Mike Alba's Muscle Memory Workout Program (Module 1)

From L-R: Anthony Dio, Lawrence Nolan, Dr. Jigs Asinas, Paulo Garganta, Dom Banguis, & Sir Michael Alba.

The last six weeks have been very significant in my drumming and musical life.  I enrolled at Module 1 of Muscle Memory Workout Program of Michael Alba, one of the best drummers in the Philippines.  I just finished the program last Tuesday, and I have to say, this is among the best investments I've ever made for my drumming.  Everything I learned here, I will be carrying with me all throughout my drumming life and my professional career as a working musician.

Prior to enrolling in this program, my need for improving my drumming has grown greatly & I've been yearning for some musical inspiration.  I always see myself as an endless apprentice to the art of drumming, and I always wanted to grow and develop as an artist & take my craft to the next level.  And specifically, I also needed to improve my technique.  Just when I was searching for some education and inspiration, Mike Alba and his Muscle Memory Workout Program came in.  It was a blessing & a matter of right timing.

Batch 2.

What is the Muscle Memory Workout Program?  It is a 10-session drum curriculum designed by Mike Alba.  One session is two and a half hours long.  The workshop consists of five students per batch (five, because it's the most number of drummers Sir Mike can accommodate in his home studio in Quezon City).  The main topics covered in this drum workshop include endurance exercises, workout exercises on groove and rudiments, applied sight reading, music dictation, and developing drum charts and musical roadmaps.

I don't want to give away too much information regarding what was covered throughout Mike Alba's program (for the sake of Sir Mike's future students).  But here's what I can share.  Everything I learned in Mike Alba's program is totally practical and useful to me as a working pro.  Though I still need to continuously practice the exercises and sharpen my technique and note-reading, I instantly felt a huge difference in my playing.  In fact, just after Day 1 of the 10-day program, I can already feel and hear the difference.  And it's cool that my bandmates even noticed it.  On one gig, they were like, "Hey, there's something new here!", and "I can hear those sixteenth notes much better now!"  I'm still a work in progress, but I sure owe it to Sir Mike.

Mike Alba's modified Virgil Donati workout indeed does wonders to a drummer's hands.  Like Sir Mike, this has already become part of my pre-performance or pre-practice warm-up routine.  Sir Mike recommends that we do it at least once a day.  We can do it twice a day, and we'll get much better.   And we can do it three times a day, and we'll become invincible!  As long as this becomes part of our daily drumming routine, the results are guaranteed.  It's a great muscle memory workout for the fingers, hands, wrists, and arms, and it's a great help for our endurance, control, technique, dynamics, and articulation.

I'm already quite familiar with some of the most commonly used rudiments, such as singles, doubles, and paradiddles.  But when Sir Mike presented us his workout on rudiments, it was an added dimension for me.  First, since the rudiments were on paper, it was also a sight reading exercise, so it's a muscle memory workout for the eye.  And second, Sir Mike focused on some of the rudiments which are commonly applied on the drumkit, and he also shared some interesting ideas on how we can integrate it with our grooves and fills.  With practice and patience, these rudiments can serve as additional vocabulary in our drumming arsenal.

Admittedly, I'm a slow sight reader, and the last time I actually sight-read drum charts on a regular basis was way back during my college days with the DLSU Pops Orchestra.  Sir Mike's applied sight reading exercises are a huge help.  For me, it was like a review and a rediscovery.  This also serves as a coordination workout between the eyes and the limbs.  The sight reading pieces were written by Sir Mike, and in the program, it is played on the snare drum or practice pad.  One cool thing about this is he used some of the most commonly used figures on session work, such as eighth, sixteenth and triplet note combinations.  So this serves as another muscle memory workout for the eyes.  Sir Mike also encourages us to be melodic by trying to sing these figures & play it around the drumkit instead of just on the snare drum or pad.  Again, these can be used as additional tools in our drumming vocabulary.  Plus, Sir Mike helped me in becoming more confident with my reading skills.

My favorite part of the class is what I like to call the groove session.  This is where we listen to songs (for the program, Sir Mike has selected a repertoire of actual recordings coming from different styles and eras), then develop musical roadmaps, write drum charts, and play along to those recordings on the drumkit.  For me, this is the most musical part of the class.  Though it's my favorite part, it can be the most grueling.  Our assignments of charting the songs, learning it, and playing along with it is not as simple as it sounds.  Several songs may seem simple to play, but it's not as easy as it sounds.  Sir Mike wants to make sure that we nail it right, for these are valuable skills required for session work.  For me, these exercises also serve as training tools for our listening skills, our attention to detail, our musicality, and our discipline.  As a pro, I've been covering songs for years.  But now, Sir Mike's methods help me enhance these skills, which are essential for pro drummers who do session work or in pop/mainstream settings.  The groove sessions also taught us and reminded us of the value of respecting the music, plus we get to further appreciate the great drummers who played on the recordings.

Every class ends with a Drumometer session, where each of us plays on a pad with a gadget that records the number of single strokes we play in one minute.  At first, I wasn't really interested in developing my speed to extreme levels.  But what I appreciate about the Drumometer is it's a great practice tool that can monitor our progress.  And it's not only about speed.  It also puts a great deal on control, endurance, and technique, which are factors in developing greater speed.  And hence, the Drumometer can be tool that can help our hands become much better.

Other than the specific activities and lessons I mentioned, there are plenty more things that we have learned from Sir Mike.  Finally, I learned how to play the brushes effectively (which is one of the favorite things I've learned from Sir Mike, since brushes have been a long mystery and frustration of mine).  I also learned a few new tricks and licks around the drumkit.  It's also cool that Sir Mike is very observant of our playing, whether on the drumkit or on a practice pad.  Sir Mike is a patient and a very motivating mentor.  He also makes it a point to correct our bad habits, and he does it in a professional and constructive manner.  In my case, I've already adjusted some of my bad habits, and I'm still in the process of strengthening my left hand and my technique.  Even if the program's over, it's still a continuous learning process.  Mike Alba's program sure makes us spend more quality time on the woodshed.

I admit, it can be quite intimidating to play along to a track in the presence of one of the best drummers in the Philippines observing you nearby.  But he's a really cool teacher, and he's very easy to get along with.  There were moments too when Sir Mike gets to share his stories, such as his experiences as a pro, as a student at the Los Angeles Music Academy, and some of the famous drummers he met.  Even all these talks and his sharing of knowledge and wisdom are inspiring.

One factor that I appreciate regarding Sir Mike's program is the fact that he is very particular with quality.  We may have all the technique in the world.  But if it doesn't sound musical and if it doesn't feel great, it won't matter at all.  Sir Mike is like a quality control guy.  He wants to make sure that we're not just technically solid, but we'll also be sounding and feeling great too.  And quality means a lot on session work, which I realized and learned later on.  It seems that Sir Mike's program is highly geared towards drummers who are in the session scene or in a mainstream setting.  Hence, his program is highly recommended for drummers who aspire to have a fruitful career towards that direction.  Though it's not limited to that; anybody who simply wants to improve or enhance their skills will greatly benefit with Sir Mike's program.

Another thing I appreciate so much in Mike Alba's program is the fact that we are a class of five students.  Most drum lessons (or any other musical instrument) are traditionally one-on-one sessions.  What's great about having classmates is first, it's great to meet new friends and extend the drumming camaraderie.  Second, I get to appreciate my classmates' drumming.  We may have similarities and differences in regards to musical backgrounds, preferences & tastes, among many things.  We have our strengths and weaknesses as well.  But it's cool that we are all on the same boat.  Each of us still wants to push on and improve with our craft, which is why we're studying with Mike Alba.  It's also understood that being in a class is not about competition, which takes us to my next point.  Third, we get to gauge each other in terms of improvement.  It's like for example, when I notice my classmates already improving on their rudiments or sight reading or their Donati workout routine, I tell myself, "I better catch up!"  It's like a subconscious way of encouraging myself.  And on the other end, if some classmates are catching up or having some difficulty, the rest of us would express our encouragement.  It's not about outdoing each other.  To be in Mike Alba's classes is a brotherhood, where my respect and admiration for each of my classmates have grown as the sessions passed.

