Lester Estelle Jr!

Oh my, oh my, oh my!!!

Well, this is an interview I have been looking forward to for a long time;

I was introduced to Lester's drumming a little while back by a Drumazine! reader and was completely blown away.  Not only by his technique and technical skill, but also because of the interesting background that he seemed to have.  From Christian Rock band "Pillar" to Country music superstar Neal Mccoy, Lester is certainly making his mark in many areas of the music & drumming world.  But how did he get from playing in a college band to a being a Grammy nominated super drummer?!

I spoke with Lester to find out more...

Drumazine: Hello Lester!  Welcome to Drumazine!  For those people reading who might not already know you, please can you tell us a bit about yourself?

Lester Estelle: Thanks so much!  Glad to be apart of it.  I'm Lester Estelle.  I'm from Kansas City, now living in Nashville TN.  I've been touring since the age of 14.  I currently tour with country artist Neal Mccoy.

Dzn: You were very young when you started playing the drums, (I think I read somewhere that you were 2 years old!)  How did that interest start and eventually develop?

LE: My father is a guitar player.  I remember going to gigs with him and watching the drummer.  Someone gave me a pair of sticks and that was it.  I was hitting on everything!

Dzn: Who was the biggest influence in your early learning of the drums?

LE: Early on it was a lot of guys living in the KC area.  Scott Coulson, GoGo Ray, Jim Riley, and a few church drummers.  I grew up on gospel and jazz. When I was 13 I started to listening to more styles and more bands.  I got into Carter Beauford of the Dave Matthews Band: pretty heavy.  Also listened to "Ten Sommoners Tales" from Sting so i got into Vinnie Colaiuta big time.  Also Chad Sexton from 311.

Dzn: And who inspires you now?

LE: Currently everybody!  haha.  I'm on youtube for hours watching drummers.  I love Chris Coleman, Thomas Pridgen, Calvin Rodgers, Morgan Rose, Tony Royster Jr, Questlove, Chris Dave, Chris McHugh, Greg Morrow....the list goes on and on.

Dzn: Now a question from a Drumazine reader, Francois Naudé: "You have had a varied musical background and have played for a very diverse range of artists.  How did the change from playing in heavy rock bands to playing country music come about?"

LE: A bass friend of mine told me about the audition.  I was looking for something different at the time so I called the musical director and asked if i could audition.  I had no idea what I was getting myself into.  Haha... Its been a great.  Working for Neal Mccoy is a privilege and he loves to showcase his players.

Dzn: Would you say that it is a good idea to be open-minded in your approach and play many different musical styles?

LE: Absolutely!  The biggest reason I got into playing all styles is I love recording.  When i lived in KC, I wanted to be one of the main guys producers or artist would call to drum on their records.  The more styles of music you can play, the more work you will get.  Every gig that I've been on has opened more doors to more musical situations.

Dzn: I heard a rumour that you play other musical instruments, one of which is Bass Guitar.  Does being able to play other instruments (bass in particular) help with your musicality as a drummer?

LE: For sure.  There was a time before I joined Pillar that I was playing more bass guitar than drums.  It helps me to not do my own thing on the kit...really concentrate on locking in with the bass.  Its not about me.  Also I got into engineering and producing which really helps you focus on the band as a whole.  Changes the way I listen to music.  I use to just pay attention to the drummer... (although I still do mostly! LOL)  

Dzn: What would you consider to be your first “success” in music?

LE: I think my first success was leaving high school to homeschool so I could travel on the road.  I can't believe my parents let me do it but they knew that it was a great opportunity to be able to make money and play music at a young age.  While kids were going to prom and playing sports, I was on the road in a van and trailer!

Dzn: Would you describe this as a “defining moment” in your career?

LE: In 2007, Pillar was nominated for a Grammy.  It was a huge honor for us to go and be apart of such a major awards show.  All the hard work, bad shows, good shows, long writing sessions, interviews had paid off.  It was a great day for us.  We didn't win but we were happy to be mentioned.  Went from 4 guys from the mid-west playing rock music in college to being nominated for a Grammy....good stuff!

Dzn: You've talked about success; have there been any hard times or "learning experiences"?

LE: There was an audition I was in:  It came down between me and another drummer.  I didn't get the gig.  It was good for me because I'd never been a part of anything like that before: I learned what to do, what not to do, what to say and what not to say.  I also got some great exposure.  

Dzn: And how did this experience affect your career?

LE: The next audition I had was with Neal Mccoy.  It worked out perfectly!  I just approached the whole thing different than the previous audition.  This turned out to be a better gig for myself, my family and i wouldn't change anything.

