Mike Mangini

Re: http://www.johnsussewell.com/BrazilianRestitution-NeilNickDennisNorbert&SussCollaboration1980-2003.mp3

It is my firm belief that by studying what everybody does, we learn in the process. Though I played orchestral drums and rock music before meeting Billy Cobham personally (and that while still in college), meeting Boomer changed my life. But you Guys & Gals already know that story.

Someone said earlier that I don’t put my “signature” on any particular music. Well, I understand while politely differing. As far as I know, I’m the first drummer to “sign” the cymbal flame and recording it on well distributed commercial music. Like so many so-called “new” techniques when first heard, other folks will look at you and say “what was that?” Yet when realizing a beat wasn’t dropped, it was merely moving the music forward by another texture than technique. In other words, it was/is producing another sound augmenting the music rather than detracting from it. They’ll [the detractors and wall flowers will] get use to it… don’t let anyone steal what you hear and embrace in your heart as a Dream. You’ll hear this technique here with music appropriate to this website. I first recorded it with Donny Hathaway back in 1973 – LIVE. Donny loved it. Since then, I’ve learned to use it gingerly – especially with ballads.

What I also remember well before Pete Corona decided to put up this surrogate site, the original website had a forum very similar to this. For me, this was back in 2002. Somewhere in 2003 someone in this community offered the opportunity to collaborate on music and dedicate a tribute to Billy Cobham by our contributions to his musical life and his inspiration to us all. I believe I’m the only one to follow through with that dedication and with evidence and others who are members today. If I’m wrong, I apologize.

My collaboration was with Neil Loughran – also known as “Spin.” So that you know, Neil/Spin earned his Doctorate and moved away from England to Sweden.

Then somewhere in this mix of years and musical influences, I was sent a track by Dennis Bell in New York City. Just before I moved south with the woman I’d wind up spending 20 years with, I recorded this tune dubbed “Mars Aflame.” My dear friend Norbert Sloley is on bass, Dennis on keyboards and the late Nick Brignola on all reed instruments.

The above referenced track is the segue of both collaborations.

My point is to record your endeavors – because unless you don’t, there will be someone else trying to rewrite your history. I still “kick,” yet somehow I find pleasure in playing simply rather than fan-faring for show. Yep, I can do that “show!” [Carnival Cruise line through Jonathan Crispo turned me down back in 2006 because I auditioned over a doggone phone line with a full acoustic set – PHONE LINE AUDTION?], but then in my experience I’ve found that unless properly rehearsed, the other musicians on stage forget where the ONE is – and I’m the one keeping musical time!

Isn’t it like that in Life when so many forget whom another is and comparing each other by each other? This is not wise.

Just do what you do and enjoy it. Thank you all for your encouragements to anyone.

So where is that collaboration we were wanting to do many years ago in tribute to Billy Cobham. I know who my Father is – and it isn’t Boomer, with all respect to Billy.

http://www.johnsussewell.com/ToReconcile-SussWrittenAtKeyboards&AugustusMorrisWithTheLyrics.mp3

This is for Pete Corona & Don Thomas, et. al. You know who you are.

I love you. Oops, Santa is a lie. Merry Christmas. Oops, Christmas is a lie.

I live for the Son, and not the Sun

Kick my ass, John!! Shi-!!

I forgot about Neil. I hope he
is well. Cooool!

This is all acquired behavior and it comes naturally when someone invests themselves in the process – after all we’re all alive and it comes naturally - unless the person exposed to the environment becomes stubborn and xenophobic.

My role as a drummer is to support what the entire production (and Artist) is trying to express. Other than that, I’m just making noise and should have what Mike Mangini has to sparkle when a solo is provided.

Very well said, Uncle.

I simply borrowed Steve Gadd’s lick from Paul Simon’s “Fifty Ways to Lose a Lover.”

Interesting Unc. being that the 50 ways pattern is more military rudimental in nature, I thought
you might have gotten it from Grover Washington Jr.'s "The sea lion from the "Feel so good" album.
The pattern is very similar while being much less rudimental traditionally speaking.