The apprentice & the master.

Our graduation day last Tuesday, December 7, was the icing on the cake.  At the final day of the program, we played our individual applied sight-reading pieces, grooved along to our special graduation day play-along track, and had a final music dictation test.  It's also cool that after all that, Sir Mike handed each of us a special Certificate of Completion.  We had a pot luck feast afterwards, and I even got to blow a candle on a chocolate cake, since it was my birthday a couple of days earlier.  And of course, during our merienda, it was more drum and music talk & sharing.  Ah, the drumming community!

Thank you very much, Sir Mike Alba.  You're a blessing to all of us.  Just when I needed improvement and inspiration, you came along like an answered prayer.  You're an awesome world-class musician and an inspiring mentor, and I'll always cherish the times spent & all the lessons I learned from you.  Continue to be an inspiration to me and to everyone.  And to my Batch 2 classmates --- Lawrence Nolan (my seatmate & our Drumometer king), Paulo Garganta (all the way from Batangas; thanks again for the coffee & all the talk on the road), Dom Banguis ("speak softly; carry a BIG stick" --- wow those are HUGE warm-up drumsticks!), and Dr. Jigs Asinas (the heavy metal guy & the most "well-compensated" among us; one of the most humble and down-to-earth dudes I've ever met) --- it's my pleasure to meet you and be classmates with you guys.  I admire and respect all of you, and studying & learning is a blast when it's spent with good people like you.  Great drumming!  Cheers to Sir Mike!  Cheers to all of us!

And so, that's all for Module 1.  Module 2, which will be set sometime next year, is in the works.  And the work in progress goes on...

*Photos courtesy of Sir Mike Alba & Dr. Jigs Asinas.

Orianthi - Courage (feat. Lacey of Flyleaf)

I've been an admirer of Australian singer-songwriter-guitarist Orianthi ever since I first heard and saw her on Michael Jackson's This Is It.  Here's her latest song, which is fast becoming a favorite of mine because of the strong message it conveys.  The song speaks for itself.  Plus with the way it's played, this song feels great.  What an awesome, kickass song!

"It's not how many times you've been knocked down. It's how many times you get back up."

Steve Jordan Interview on Modern Drummer October 2010

I have learned so much from the interview on Steve Jordan in the latest issue of Modern Drummer (October 2010).  Here are some quotes which are worth reflecting on.


"When someone asks me to produce their record, I talk to them about what they want.  Your job as a producer is to make the artist happy, not to have the artist be a vehicle for you to make the record you want to make."

"None of my favorite recordings were done with a click, so the verse often feels one way and the chorus shifts gears.  To me, that's the real stuff.  If you're going to play with a click, you have to know how to manipulate your playing around the click."

"Swinging is not based on technique.  It's based on a feeling --- period.  I would take a drummer who has no technique any day of the week over a more efficient drummer, if he swings better."

"If you're going to play the drums, you have to be very confident."

"But I don't like the word swagger.  It may be appropriate, but it seems egotistical.  There's a difference between a destructive and a constructive ego.  If you go around thinking you're better than everybody, you'll crash and burn in a second.  But constructive ego is about understanding that you have to work hard to get to a certain point where you feel confident enough to execute."

"You're overthinking.  You get back to the soul of the music.  When you're thinking about stuff, you're not being a conduit for things to happen.  You can't over intellectualize something that's based on feelings."

"When you first start playing as a professional, you're searching for 'your sound' and all that.  But when you grow up, you realize it's about finding the sound for the song.  You don't want to force your sound on top."

"There are some people who are anti-rudiments.  But I'm glad I studied them, just for agility's sake.  I'm not the king of rudiments, by any means.  I am happy that I developed those skills so I could be versatile, but they shouldn't rule how you play."

"That's why people play so much stuff, because they can't play a steady beat.  But when you get into playing a steady groove and you can hypnotize somebody with that beat, that's the bomb.  And it takes confidence to know you can do that and not care what anybody says.  People might think you don't play fills because you can't, but you have to do away with all that.  They'll feel it when it's good."


Great work on the interview, MD.  And thank you Steve Jordan for the words of wisdom & inspiration.

On Punctuality

Punctuality:

• The characteristic of being able to complete a required task or fulfill an obligation before or at a previously-designated time. "Punctual" is often used synonymously with "on time." (Source: Wikipedia).
• Acting or arriving exactly at the time appointed; prompt (Source: thefreedictionary.com).
• The quality or state of being punctual; strict observance in keeping engagements; promptness (Source: dictionary.reference.com).

Friends and co-workers know how particular I am when it comes to time.  Other than the fact that I'm a drummer & that makes me a natural timekeeper in music, I consider myself quite sharp when it comes to punctuality, especially at work.

Why am I like this?  First, being punctual is in my system.  Back in school, I rarely come late for classes (except on some of my college classes which were tolerant of attendance, or when I can afford to come in late).  In my professional life, I rarely arrive late as well, and I owe my sense of punctuality to Artistation, my former band's management.  Boy, are they strict with their rules and regulations, especially when it comes to following schedules and calltimes.  Or else, it will mean a pay day deduction for tardiness.

And second, being punctual has become an integral part of my character.  It reflects my discipline, my diligence, my maturity, my professionalism, my being responsible.  That's why whenever I'm late for work (which rarely happens, thankfully & unintentionally), I usually feel bad about it because I feel like it reflects certain character flaws or something.  Bottom line is, it simply makes me feel bad.  I don't like it when I come in late, whether it's for a show, a rehearsal, a meeting, or whatever professional event.

For me, one great benefit of being punctual is it gives me ample time for preparations.  It gives me time to do all these things --- set up my gear, do some soundcheck, tune the drums, warm up, have a meal, listen to music in my iPod, review some music, relax, save some of my energy for the gig, and get myself in the zone.  In case something goes wrong, like technical issues for example, there will be enough time to fix or solve the problem.  Plus, after all that & when there's still enough time, I can still have some moments to hang out with bandmates and friends who show up at the gig.  I can imagine all the tension and the rush I need to go through if I arrive way past the calltime.

One thing I don't understand is how or why some colleagues of mine have become habitual latecomers.  In fact, even some of the most seasoned pros in the scene are infamous for this bad habit (and I urge aspiring young musicians out there NOT to follow that bad habit).  I would understand if they'll be coming from somewhere, like from another job or session.  I also understand that there are some elements which are not under our control, such as the unpredictable weather and the ugly traffic here in Manila.  I can tolerate it when we'll be late for just a few minutes way past the calltime.  But if it's waaay too late, that's a different story.

The one thing I don't get is why some people don't make an effort to come on time?  I mean, how difficult is it to follow calltimes, schedules, and deadlines?  If you know that you're quite far away from your destination, or if the weather's awful and rush hour's coming, then why not make a diligent effort of hitting the road earlier than your usual travel time?  Traffic and the weather have become some of the easiest yet lousiest excuses.

And how about those types who are frequently late for no reason at all?  What in the world are they up to?  Why can't they simply follow schedules?  Do these people need personal assistants or secretaries to remind them of the time?  Or are they just plain lazy and irresponsible?