Dzn: Another question from Francoise: "How do you get to be so fast with your feet?!"

LE: haha...  Honestly I don't really know.  I learned on a crappy pedal(?!)  When I join Pillar, there were some double bass drum parts and at the time, I didn't want to buy one so I figured out how to play it with a single.  A lot of learning anything is repetition.

Dzn: Onto equipment!  I understand you play Risen Drums.  I also know you have 5 (?!) drum kit set-ups:  Francoise and Drumazine need to ask - "Can you explain your reasoning behind the different set-ups and also which one is your favourite and why?"

LE: Well, currently I have 8 different kits.  Its mostly for studio situations.  I keep a drum kit on the road and the rest at the studio.  Like I said earlier, I wanted to be able to cover all styles so i have 3 vintage kits and 5 modern type kits.  My favorite is probably my Risen maple with wood hoops.  Its deep but real punchy!  I love it.  All my kits sound completely different from each other and I just try to cater to the style of music I'm on the gig.

Dzn: What other gear do you play?

LE: I play Sabian Cymbals.  Mostly HHX and AAX.  Lots of different models and sizes.  My favorite crash is HHXtreme 19".  My favorite ride is 21" HHX groove ride.  

I play Evans Heads. Emad 2 on kick, reverse powercenter on snares, clear and coated G2 on toms.

I use Promark Sticks.  The Teddy Campbell signature model are my favorite.  It feels like a slim 5B to me.

Dzn: Francoise also asks: "What's so great about the 13"AAX Fusion Hi Hats?"

LE: Haha...  I don't know! I think that I'm use to that sound: fast, quick, nice stick definition and higher pitch.  My first good set of hats were 13" AA fusions.  Currently i'm using some 16" prototype hats.  I LOVE THEM!!!

Dzn: With the advent of new technology on what seems to be a daily basis, what modern technology do you incorporate into your:

Dzn: Practice? LE: Youtube!  I don't even have to buy drum dvds any more!  LOL.  

Dzn: Live performance? LE: Live I use my mac and a program called Ableton Live.  Its great for adding loops (and clicks) to any gigs!  

Dzn: Recording? LE: At my studio we use Pro Tools and Apogee converters.  With my [overseas] clients, I'm able to track and they can watch me on webcam.  I record for artist and producers overseas all the time.  Its a great way to get work and connect with other players.

Dzn. Teaching?  LE: I use Ableton Live at drum clinics for my backing tracks.  I also demonstrate how easy it is to incorporate this to live playing.

Dzn: What current projects have you got on at the moment?

LE: The new Neal Mccoy CD comes out in March.  I'm on that.  I'm producing a couple of artist who's name I can not mention yet but its gonna be fun and I'm looking forward to it.  

Dzn: Can you tell us more about your recording studio?

LE: The studio is called "OFF THE WALL STUDIOS" and it's in Nashville TN.  I have the studio with 2 of my friends:  Robert Venable, who engineers, produces, mixes and plays drums and Josh Gleave does everything but play drums!  They're both great guys.  I love being in the studio!

Dzn: Are there any other links you can lead us to to find out more about you and your work?

LE: Check out:

www.risendrums.com, www.otwstudios.com, www.starsgodim.com, www.nealmccoy.com, www.lesterdrums.com, http://albumcredits.com/lesterestelle.

Dzn: Amazing stuff!  It just remains for me to say thanks to you Lester, and then want to go practice some country drums...

"Cities Of Glass" drummer Imran Mair - exclusive interview!

It's a drummer exclusive, with new band "Cities Of Glass"s master of rhythms: Imran Mair.


For those of you who don't know Cities Of Glass you should definitely have a listen if you like such bands as We Are Scientists or Killers...

Imran, welcome to Drumazine!  We'd like to find out some more about you...

Imran Mair: Hey, my name's Imran.  I'm the drummer in the band Cities of Glass (based in Fleet, Hampshire) and I am just about to finish my final year in college and plan to do band full time.

Dzn: How long have you been playing the drums for?

IM: Well I first started playing drums when I was around 8 years old, so that's about 10 years now - it really doesn't seem like it's been that long thinking about it!

Dzn: Who was the biggest influence in your early learning ofthe drums?

