Lewis Flinn's Hood

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Yesterday I got to participate in a reading of Lewis Flinn’s Hood in advance of its upcoming production in Sarasota. Let me tell ya, it was particularly delightful to make some music in a room with other people in these especially uncertain times. The percussion list for this one was big, much of which was provided by Centanni Percussion (thanks Barry!). Special shouts to music director and joyous human Brad Simmons as well as co-orchestrator Justin Goldner who gave me the call.

Gear: Yamaha Hip Gig

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Thanks to the generosity of Jeremiah Fox, I got to play on a Yamaha Rick Marotta Hip Gig Kit for a show this weekend. We had one at Mannes so I was familiar with it, but I had never actually seen it all packed up. I didn’t use the rack tom because the arm mount was a bit stripped and I didn’t use the (very small) snare drum that mounts to the bass drum.

All of the drums fit into the bass drum and all of the hardware fits into the throne. The sound is great if you’re playing a small space and don’t need to produce a lot of acoustic volume. Convenient, yes but heavy as hell! I would still need to put them in a car to get to a gig comfortably. Might be a nice option as a small kit that stays set up in your home, however the price is on the higher end for sure.

That's a Wrap: City of Angels

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I just finished a 4-show run of City of Angels with St. Bart’s Players, the longest running community theater in New York! The book is almost entirely swing so I wanted to use some of my “jazz” cymbals that don’t get a whole lot of use these days. Unfortunately, the gig was in a boomy church so I had to play extremely quietly and those dark, dry cymbals just don’t get enough rebound at soft dynamics, so I swapped them out for some old faithful As. I did, however, get to use my vintage Rogers snare which sounded particularly good for brushwork. It was great to play with my Grinch fam, Joe Graziosi, as well as MD Jon Audric Nelson.

In The Studio: Trumpet Wom'

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This weekend I traveled down to Philadelphia’s Milkboy to record drums for Trumpet Wom’s (née, Trumpet Grrrl) next album.

In a rare occurrence for me, it was just drums being tracked. That offered me the freedom to start, stop, and record as I like. In some ways, it was difficult to not record with others (though I was playing over pre-recorded scratch tracks), but overall it was a more relaxing recording experience, especially since I was feeling adequately prepared despite having no prior rehearsals.

I pieced together a kit from Milkboy’s in-house gear. I used a Gretsch BD and rack, a Ludwig floor tom that our engineer Mike swore by, and a maple Pearl snare. Cymbals were a mix of brands, and they all sounded great! It was truly liberating to travel with just a backpack after hauling a giant suitcase across the country for six weeks with Grinch.

Stay tuned for this album in the coming months!

Gear Pics: The Grinch 2019

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Ready to go in Detroit

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I had to get a picture of my setup for the Grinch this year before my “hut” (shield and baffles) was set up. I’m playing the same DW kit as last year. Big drums=big sound! I’m loving the Paiste crash cymbals as well. They’re really nice for suspended cymbal work. The Fox is such a beautiful theater and it is a true pleasure to get to play here for the second time!

Back at it: Hundred Days

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The latest version of Hundred Days is up and running at the Straz in Tampa. We had two days of tech and open Tuesday. My friend from college, Scott Crawford, provided the rental — a beautiful, brand new Pearl Session Studio Classic kit. It sounds great! Scott is a fantastic percussionist and all-around great guy. It was a dream come true to have him tech for me on Sunday. I can’t wait to hang with him some more on this 2.5 month stint in Tampa.

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Rig Rundown: The Grinch

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The Grinch is off to a good start here in Green Bay. Let’s take a look at my setup for this season:

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This year I’m playing a Champagne Sparkle DW kit It sounds great for this particular show. Beefy toms! I’m using a variety of Zildjian cymbals.

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Using the always trusty Roland SPD-SX with 9 different kits programmed (woodblocks, gong, tambourine, bass drum, chimes, glock, sleigh bells, triangle, finger cymbal, ratchet, and one timpani patch are all programmed). Two Adams timpani (29” and 26”). I also have an acoustic cowbell and Jam Block, but they didn’t make the pictures.

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Mmmm… I love a good metal station. Mark tree, two triangles, one finger cymbal, and three Miller Machines.

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Delvcam mounted on my music stand so I can see the conductor when I’m reading the music.

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Stick tray with a variety of multi-sticks, timpani mallets, brushes, triangle beater, sus mallets, and two caxixi.

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And finally, Aviom land. Each band member has their own channel in addition to a conductor mic and onstage mic.

Rig Rundown: Hundred Days

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The cellist is naked! The throne is falling off the riser! What kind of show is this??? Let’s take a look at my setup for Hundred Days here at the La Jolla Playhouse!

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La Jolla Playhouse provided me with this black Gretsch Catalina maple kit. It was amazing not having to worry about schlepping drums across the country or setting up a rental in San Diego. The kit sounds great. We are expecting some new heads to arrive any day now.

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AVIOM land is a good scene! I have two running here: One for each instrument and voice and a dedicated one for just the drum mix. We are all using in-ear monitors which has been a godsend. I may never be able to go back to a wedge again!

Drum key and Moon Gels in an accessible position in case of emergency.

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I’m using my trusty SPD-SX for this one. I’ve built 12 kits (some of which are just running click tracks). The electronics add a nice element to this show. All sounds were provided by the composer, Shaun Bengson, except for a few 808 bass drums and claps. I’ve enjoyed working with our sound designer, Nicholas Pope, on dialing in levels and effects for each sound. I have a few glow dots on the machine so I know where to hit during two black out sections.

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I’m running a pedal trigger out of the SPD-SX for bass drum and other sounds and using a foot switch to turn the click track on and off. More glow dots!

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I finally get to put those contemporary percussion ensemble skills to use during a song that features bowed crotales. It’s a nice effect for the piece and serves as a few meditative minutes for me to re-center and think about what’s coming up next.

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Oh yeah, I’m a singer now! I sing harmony on a few songs. It has been a challenge for sure, but I’m surrounded by many amazing and supportive singers who are always uplifting.

The show runs in San Diego through October 21. If you are in the area, come on out to a show! Otherwise, perhaps I’ll see you this winter in Tampa or Miami!