Having the sense of "Filipino time" is an infamous flaw in our society.  Fellow Filipinos, let's not tolerate this.  We should correct this bad habit.  We don't want future generations to follow this lazy habit.  What if someday, our kid will come up to us, and ask us why we're not following our schedules?  And what if our kid will say, "I don't want to come to school on time, because there's nothing much to do during opening ceremonies and homeroom periods"?  How are you going to respond to that?  Let's not pass this late habit to our children.  Let's be good examples to younger generations.


Punctuality matters.  If you're guilty of this, what are you gonna do about it?  It's about time...

On Being Focused vs. Being a Jack Of All Trades

I remember having this conversation with one of my musician friends back in college.


ME:  "You know what?  I admire your ability to play many kinds of musical instruments.  You can play the bass, guitar, violin, keyboards...  You can play them all well.  I admire multi-talented musicians like you.  While I can only play the drums."

FRIEND:  "But I admire you for being focused on only one instrument.  By concentrating on the drums, you're on your way to mastering it."


Later on, we went on to reflect upon these ideas.

Some people are natural jack of all trades.  These multi-skilled types have the ability to exceptionally perform various tasks and skills.  Some are able to excel in at least two or more different fields.  Some may not excel, yet they have the ability to accomplish every task or action with satisfactory results.

Meanwhile, some people can't pull that off.  Instead, they opt to focus on one particular talent, task or skill, and dedicate their heart, mind & soul into it.  Attention is undivided.  Passion and commitment are stronger.  Many of these focused types are able to excel in their chosen craft or field.


So, which type are you?  And how do you do your thing(s)?

On Competence and Excellence

After all the drama that happened early last week in our country, plus going through my personal reflections on some of my thoughts and observations, I decided to write this blog about competence.

Lately, we Filipinos are receiving plenty of bashes and criticisms from the international community.  And many of us Filipinos have been sentimental about these issues.  We've been thinking so much about the "only-ifs" and "what-might-have-beens".  "If only the authorities played it smarter with the hostage crisis negotiations..."  "If only the police were better-trained and better-equipped..."  "If only Venus Raj was able to nail an impressive answer to a seemingly simple yet difficult question..."

I assume that we have imagined ourselves on similar situations, thinking of what we could have done if ever we were in the middle of the action.  If we were in charge of the crisis management, what could we have done to prevent matters from getting worse?  If we were asked the same beauty pageant question on the spot, what could we have answered?  Let's ask ourselves as individuals (not only as one Filipino race), are we capable of handling these situations?  Are we going to prevail and conquer the odds, or are we going to break under pressure?

The competence of the Filipino people is in question.  

First, let's define competence.

• The ability to perform a specific task, action or function successfully (Source: Wikipedia).
• The state or quality of being adequately or well qualified; ability (Source: thefreedictionary.com).
• The quality of being competent; adequacy; possession of required skill, knowledge, qualification, or capacity (Source: dictionary.reference.com).

Now, let's apply all these with our daily lives.  At work, in school, on activities we're involved in...  Let's ask ourselves, are we competent?  Or if we think or feel like we're not, are we doing anything to make ourselves competent?

I'll connect it with my job as a professional musician.  Am I competent, or at least making myself one?  Am I doing actions or activities which can lead me into becoming a better musician?  Am I showing care, discipline & professionalism in my craft?  Am I being a good example to people around me?  Am I being persistent and diligent?  Am I still practicing and looking for ways to further improve and develop my artistry and skills?  Am I pushing myself to become the best I can be?

Reflect on your work, your performance in school, or whatever activities you're involved in.  Ask yourselves some competence-related questions.  It doesn't matter who you are or what you do.  Whether you're an executive, a manager, a teacher, a janitor, a chef, a public servant, an athlete, an artist, or whatever profession there is...  Are you competent?  When you claim that you're doing your best, are you really doing your best?

We should take note that being competent is different from being competitive.  The latter involves rivalry, such as sports and in some business matters.  In the music world, for me, there's no need for competition in the arts.  There may be some competition ongoing, such as record sales and winning fans' hearts, but these are lame, as far as I'm concerned.  As a musician, I'm not aiming to outdo or outplay my fellow drummers/musicians.  I am aiming to play to the best of my abilities, continue to improve and develop in order to express myself more effectively and convincingly, and to make the music a much better, more enriching, and more inspiring experience to the player and the listener.

Among my inspirations in life are successful people who work hard and give their best in their chosen field or specialization.  They may be athletes, inventors, innovators, or artists.  They are people who never rest on their laurels, and they always strive for excellence.  And more often, these role models don't do it just for competition.  Their competence is for the sake of maintaining their standards, or better yet, for continuous improvement. 

I also have a huge admiration for races or cultures who are competent in various fields.  I admire the engineering and design prowess of the Germans.  I admire the discipline and the technological advancement of the Japanese.  I admire the persistence and the flood management of the Dutch.  I admire the sense of precision of Swiss manufacturers.  I admire the musical innovation of British and American artists.  These cultures have found excellence on different fields or specializations, and kept themselves competent through the years.

It isn't so hard to believe that we Filipinos have the talent and the skills.  But, are we honing these talents and skills?  Are we investing our time and effort in making ourselves more competent?  Do we possess the right character and/or attitude?  Are we instilling the right values to people around us and to the next generation of Filipinos?  All the senseless blaming, unreasonable finger-pointing, the crab mentality, the "pwede na yan" (that's good enough/that can do) attitude, and all the negative traits should be corrected.  Enough of these bad habits, for if we continue to do these, this nation has nowhere to go and we'll remain in mediocrity.

This blog is a call to change for the better.  Enough of the mediocrity.  Let's strive for excellence.  Let's make ourselves competent.


Highly Recommended:
The Philippine Bus & Miss Universe, by Daniel Wagner, 8/25/2010. 
Why there’s hope and the ‘Pwede na’ mentality, by Erwin Oliva, 8/30/2010.

My Filipino Ethnic Musical Instruments 101 Experience, Part 1: Joey Ayala

Last weekend, I had one of the most musically enriching learning experiences.  Bread Of Life organized a seminar on indigenous Filipino musical instruments.  This was held at the Crossroads 77 in Quezon City, and it was exclusive to Bread Of Life's praise and worship artists.  It was also a privilege to learn from certified experts on this field - Malou Matute and Grace Bugayong, faculty of the UP College of Music; and revered Filipino singer-songwriter Joey Ayala, who is best known for using ethnic Filipino musical instruments with modern musical styles.

It's an honor to meet and learn from the great Mr. Joey Ayala, who conducted the first half of the workshop.  Besides his status as a respected contemporary artist, he is also an educator and an advocate on social and cultural development.  Other that the obvious reason why we were there, which is learning about ethnic Filipino music and its instruments, Joey Ayala stressed on several topics, from history to psychology to philosophy.



Here are among the many things we've learned from Joey Ayala...

• His pre-performance warm-ups - deep-breathing exercises (for "rebooting" our consciousness), lip bubbling (warms up the lips/voice), and the "inner smile" (for relaxation).  This warm-up routine may be more well-suited for vocalists, but the deep breathing exercise or meditation should be very helpful for me.  Thinking about the past can lead to anger, while thinking about the future can lead to fear.  Deep breathing should help me focus on the present.

• "The things we can do with our voice informs our musicality."

• What being indigenous means:  We ask the question, "Who are we?", and being indigenous starts within ourselves.

• The Salundiwa (pang salo ng diwa) - a "mind-mapping" thinking tool.  In one Salundiwa activity, we were asked to respectively enumerate the things that come to mind when we think about our body (listing our race/heritage), music (listing the musical styles that influenced us), and our musical goals.  Then, we were asked to connect all these listed items together.  These reflect our roots; where we are coming from.  If there's anything missing in the musical styles, then we should ask ourselves, "What do I need to research?"  In regards to the musical goals, we should ask ourselves, "What are the functions that I want to achieve?"

