Last week I played at Pine Box Rock Shop with Hathaways in celebration of the release of their new EP, Hologram. Give it a listen! Here’s a little clip from the gig. This song is about the spectral classification of stars. They also have one about Clara Schumann. That’s the kind of nerdiness I can get behind!
I just finished my third tour with The Grinch! We played 57 shows this year. I put together a little highlight reel from one of our recent shows in Philadelphia. Enjoy!
Vérité is the truth, ya'll. It was a pleasure to backup Kelsey with an all-female orchestra at National Sawdust last night. She has a rabid fan base and it was heartwarming to watch the audience sing along to every tune. Thanks to The Hum and Kristine Kruta for making this happen!
Thanks for having me, SOOP Theatre Company!
We opened The Drowsy Chaperone at Pace last night. This show has been a fun one to work on: it's funny, it's short, and it swings!
I had the pleasure of playing the drum book for In The Heights at Mepham High School on Long Island. My good friend and former PitchBlak band mate, Brian Lotze, is the band director there. He put together a pit consisting of both pros and some extremely talented high school students.
When I was in high school, I played in the pit for every high school musical. I also played professionally in the local summer stock, Cumberland Theatre. While I think I would've been able to stumble through the book for ItH, I really doubt I would've been able to do it justice. It is extremely demanding but very well written (no slashes!). I am thankful for the years I played in the Latin ensemble in college and for all the setup pics in the Musical Theater Facebook group! I really hope to play the show again, sooner than later so these Latin chops don't wear off 🤣
Hope to see ya next year, Mr. Grinch.
This is not one of those times.
The PitchBlak x Pharoahe Monch show at Duke University was a resounding success. Here are a few shots from the the trip. I love Durham so much and have been there many times, but it was my first time seeing the Duke campus. It is quite lovely, but GO TERPS!
It was a true pleasure to play for/with John Hogman last night at the Bell House. This was the third (fourth??) time we've worked together and my love for him grows deeper each time. He is gentleman in every sense of the word!
We're starting to cook ahead of our November 2 performance at Duke!
Wednesday night at the Duplex!
It's important to play with people who make you feel good!
New to Youtube is a video of one of Kailey Marshall's tunes we did at 54 Below last month. I don't even play until the very end but Lauren Pritchard, who goes by Lolo, has some SERIOUS pipes! Enjoy!
As it turns out, cast members from The Great Comet are amazing songwriters! The brilliant Solomon Hoffman arranged some of their songs for The Songwriter's Orchestra and it sounds amazing. I'm playing cajon, cymbals, triangle, tambourine, and A LOT of shaker on this one. Come through!
After yesterday's rehearsal at Smash, I am totally STOKED to play Kailey Marshall's New Writers show at 54 Below on Monday. Her tunes are great and I woke up with like 3 of them in my head simultaneously. The band and singers are superb! Grab tickets here.
I have the honor of subbing for my dear friend Jeremy Yaddaw on the current run of the off-Broadway show, Attack of the Elvis Impersonators. Subbing on a show is quite an arduous process. You can't simply show up and read down the charts. Your job as a sub is to play the show EXACTLY like the regular. The main goal is for the other musicians in the pit and actors on stage to not notice that there is a different drummer behind the kit.
Prepping for this show was a month-long process. First, I got the music and recordings from Jeremy. The recordings were two giant WAV files, so I imported them to Garage Band and split the file up into separate tracks for each song and scene. Next, I went through each track and followed along, marking up my book. The older I get, the more I find I write down EVERYTHING. I'm not sure if it's because I fear my memory will fail or if I'm just more meticulous in my old age. Probably a combination of both! In this example, both Jeremy and I have written in measure numbers, vocal and instrumental cues, changes to the actual drum part, and places where it's necessary to follow the conductor:
That's a lot of information for just 21 measures but it helps with the learning process and insures that nothing is missed in performance.
After putting my book together (a craft project which includes printing, whole punching, stapling, and making sure page turns are in the right places), it was finally time to play the music! I scheduled 6 or 7 three-hour sessions at my rehearsal space to go through the show, playing along to each song, making more notes about things I was hearing that were different than what the music told. There are a lot of up-tempo rockabilly numbers (hello, this is a show inspired by Elvis), so in addition to playing the songs, I worked on some shuffle grooves and swing fills using two of my favorite books - The Art of Jazz Drumming and Syncopation.
Somewhere in between practicing the music, I went to "watch the book" twice - once while being conducted by the regular music director and once with her sub. I took a thousand more notes.
The day before my first show, I went to the theater between the matinee and evening shows to play on the drums, a Roland TD-30. All drums have a different feel, especially when they're electronic! I had to make some adjustments in my technique to get the best sound out of these beasts - playing my right hand lighter on the hi-hat, my left hand harder on the snare drum, and my right foot lighter on the bass drum, to name a few. There are a few patch changes throughout the show, so I had to get used to advancing the kit between many of the songs. Here's a look at the kit:
Finally, it was time to play the first show. I made sure to eat a good meal, avoid caffeine, and show up to the theater an hour early to practice on the drums again. Thankfully, I was super nervous the two days before the show, so by downbeat I was feeling fairly relaxed. I tried to stay as focused as possible (the show moves quickly), make EVEN MORE NOTES of what could be better, and get used to playing with the guitarist, bassist, and pianist in a live setting through the Aviom (personal mixer).
After the last note, I breathed a sigh of relief and thought about things I would do differently for the evening show. I put a lot of time in to preparing for the show and it got to the point where the only thing left to do was to actually play it live. I have a few more dates with Elvis coming up and I am looking forward to each one of them!
TL:DR - Here is a NYTimes article about subbing on Broadway, featuring Ann Klein who I just played with a the Beechman a few weeks ago.
You can check out the full show I played with the Children's Aid Society Chorus in May at Joe's Pub. Enjoy!