I could only find a 30 second clip of the tune and the drum groove can be heard in the last
10 seconds or so of the clip. Click on the link below and then click on "Preview this track".

http://www.last.fm/music/Grover+Washington,+Jr./_/The+Sea+Lion

D. Slam wrote:Hey, rare, you know me.... I'll take another shot!

All metal's roots are heavily in the blues. You can trace it back.

Metal and progressive rock is rooted more in and influenced by classical music.

https://www.youtube.com/watch?v=OTSjrNtz7j8&feature=related

Jordan Rudess, the keyboard player for D.T. has a strong classical background.
and you can definately hear that in the compositions.

Now, jazz is rooted in the blues which is rooted in gospel, which is in turn rooted
in old negro spirituals. But That does not mean that a blues player can play jazz
or vise versa.

A really great drummer in my opinion should be able to play all styles. Drumming is an art, but don't deny it's not also a business.

In regards to this and the rest of what you wrote previously concerning the Juggler,
fire breather, uni-cycler, etc. These are great points. But I think it's the the example
that prompted Pete's question concerning Tony. Is he not multi versed in his craft, along
with many others who AREN'T getting the session calls? So if this is the method by which
we measure "great" players, then I can boldy say that most of those whom we listen to and
admire are not great at all.

We must not forget that music can be and is broken up into genras. We pick our battles.
Give credit where it's due. Should Buddy Rich not be considered a legendary player because
he decided to specialize rather than generalize? Should a person be considered less than a
great MUSICIAN based on the fact that he or she plays only one instrument or one style
of music?

Like Dave said, there are many variables. And when we ask questions that go this deep,
we should consider as many of those variables as possible before drawing a conclusion.

Uncle John is among the most musical drummers I've heard. And in contrast, there ain't
that many. Like S.G. John has a way of morphing his ability to the music, becoming part
of the musical signature rather than putting "HIS" signature on it. Few, VERY few can do
this.

I think of the drums as an African thing and strings/horns as a European thing? Somehow they met, and then Metallica appeared, but unless you're a lucky superstar drummer like Lars who's making 10 grand a week, the best bet is to be as versatile as possible if you wish to be a working drummer.

My best guess about Tony Williams is he was too original and scared producers away? If all drummers had to pay him a nickle for each lick they copped from him he would have been a millionare. Buddy Rich was the king for such a very long time when big band was the only game in town...but if he were born today he'd probably be king all over again. Yes, too many variables and I am talking jazz.

kenny wrote:
Many musicians changed the face of music forever having never read a note in their life. i'm sure we can name some examples but Earl Scruggs and jimi Hendrix come to mind. What does that say about music? I'm not sure but it is something that can't always be pigeonholed into black dots.

This conversation reminds me of a time an American sitar player cited his guru in the fact that he stayed in his village and taught while Ravi Shankar was out playing internationally. Well i got a little upset with him for dissing Shankar (who obviously had done alot to bring Indian classical music to the rest of the world) but his point was made. It's honorable to keep a tradition alive and it can be honorable to take it out of it's boundaries as well. Both have their place in the grand scheme of things.

Dennis Chambers once said, "I don't read music". I take this as meaning he could read, but he doesn't need to.

So, Shankar is the George Benson/Kenny G of Sitar? Just kidding...

D. Slam wrote:
I don't think Id take a gig with Frank Sinatra, him being dead and all.

It's not too late, D. There's a show on the road where a big band and dancers back his vocal track.

http://www.comeflywithme.com/eng/index.html

I actually went and saw it. Twice.

So once again we find ourselves in this slow cooking cauldron of confusion. Perhaps its because as men we have things to get off of our chests while women still wear bras.

No man here should be wearing a bra. Rather, just appreciate what and who influenced us in our development when maturing in this most particular artform dubbed "music."

If given the opportunity, I hope each and everyone would be up to snuff. Not "stuff," but snuff. Clear those sinuses; blow that nose out and throw away the mucus. And don't put tobacco in the mouth and spit it out. That's a freakin' nasty habit worse than smoking. Get my point?

Grit the teeth on meat and not grinding on what everyone here should know is music we all enjoy. Music comes to us in ways that has meaning to our lives. I come to music in various ways that might contribute to another's appreciation.

Of course, I had to hear it first to even participate. But then the "BEAT GOES ON!"

You got me confused Suss...??

That's about par, D.L.