• Sining Bayan - "social artistry".  Four elements: sensory/physical (instruments, musical elements), history/psychology, spiritual (an element of the unknown), and myth (a calling; a sense of journey).  Art awakens our heroic/mythical sense.

• "Science is the humblest of religions because it constantly invites challenges."

• Classical thinking = function over form.  Romanticism = form over function.

• "Music is a form of data compression."  In pre-literate days, music is used as a form of communication.  Examples given were Bahay Kubo (a folk song which actually "encodes" what farmers should plant depending on the season) and Pulis Sa Ilalim Ng Tulay (its simple melody is easily remembered and passed on).

• In Filipino agricultural culture, farmers have plenty of free time.  So they had the time to carve instruments from wood.  Through the instruments, they imitate what they hear from nature, such as the sounds of birds, the wind, flowing water, etc.  Narratives are used, unlike structures on Western music.  The music is also close to Indian raga; starts slow, uses scales, then escalates using the same melody.

• "Music is a vessel to deliver the content."

• "Look at the essence/function, then look what is appropriate for your objectives."

These are just some of the things we learned from the profound and open-minded Mr. Joey Ayala.  Then he entertained us by singing a couple of his original songs, one using an acoustic guitar and another using his Hegalong.


To be continued...

Usher in Manila: My Friends' Front Act Experience

My K24/7 bandmates Paolo Banaga and Ian Fajarito had the time of their lives last Friday night, opening for Usher here in Manila.  Paolo was called to do back-up vocals with South Border, while Ian played keyboards for Nina.

Here are a few photos from Paolo.  For more pics, check out his Facebook photos, here and here.

Aaron Spears' DW/Zildjian set-up.

Paolo checking out Aaron Spears' kit.

Soundcheck.  South Border + Nina.

  Two drumming phenoms meet. Aaron Spears & Benjie Mendez.

K24/7's Ian Fajarito with the man Aaron Spears.

 Ian with Usher's band.

Again, with Usher's band. Dylan & Jay Durias, Paolo & Ian.

"I can't explain how lucky we are and how proud I am being a Filipino... 'coz these cats (Usher's band) were jumpin' and screamin' at the side of the stage when we were playin'... and they were the ones who were shoutin' 'more!!!'  I'm gonna miss these fellas... They're very humble and blessed..."

--- Paolo Banaga, via Facebook


Pao and Ian arrived at our Off The Grill gig after the Usher concert, in time for our second set.  Later, South Border superdrummer Benjie "Bagets" Mendez and superbassist Marlowe Mata, plus birthday boy Duncan Ramos also arrived from the concert.

Pao and Bagets had plenty of stories to tell, for they just had the most awesome musical experience.  They were able to meet and hang out with Usher's world-class tour band.  Included in that band is current drumming superstar Aaron Spears, who became a major buzz in the drumming world after his "Caught Up / Sex Machine" 2005 Grammy Awards performance with Usher and James Brown.

The magic began during soundcheck.  South Border was burning during rehearsal.  They were playing so well, Usher's band went running towards the side of the stage to watch and listen.  You know that typical musician's behavior when we musicians shout, jump, or go nuts whenever we see or hear another fellow musician do something breathtaking and spectacular and feels oh-so-good?  Usher's band was blown away!  And this was just soundcheck.

Pao was so starstruck when he saw Aaron Spears, he ran to him to greet him, and Pao was like, "Wow, it's really you!  I only see you in YouTube!"  Aaron Spears is so super nice; him and the rest of the band are very friendly and very humble.  They were complimenting South Border, saying something like "It's great to see artists here who play TRUE music."

Bagets had the time of his life, hugging Aaron Spears when the two met.  Aaron said Bagets was awesome!  And Aaron was giving so much props to Bagets, complimenting his tone quality and asking him how he does it.  They also had a great time talking about drums and Stevie Wonder, among many things.  Even Aaron's drum tech approached Bagets to show his appreciation.  Even a musician of Bagets' stature can't believe everything that just happened; he was close to crying.

Nina and South Border's front act performance went very well.  Bagets' performance was stellar.  All that positive vibe was rubbed on to him, and he was absolutely in his element.

Later, when it was time for THE main act, it was my friends' turn to cheer.  Aaron was incredible that night.  Paolo and Bagets were screaming everytime Aaron did something spectacular on the drumkit.  Todo daw talaga!  Aaron also handed Pao and Bagets a pair each of his used Vic Firth signature drumsticks as remembrance.

Paolo said that when all these were happening, he's so proud to be a Filipino, and he's so proud to represent K24/7.  In those moments, race or nationality did not matter.  There was no discrimination.  Everybody's bonded through music.  There's so much love and mutual respect.  It was beautiful and inspiring, and oh how I wish I was there.

Man, I missed a golden opportunity.  A week ago, Pao & Ian asked permission regarding their big opening gig.  From there, I was thinking all week about having our regular Friday night gig cancelled so that the rest of my band and I can watch the concert, and perhaps have the chance to go backstage and meet the band.  And even if we're able to get good sessionists whenever my bandmates aren't available, it's quite hard to go through our gigs when one (or in this case, two) of my bandmates are not around.  I should have requested for a night off.  This should be one of my worst non-decisions. Geez, I still can't get over it...

It's always great to see Usher perform, but from the very start I was after his band.  And it's not everyday that I get a chance to meet a talented and world-class drummer like Aaron Spears.  When I was viewing Pao's concert photos & hearing their stories, I was close to crying.  As a consolation, Paolo gave me one of Aaron Spears' drumsticks.  I totally appreciate it, and it now holds a special place in my collection of musical memorabilia.

Paolo, Ian, the guys from South Border, Kris Lawrence, Vince Alaras, Dylan Durias & Nina are so privileged.  Like what Duncan told me that night, I'll get my chance someday.  Great job, mga kapatid!  I am so proud of Pao & Ian, as much as I feel so envious. :)

 "Incredible concert in Manila! Amazing audience!" - Usher, via Twitter (and yes, Paolo and the gang were that close to Usher).

"Thank you Manila!!!!! http://yfrog.com/j2lmeej" - Aaron Spears, via Twitter.

*All photos courtesy of Paolo Banaga.

K24/7 - New Era: A Dream Come True

December 18, 2009... This is a date that I will remember. It was a Friday night, and my band K24/7 is scheduled for our usual weekend gig at Off The Grill. It was pretty much routine... Until our manager Alona David gave us the most pleasant surprise. My bandmates and I were each handed a couple of CDs, with Ate Alona greeting us a sweet Merry Christmas...

It was our new album. K24/7: New Era.

Earlier this week, Ate Alona, road manager Jason Reyes, and I met up to check the final CD design and listen to the final audio mix, before the production of the first batch of CDs. It was all good, and it's a go. We were expecting the manufacturing to be finished sometime next week. It went ahead of schedule. And so, management gave us the surprise last night.

For me, it's a dream come true. It's definitely a long time coming. I am now on my 12th year as a professional musician, and I've been with K24/7 since early 2004. One of my career dreams is to become a recording artist and to make albums. Finally, this dream came true. This is my first album/recording credit as a professional artist, and this wasn't handed to us in a silver platter. New Era is approximately 5 years in the making; a product created from blood, sweat, and tears.

When I held my copy of New Era for the first time, I took a moment, holding the album with both hands, and I just stared at it. I had this mini flashback of the last 5 years I had with the band, and that moment when my bandmates began making the first demos. In those 5 years, K24/7 has faced adversities along the way. We went through the tough times, from studio and gig mishaps to bandmember changes, from songwriting hardships to production concerns... We went through various challenges, whether musical, personal, financial, or whatever imaginable obstacle. And just as we thought that things seem to be on track, something would come up. Wow, those 5 tough years... What a journey it has been! Unbelievable.

