hour and a half was profound and meaningful. I can say that this is one of the best drum clinics that I've ever attended. The man is indeed an excellent motivator and storyteller. He's so funny and entertaining - making voices, being animated at times & cracking punch lines at the right moment. It wasn't so boring & too technical, and he did a great job on grabbing everyone's attention.

I've learned so much from this drum clinic. Here are some highlights:

Dom encouraged everybody to follow their dreams. Work hard on it. Go crazy! Don't give a damn if others think you're crazy. Let others' disbelief and discouragement fuel our passion. He shared a funny story of his son's school teacher calling him up, asking him about his profession of hitting drums with sticks, confirming if his child is telling the truth & inquiring how he (Dom) makes money out of it.

Dom emphasized the importance of commitment, dedication and perseverance. Be an eternal student of drumming. Never stop learning and improving. It's a life-long cycle.

Dom played along to "Song For Jeff", a song that he wrote which pays tribute to his friend, the late great Jeff Porcaro. The song was so fitting with its groovy nature and Lukather-ish guitars. Very appropriate!

Dom explained his set-up & his open-handed playing style by telling a story of his cross-stick woes, and the day he asked for a metal saw so that he can shorten the height of his hi-hat stand!

Dom sighted Albert Einstein as an inspiration in problem solving & method of thinking. We cannot solve new problems with old solutions.

Dom performed a spontaneous and entertaining drum solo. Dom demonstrated his creative flair & his skills with dynamics, double bass & the Moeller motion. He even showed elements of humor during his solo.

Dom explained how to maximize one's drumming through movement. He mentioned and demonstrated the Moeller technique. Along the way, he told funny stories of his drum teachers Joe Morello & Jim Chapin. He also told a funny story about his experience with the legendary Buddy Rich.

During Q & A, a drummer asked what his favorite recording is. Dom said, his favorite recording is a video of his three children when they were 5, 3 & 1, tapping a rhythm on a table. Later on, he mentioned his top 3 favorite musical recordings - Buddy Rich on West Side Story, Joe Morello on The Dave Brubeck Quartet's "At The Carnegie", and Steve Gadd on Steely Dan's Aja.

*****

Dom concluded his clinic by playing along to another high-energy track, which made all of us rise to a standing ovation afterwards.

I felt so inspired after the clinic, and I'm sure everyone in the room felt the same way. After the clinic, instead of taking a breather, Dom enthusiastically welcomed drummers who want to post for photos, have his autograph and shake hands & talk with him. And yes, he's still wearing that big smile of his! I approached him, shook his hands, then said to him "Inspiring! Now I know why you're the number one clinician in the world." He replied with a huge smile and a brotherly tap. He must be the friendliest, most approachable & most humble famous drummer that I've ever met! I can't imagine this guy wearing a negative facial expression. All positive vibes!

I feel so motivated, I arrived home very happy. I inspected the new autograph on my snare drum, logged in on his website, took note of his favorite recordings, uploaded the photos, and now, finishing this blog. Oh another wonderful day of drumming! I'm crazy! Thank you, Dom.