It was a huge sigh of relief. I felt like all the stress in my mind and body was took off of me. Suddenly, I broke a smile and there was peace of mind, like a big monkey was mightily taken off my back. And it felt really good. While writing this blog, I have our album playing in the background. I may have listened to our songs thousands of times. This time, it sounds and feels way much sweeter.

At times, we were on the verge of losing hope, going through depressive stages, and the like. But we just hung on to our dreams, and we never gave up and called it quits. I like what our dear friend Jean Ramiro told us one time... She described K24/7 as a very resilient group. Now, I see New Era as a testimony to K24/7's strength, persistence, and determination.

I always believe that God has His reasons, and in life, there are reasons why things happen. Looking back at what happened in the last 5 years... Yeah, we know the album is waaaaay overdue. But the wait seems well worth it. I am grateful to the Lord for all the blessings, and as well as for the adversities and the lessons learned.

Our acknowledgements are well-documented in our album sleeve, and I would like to thank all the wonderful people who love, support, and believe in K24/7. Personally, I sincerely thank you all from the bottom of my heart. Thank you so much for hanging on with us; for the patience in waiting for our album to come out. I would also like to offer my deepest gratitude to the unsung heroes... To our management - Alona David, producer Alvin Llanderal, and Jason Reyes; and to everybody involved with the production of New Era... Thank you very much for helping make my dream & K24/7's dream come true.

Now that our album is finally out, this is just the beginning of a new chapter in K24/7's history.

Let me know what you think or feel about New Era. I'll most likely write more blogs about our album in the near future.

*****

K24/7: NEW ERA is currently available at our gigs. Drop by at any of our gigs, and go grab your copy! Php250 only. For info, sked, and updates, just visit K24/7's Facebook Page.

Gearhead Thoughts: Back to Single Bass, For Now

Lately, I've been having mixed emotions about my recent decision. Last week, I sold my Tama Iron Cobra double bass pedal. So now, I'm officially back to single bass.

I sold my double pedal out of necessity and because of artistic reasons. To be honest, finances are quite tougher right now, with my new studio room and all the bills. I need some added funds to pay for my quarterly insurance bill, and I'm glad the sale was able to help me out with that. Musically, I was thinking of going back to single bass for quite some time, in order to go back to basics and concentrate more on my right foot. This idea is now fulfilled.

I've been playing single bass for a week now, which is quite a challenge for me because I've been playing double bass for so long that I got so used to it. My right foot is doing more work right now, while my left foot seems wired for playing two pedals that I need to adjust. It's funny because there were times during our gigs when I was about to instinctively play a double bass lick, and my left foot would naturally respond by shifting from the hi-hat pedal going to the twin pedal's slave pedal, only to realize that, "Oops, no more double pedal!" It has become a challenge especially during K24/7 gigs, where I found ways to integrate double bass in our style of music.

I guess I have to agree with my bandmate Paolo when he told me that double bass has become my trademark. It's a pretty unique quality, considering the idea that double bass is unusual on most mainstream musical styles, which includes R&B and hip-hop. I'm not really a heavy, speed demon type of double bass player. I choose when to use it in our music. I also have this goal or artistic intention of applying double bass on popular music.

When fellow drummers and musicians ask why I play double bass with K24/7, I would ask back, "Why not?" Drumset drumming is a constantly developing modern art form; it's still evolving up to this very day. Why not integrate double bass drumming on R&B, hip-hop, pop, and most popular, groovier styles of music? I think it's an interesting idea. Some drummers, mainly the younger ones, would often think that double bass is about speed and is intended for rock, metal, and heavier styles. It saddens me whenever there are some immature, close-minded, know-it-all types who criticize me for having a double pedal with K24/7. I know I'm not an advanced-level double bass player, I know I need to improve further, and I intend to work harder on my double bass technique when I go back to double bass. Personally, double bass is not limited to certain musical styles. It's all up to our creativity, and we can only be limited by our imagination. Plus, all double bass drummers should keep in mind that the guy who began the art of double bass drumming was this jazz/big band drummer.

We should keep in mind that in today's very modern times, thinking out of the box can be a very fruitful and wonderful thing. For example, we now see modern progressive rock/metal drummers who choose to play on small set-ups, instead of the stereotypical gargantuan multi-tom monster set-up. We all have the freedom to choose.

I have a strong admiration for dominant double bass drummers such as Virgil Donati, Derek Roddy and Mike Portnoy. I do wish I can someday reach their level of footwork speed, precision, and power. Yet, I also have a great admiration for tasteful double bass drummers like Simon Phillips, Tim Alexander, Steve Smith, Vinnie Colaiuta, Steve Gadd... and the list goes on. They are the types who are not so heavy and uber-technical on double bass; yet, when they choose to use it, their executions are very musical. Having a double bass pedal doesn't mean that you have to play it all the time. It's like a pianist has 88 keys on his synth, and that doesn't mean that he/she needs to use all those notes in one song. We need to pick our drum parts wisely, tastefully, musically.

Anyway, going back to single bass... Like I said, my drumming-related reason for going back to single bass is because of my intention of going back to the basics. And this includes my right foot technique. I feel like I need to work more on my right foot. When I was starting out back in the 90's, I was pretty much on the right track. I was so into those single bass grunge drummers - Matt Cameron of Soundgarden, Dave Kruzen and Dave Abbruzzese of Pearl Jam, Sean Kinney of Alice In Chains... I also dug the drumming of Eric Kretz of Stone Temple Pilots and Chad Smith of the Red Hot Chili Peppers... And thanks to these guys, I went back in time to discover the excellence of the late great John Bonham of Led Zeppelin... Thank Heavens for Bonzo's mighty, lightning-quick right foot!

I was so determined with my bass drum foot back in the day. Until one day, my heavy metal bandmates back in high school persuaded me to learn double bass, so that we can play some Metallica and Pantera tunes. At first, I wasn't so fond with the idea. Then after one jam session, they lent me a double bass pedal so that I can start practicing with it. From that moment on, and by the time I discovered the great progressive rock drummers, I got hooked with it.

Now I'm bringing back my enthusiasm for single bass. I've been playing single bass on church services in the last three years. The songs we play do not require double bass drumming. I once brought my double pedal at a church service, but I never really got to use it. I think I was only able to use it for a climactic ending for one fast song haha! Realizing that, I know that I'll just be fine without a double pedal with K24/7. It's just that, I got so used to playing double bass with my band. I find myself adjusting some of my drum parts. I'm missing double bass. I miss playing those "quad" fill-ins, those straight-ahead singles, those crazy song endings... I miss sneaking those double kick licks on songs like Icebox, Four Seasons of Loneliness, and our old-school MJ-EWF Medley.


I know I'll be going back to double bass sooner or later, and hopefully be able to score a better set of twin pedals. In the meantime, I'm rocking and grooving on a single bass pedal. I'm going to buy a nice single pedal soon...

Typhoon Ondoy (Philippines, Sept '09)

Help for Typhoon Ondoy Victims in the Philippines (Google)
The Philippines Needs Your Help (send relief aid to the victims of tropical storm Ketsana [Ondoy])
OndoyManila - Help for Typhoon Ondoy Victims
List of verified relief centers for Ondoy victims (GMA News)
Tropical Storm Ondoy: How you can help (ABS-CBN News)
How to help Ondoy victims (Inquirer.net)
The Philippine National Red Cross


Please donate to the Red Cross Rescue and Relief Operations, through our local telecommunications companies. Text: Red AMOUNT to 2899 (Globe) or 4483 (Smart). AMOUNT can be 10, 25, 50 or 100.

*****

My Ondoy Experience

Citizens of Metro Manila and majority of Luzon island will never forget where they were when Typhoon Ondoy attacked and caused unthinkable chaos and disruption. I'll definitely remember mine.

Last weekend, our praise and worship team from Bread Of Life Greenbelt was assigned to perform at the ministry's Prayer Mountain facility in Antipolo. This was scheduled last Saturday, around 8am until around 3pm. Our calltime was 730am. The night before, my band had a gig at Off The Grill in Quezon City. There were already reports of an incoming storm, and it was already raining that night, though it doesn't seem to be a potential threat yet for possible floods. After the gig, while taking a breather, I was already having a bad feeling about the weather. I thought of contacting the staff from Bread, and ask if we're still pushing through. When I arrived home in Sampaloc, Manila after the gig, weather seemed to have tamed down. And so, I proceeded and went up to Antipolo via Marcos Highway.

When we were already at the Prayer Mountain, which is approximately 18-20 kilometers up along Marcos Highway coming from the Cainta/Lower Antipolo area, that's when weather began to get nasty. Our worship venue was a convention hall, roughly the size of a movie house. It has glass-panel doors and windows, and there we notice the rain getting stronger as minutes passed, while we were setting up and doing soundcheck and a short rehearsal. Power went out before the service began, but good thing there's generator.

Service still pushed through, despite weather getting worse. We did the opening set, then had breakfast, and then I took a nap, since I didn't have any sleep yet. A couple of hours later, around 1130am, my church bandmate Criss Buenviaje (guitarist of Fairground) woke me up in time for our second set. There I noticed the number of text messages I received, coming from concerned family members, informing me about the worsening weather. Though we're safe and sound at the Prayer Mountain, we can't help but notice how strong the rain and wind were outdoors. And I saw the big trees swaying wildly. That moment, we thought that we'll be staying up on the mountain much longer. After the second set, I went back to sleep.
When Criss woke me up for the closing set, which was around 3pm, that's when I realized how big and awful the storm has become. I received text messages, informing me about how Metro Manila's becoming a flooded mess and telling me to stay put. Bandmates Bobby and Ruth Bagalay (bassist & pianist/musical director) were alarmed when a neighbor texted them, informing them that flood has entered their Marikina home. We can't go down the mountain yet because it was still raining hard and there were reported landslides along the way, so we didn't have any choice. Now we're feeling worried. Plenty of people were stuck at the venue. We were joking that the Prayer Mountain looked like a refugee camp. One moment, I was chatting with our worship leader Lorraine. I remember joking to her, "Kawawa naman tayo." But with a smile, Lorraine replied, "God has a purpose." I can't help but agree. Later, I went back to sleep.

Around 7pm, bandmates woke me up, informing me that they'll be heading the road to check if it's already safe to go down. Good thing a jeepney driver stopped by near the venue, and told us that the road's already clear and it's already safe to go down. And so, we left the mountain 8pm and carefully convoyed down Marcos Highway. I know some of you may think that it might be safer to stay at the Prayer Mountain than to go down the flooded, traffic-laden chaos in the city. But I felt that I'd rather be down the mountain than stay up there. Landslide threats seem scarier. Plus, it's better to travel together with my bandmates, with the worried Bagalay couple wanting to reach their flood-damaged home. While driving, I was tuned in at the AM radio stations, and here I realized the magnitude of this Typhoon Ondoy disaster. It will be a long night...

Past 9pm, we made it down the mountain, and turned right to Sumulong Highway going Marikina. But it was flooded, so we stopped and waited. Later, when flood waters subsided slowly but surely, my Marikina bandmates decided to go through it, since they live in the area. I decided to turn around and proceed to Marcos Highway, which is my main thoroughfare heading home. Turned out, that stretch from the Sumulong intersection up to the flooded area of Cainta became one huge parking lot. I decided to park and spend the night inside my car.

I parked along Marcos Highway near the Sumulong intersection, where a number of nearby restos and stores are conveniently located. I bought my late night liempo dinner, bottled water and juice at Andok's. They forgot to provide me a spoon and fork, so I ate my food with my bare hands inside the car; finger-picking liempo from one plastic bag and eating my packed rice like siopao. I tried to stay vigilant by being aware of my surroundings. There were plenty of people on the streets, some stranded with their vehicles, some walking, and some who seem to be just "looking around" (reason enough to be extra careful). I also chatted with a fellow "traffic victim" who lives at a nearby village, asking him about possible routes, only to find out that I'll be stuck for the night. I spent the rest of the night inside the car, listening to the news on the radio. I was also doing my last rounds of text messages, until my phone's battery finally drained past midnight (plus, telecommunication signals were unstable, so it was hard to send messages and make calls) . I was able to sleep, but I had to wake up every now and then to turn on the engine and the aircon, then turn it off again to conserve my gas.

I woke up around 630am, and the sight I saw was so surreal. The highway is still a vast parking lot, and plenty of people are walking towards the direction of greater Antipolo, all dirty and muddy chest down. They seem to be commuters who walked their way home and waded through the floods. I thought of taking a road trip to Antipolo city proper via Sumulong, hoping to find a route going Pasig/Ortigas Center. However, a portion of Sumulong Highway going up Antipolo was closed to traffic. I decided to stay at a gas station to buy food and check the car. I was also trying to look for a landline, but the phone lines were not working. Past 9am, the sun was showing up, and I decided to drive around and search for possible routes. Flood waters already subsided on the roads I passed, and here I saw the aftermath. I've never seen Marikina so messy. If only my phone still had power, I could have taken some pics. It was unbelievable.

After circling around Marikina, failing to find a way out and not really familiar with Marikina's roads, I stopped by at a mall. I'm glad the cellphone store stalls were open. First, I bought a car charger for my phone, but my car's 12v outlet wasn't working. Then, good thing another store was selling a compatible battery for my phone. Thanks to that, I was able to make calls and send important text messages. I called Criss, asking for help on directions. Criss was with his wife Eula that time, and I guess the timing was perfect because they were at the house of Criss' folks, which isn't so far away from where I was, and they were about to leave going to Eula's home in Montalban. Criss suggested that I take the road going to Batasan/Commonwealth via San Mateo, and he was so kind to convoy me towards that area. Along the way, I see more mud and debris. We even passed through a bridge where the river below overflowed (and it was a pretty high bridge). There was some traffic going towards that route. But when I entered the road and got through the debris, the road became clear and free from traffic. I was able to make it out to Commonwealth Avenue. When I entered Quezon City, I had a big smile. I was like, QC never looked this good! I arrived home in Sampaloc, Manila, free from traffic and hassle, at 2pm. Criss, you're my hero!

When I arrived home, I felt so happy that I lost my tired feeling. It's also great that electric power was restored in our area minutes after I arrived. I had lunch, sent text messages, went online, and took some rest. I went to church with my folks later that night, then proceeded to Mugen for my band's gig. I thought our Mugen gig will be cancelled, plus I had that guilty feeling of playing on a gig and having a good time, while many are suffering and some went out of their way to help those who are in need. But I understand that many Mugen crew members still need to earn a living. Later that night, we had a number of friends and guests who were victims of Ondoy. One spent the day helping people. One friend was forced to move out when his place got flooded, and was worried with his things, particularly his Air Jordan shoe collection. It was a totally stressful weekend for millions of people. But if we can help some people get through all that stress; help them temporarily escape from their worries and miseries through our music, then that would be fulfilling; anything to bring back some smile or to cheer up. Surprisingly, a good number of people still showed up on our usual Sunday night gig.

*****

It was a very long weekend for me. I thought that what happened to me was a major bummer. But what I've gone through is nothing... Compared to fellowmen who lost their homes, their properties, and most especially their loved ones... Innocent victims who died from flash floods and comparable misfortunes... Residents who spent more or less 24 hours on their rooftops, facing hunger, hypothermia, and fear... People who were in the middle of the action; stuck inside their cars which were drifted away by flood, hanging on a tree branch, an electric post, or whatever the can hold on to... Many people are going through unimaginable hardships right now. What I'm seeing in the news reports and the photo and video uploads saddens me. It's heartbreaking.

I feel very lucky and blessed that I'm spared from all that. Now it's time that we Filipinos unite, share, and give all the help we can give. I'm glad that it's already happening, and it's so inspiring to see volunteers helping out. Even the online posts and updates are greatly helping; not only locally, but our messages can be seen, read and heard all over the world. I salute the many pro-active Filipino men and women out there right now.

Let's all help out in whatever way we can. If we can't be physically present on donation centers and disaster sites, we can send our donations to accredited and trusted groups and establishments. It can be through your school, or your parish, or a major business establishment... Sadly, on times of crisis, there are scammers out there who take advantage. Please be careful and be vigilant. Monetary donations can also be sent through our local telecommunication networks. Check out the posts and announcements on Facebook, Twitter, and various social sites (and some of my links posted above).

The big typhoon and flood may be over. But it's not the end of it. There's plenty more to do, and lessons to be learned. Indeed, God has a purpose.

A Short But Meaningful Chat with Kenjhons

We from K24/7 have tremendous love, respect, and admiration for our brothers and sisters from the Philippine Allstars. My band and their "band" of dancers have been good friends for quite some time now, and we do love and support each other. Among those amazing Allstars bros is Kenjhons, who is very supportive to K24/7 and many more Filipino R&B/hip-hop acts. Kenjhons recently hung out at our gig last week at Off The Grill. It's always a blast whenever he's around to jam with us, showcasing his vocal abilities and unbelievable dance moves. He also happens to be one of the most inspiring and most positive individuals around. It's always great hanging out with him.

During a breaktime in between sets, Kenjhons and I had a short chat. He told me how much he enjoys our music and my drumming, which is such a humbling compliment from an artist of his stature. Kenjhons said that he may not be a drummer, but he can feel the groove in my drumming; the bounce, the pulse, the pitik... He can feel that the music we're playing is coming from the heart. He appreciates what I contribute to the music.

Then I told him about my little secret when it comes to grooving. "Whenever we're playing fast/upbeat songs, you and the Allstars are my inspirations. Whenever I'm laying down a beat, I try to visualize you guys dancing. Even with the slower songs, I still try to visualize. As a drummer, I have to make it feel good for you guys. It's like, I need to help you guys dance your best. And in return, your dancing helps me groove better. It's a give-and-take thing."

I knew Kenjhons understood me, with his clenched right fist pounding the left side of his chest.

Artists inspiring one another is always a beautiful thing.

Here are a few clips of Kenjhons jamming with us last week. Videos courtesy of Neil Santos Limon (Thanks, Neil!).

Jamming on Bagets' New Gear

The photo above was shot last night. I dropped by at Off The Grill to check out Benjie Mendez and his new DW and Meinl gear, courtesy of Lyric. Bagets had a gig with Paolo Santos, Jano Queyquep (lead guitar) and Marlowe Mata (bass). A number of fellow drummers were present last night, which included Lyric's two representatives, Gep Macadaeg and Lester Banzuelo (Fuseboxx).

Bagets' DW drums sound absolutely amazing, and his Meinl Byzance cymbals are among the most crisp and cleanest-sounding metal I've ever heard. I feel that these instruments compliment Bagets' drumming style so well. Near the end of the first set, Bagets called me, then Jeff Lima to jam. I think Bagets wants to hear his gear played by other drummers, and/or he gave us the opportunity to try his DW/Meinl set-up. I was smiling almost the whole time when I was playing on Bagets' kit. It was such a joy to play! It really felt so good! It felt so easy playing those beautiful drums and cymbals, which responded beautifully to whatever touch or level of dynamics we play. It's like the kit is helping us play better. It's always a wonderful feeling to play musical instruments that allow us musicians to express better.

I felt very inspired after playing on Bagets' drumkit. Why? First, I'm so happy for Bagets' new endorsement deal. I can feel the happiness of my mentor, knowing the musical hardships and frustrations he's gone through all these years. He deserves all these blessings. Second, it goes to show that being truly committed and dedicated to your chosen art has its rewards. I am very aware that living a musician's life isn't a breeze, and there will always be tests and struggles along the way. But, I believe that if we musicians just keep on improving and developing, expressing our musicianship with dignity and conviction, being honest with our work, sharing the bounty, and be an inspiration to others, then it's by fate that we'll be rewarded in some ways.

As for myself, I don't know if it will mean more gigs for me and my band, or a future endorsement deal, or whatever opportunity that may come... To be honest, I don't really want to think about it. I don't want to think about potential financial or musical success, or fame, especially. Personally, I don't really want to become famous; but if it's bound to happen, I'm hoping that it will be in a positive way. Anyway, it's perfectly normal to dream on. But for now, I just want to get better as an artist. And deep inside, I feel that if we just go on, keep on learning, working hard, doing positive things, and be the best that we can be with our chosen craft, the rewards will come someday.

I'm really feeling so inspired right now...

Photo courtesy of Lester Banzuelo of Fuseboxx.

The Neil Peart Influence, Part 1: How I Got Into Neil, and Why I Revere Him So Much

Today is the birthday of Rush drummer Neil Peart. Happy Birthday!!

Many great drummers from past to present have inspired me to become a better drummer and musician. But no one else has inspired and influenced me more and in a life-changing way than Neil Peart. He is, and will always be, my biggest drumming hero; my number one drummer of all time. He not only influenced me as a drummer and musician. The man is a genius; an intellectual, a philosopher, a writer, a traveller... a brilliant and worldly human being with an insatiable thirst for knowledge and a never-ending pursuit for learning.

Many of my long-time friends are familiar with my reverence for Neil Peart. Some of you might wonder how a drummer like me, who is currently grooving with an R&B band on a regular basis and playing mainstream music for a living, was moved by one of the greatest rock drummers ever.
I first discovered Neil Peart and Rush back in high school. I was around 14. One day in school, I was hanging out during breaktime when I saw my friend and fellow drummer Rommell Garcia, and he's got this cassette tape in his shirt pocket. Out of curiosity, I asked what he had there, and it was Rush's 1989 live album, A Show Of Hands. That was the first time I saw a hardcopy Rush album. I was already reading Modern Drummer that time, and I've seen those old Ludwig and Zildjian ads with Neil on it, and he was praised so much by his contemporaries and mentioned frequently in the magazine (and they still do up to this day). I also recall a Neil Peart reply to one Ask A Pro inquiry, and I remember how long and detailed and convincing his response was. So, I was like, I have to check out this Neil Peart guy. I borrowed Rommell's tape, then listened to it at home after school.

From that moment on, life and drumming were never the same again.

Yes, I've become one of them; a Peart disciple; one of those thousands of drummers all over the world whose life was changed and enriched after hearing Neil and Rush for the first time. It must be some kind of Neil Peart obsession phase or syndrome, which I'm sure many drummers can relate with. I instantly became a fan, and got hooked to his crafty, muscular, and very creative drumming. After listening to A Show Of Hands for the first time, that was it! Going through the first few songs in the live album - The Big Money, Subdivisions, Marathon... plus numerous rewinds to recall those incredible drum parts... It was magic for me. I made a duplicate of that cassette tape, then studied it for hours and hours.

And the obsession continues. After that, I tried to look for all the Rush recordings I can find (their albums are pretty much hard to find on this side of the world). I went through my magazines and looked for any Peart-related article. I went through their recordings one by one... Moving Pictures, Permanent Waves, 2112... And the list goes on. I also got a video copy of A Show Of Hands, thanks to my buddy Michael Ong (guitarist of Fuseboxx). That was the first Rush/Peart video I've ever watched, and thanks to that, it became visually easier for me to figure out the things he played on his massive wrap-around double bass drumkit. The power, precision and craftsmanship of his drumming is phenomenal; not to mention, his integration of electronics and percussion instruments in his elaborate set-up. Seeing his Rhythm Method drum solo on video also took my Peart studies to another level, finally seeing how he did his famous solo. That time, the cross-sticking between the snare and floor tom was the killer for me. It took me all summer long figuring it out and trying to play it on my kit.

Up to this day, I still follow Rush and Neil Peart. Rush's newer albums may have mellowed by Rush standards, as compared to the more aggressive and exploratory nature of their classic 70's and 80's recordings. But the magic is still there, and they never fail to amaze me. I recently listened to their latest live recording, Snakes and Arrows Live, and they still sound so incredibly heavy, after over three decades of touring and thousands of concerts. Rush's music and Neil's drumming is timeless.

I recently got my October 2009 Modern Drummer, and it has this feature on Neil, titled "Reasons To Love Neil Peart". I am shocked that author Adam Budofsky confessed in the article that he "never loved Neil Peart", meaning, he never went through a Rush/Neil Peart obsession phase. I thought it was funny. But out of curiosity, and in order to confront his "Neil problem", he went through his research for this article, to cite the importance of Neil Peart in the art of drumming. He also invited 30 drummers who served as "panels of Neil experts", which is amazing because these drummers come from all different fields and styles of music, from jazz to R&B to metal. It goes to show that Neil's influence transcends musical boundaries; Neil's not just a rock drummer's drummer.

"Reasons To Love Neil Peart" noted 15 reasons/points on why Neil Peart is revered by many drummers. Here's my take on each of those 15 reasons...

1. Inspiration
Neil Peart's intense passion for drumming, music and life is infectious. Drumming-wise, his style has set a new standard, and has generated so much excitement to many drummers.

2. Precision and Consistency
Rush is known for replicating their recordings in their live shows, and it's amazing that after all these years, Neil is still very solid and consistent. Show after show, he is precise and consistent with his signature drum grooves and fills. And I agree, that's a hard thing to do.

3. Rising Above Technique
Neil is a technical drummer. But what I really admire the most is how creative he is in using his technique to make their music better and more meaningful. The rhythms and fills he created, it really fits the music of Rush.

4. Sound
Neil's drumkit sounds compliment his playing style. Personally, I don't prefer high tunings on toms. But according to the article, Neil tunes his toms very high (essentially in bebop range), which leads to an exciting, unique, and aggressive sound. I agree that it works very well on Rush's recordings and concerts. Neil's toms are very clear and articulate; one can hear the notes and identify which tom he's playing. Adding to his drum sounds are his signature Sabian Paragon cymbals, which has the presence, clarity, and cutting power that can match his drum sounds.

5. Ability To Garner Respect, Even From Non-Fans
Whether you're a Rush/Neil fan or not, Neil is very well-respected in many aspects. Everything he does, whatever he plays, writes, thinks, or stands for, he does it with dignity and conviction.

6. Expertise At Handling Odd Meters
My first odd meter lessons were Soundgarden, which brought me an understanding of how these are used in songs. Then, when I discovered Neil and Rush, they took my odd meter schooling to the next level. The best example is Limelight, where Neil smoothly shifts between 7, 6, 3, and 4 throughout the song. Other examples of notable Rush songs with multiple meter changes are Jacob's Ladder (from Permanent Waves), Subdivisions (from Signals), and Freeze (from Vapor Trails). I also dig how Neil mathematically breaks down or plays around time. Examples are the "7/4 War Furor" section (3:54) of By-Tor And The Snow Dog (from Fly By Night), and the 7/8 instrumental sections of Tom Sawyer (from Moving Pictures). Thanks to Neil and Rush, when I moved on to Dream Theater, Tool, Porcupine Tree, and other modern progressive groups who heavily use odd meters, I can already "get it".

7. Elaborate And Impeccably Designed Kit Setups
For me, Neil is the ultimate "poster" drummer. I enjoy looking at photos of Neil with his massive and beautifully designed drumkits. Neil's drumkits are also among the most recognizable, especially his wrap-around kit mounted on a rotating octagonal stage. Neil's use of multiple percussion instruments such as crotales, tubular bells, cowbells and blocks are also noteworthy. Many drummers dream of having a drum set-up as impressive as Neil's. Some fanatics even duplicated Neil's set-up.

8. Desire For Self-Improvement
Neil considers himself as an endless apprentice of his chosen art form. Even if he's already among the greatest drummers in the world, successful, multi-awarded and well-respected, he's not the kind of person who will be easily contented, resting in his laurels. He has the endless desire to further improve himself. During the 90's, he went to master teacher Freddie Gruber for further lessons, which has significantly improved his sense of feel.

9. Drum Solos
Neil Peart is a master of the art of soloing. His innovative structured drum solos, a frequent highlight on Rush shows, continues to awe and inspire many drummers.

10. Precisely Orchestrated Parts
Neil has created some of the most memorable drum parts in rock music. His grooves and fills on classics such as Tom Sawyer, Limelight, and YYZ (all from Moving Pictures) have become integral parts of the songs. These songs won't sound the same without those exact signature drum parts.I also dig Neil's timely use of percussion instruments and effects cymbals. Fine examples of songs with well-orchestrated drum and percussion parts are Mystic Rhythms (from Power Windows) and Tai Shan (from Hold Your Fire).

11. Incorporation Of Electronics
Neil is among those great drummers who are in the forefront of electronic percussion technology. His integration of electronics in his set-up is relevant especially during Rush's "synthesizer years" in the 80's.

12. Hi-Hat Work
Whether incorporating it on fills or driving sixteenth notes, Neil's use of the hi-hat is noteworthy. Some fine examples of Neil's amazing hi-hat work are La Villa Strangiato (from Hemispheres), New World Man (from Signals), The Big Money (from Power Windows), and Prime Mover (from Hold Your Fire).

13. Support Of Other Players
Somehow, I see Neil as an ambassador of drumming. He is known to acknowledge or give credit to fellow drummers. Even if he's more of a private person and is seldom seen on drumming events, he is very supportive to the drumming community.

14. Burning For Buddy
Neil is responsible for producing Burning for Buddy, an all-star drumming tribute to the late great Buddy Rich. It's wonderful that Neil thought of organizing such a project to honor one of the greatest drummers who ever lived.

15. Elevation Of The Perception Of Drummers
Neil's impact on all of us drummers from different walks of life and fields of music is very significant. Neil has helped put drummers on the spotlight. He is continuing how Gene Krupa elevated the status of drummers as being the guys who "just hit things and make noises on the side." For me, Neil is a "thinking man's drummer". His care, intelligence, and worldliness (according to the article), plus his boldness, creativity, passion, and inner drive and desire brought the art of drumming to higher levels. Add his brilliance as a lyricist and writer & his zest for life, reflected from being a reader, philosopher, adventurer, traveller, motorcyclist, and cyclist. Neil Peart is one brilliant human being; simply one of the most inspiring individuals on earth.

 

All photos from Drummerworld.com.

More Neil Peart blogs soon...