IM: I first properly got into music when my brother bought me the Foo Fighters album 'The Colour and the Shape'.  I was just completely absorbed into their sound and was so taken aback by how awesome the drums and vocals sounded.  At the time, I played trumpet in my school brass band, but it was the drum kit that I was really drawn to.  I remember sitting right next to the kit at one of the school concerts and a teacher sat down and played this really simple fill across the kit - my jaw dropped.  The want to knock out beats and play in a band kept growing from then on and eventually culminated in my parents finally agreeing to get me started on some lessons.

Dzn: And who inspires you now?

IM: I'd say Dave Grohl and Taylor Hawkins remain huge influences, but Abe Cunningham from the Deftones is definitely another big one for me.  That said, whilst I'm a big fan of rock, I find that a lot of drummers from other genres also really inspire me.  I'm really into Questlove from The Roots right now - he's got such solid grooves, and generally just a great vibe in his in his drumming which I'm really into.  Tony Royster Jr. is also another big inspiration - it's great when I can spend a good part of a day just sitting down and attempting to break down his hand-foot and sticking patterns, as dorky as that might sound!

Dzn: How often do you practice?

IM: I make sure I practice everyday - what a cliche, but it's true!  I never used to be that diligent with practice, but when I really began to take band seriously and just drumming in general, it really became clear to me how important it is. Even if I don't always do the rudiments and exercises I work through at lessons, just playing as much as possible has a huge impact on playing - well I certainly notice it anyway.

Dzn: And do you have a specific practice routine?

IM: This is something I've started doing over the past year or two, purely because I find it easier to see how well you are progressing.  I generally start by warming up with rudiments to a click track, and then I work through the stuff I'm covering at the time with my teacher (Jon Gibbs) and then just finish off with some general playing or drumming along to tracks (usually ones that I feel that stretch and challenge me).  Finishing on a smash through of some songs or messing about stops it seeming boring or too routine.

Dzn: How do you challenge yourself as a drummer?

IM: I find when I play the same thing over and over, my playing stagnates and I end up playing the same old grooves and fills all the time.  To overcome that, I often sit down and listen to tracks that I really like the drumming in and work out what is being played and why they are being played i.e. why would they choose to use that awkward sounding groove or a really simplistic fill in that place, and then try and incorporate that into some of my practice.  Also, just bringing it up with my teacher and getting an different perspective on playing or ways to work through grooves, etc. really helps to challenge my current habits when playing.

Dzn: Do you play any other instruments?

IM: Drums is my main instrument, but I've really got into piano recently.  I used to play the trumpet and I can play a few other other instruments as well, but the piano is the main one I practice regularly.  It really helps to keep things interesting.

Dzn: Would you say playing piano helps you as a drummer?

IM: I think it does.  Sometimes when you've been playing drums a lot more than usual, it's quite a nice break things up a little bit and have a bit of variety.  Otherwise you just get so bogged down with drums and beats.

Dzn: Have you ever had any problems, either physical or psychological that have affected your playing?

IM: Luckily I haven't as of yet, but fingers crossed it'll stay that way!

Dzn: Onto equipment!  What gear do you play? (drums/cymbals/anything else you would like to 

mention?!

IM: I play a Mapex m tourer (12" rack tom, 14" floor tom, 22" kick drum), 14" Pearl Dennis Chambers Signature Snare, 14" Sabian AAX Stage Hats, 16" Sabian AAX Stage Crash, 18" Sabian AAX Dark Crash, 20" Sabian AAX Stage Ride (all my hardware is Mapex).
That's about it for the moment! But I've got my eye on a Ribbon Crasher and a Sabian HHX evolution crash - hopefully I'll be able to invest sometime soon?

Dzn: With the advent of new technology on what seems to be a daily basis, what modern technology do you incorporate:

a. into your practice? IM: For me, I really just practice with a metronome.  That's about it, and I haven't yet found any need for anything else yet - who knows maybe there will be something that pops up that is perfect!

b. into your live set-up? IM: I've often fancied the thought of playing around with a sampling pad, but it's mainly just budget restrictions right now which prevent me from doing so.  I think the addition of samples to my drumming and the band sound could really open up so many options to our sound (and it's one extra bit of kit to play with).

c. into your recording set-up? IM: Similarly, it would be great to experiment with a lot of samples on recordings.  With a sampling pad, these would then be recreated live and it could add a whole range of extra layers to our sound.  I think it would provide a lot of scope for bigger sounds and extra percussive sounds.

Dzn: Do you have any other jobs than "drummer"? (If so, is this a financial necessity or because you enjoy a diverse lifestyle?)

IM: Unfortunately, i don't.  I do need a job, but with college and band I don't have time at the moment. However, from May onwards, I will have finished college and will then be able to get a job instead to start earning money alongside band - finally.

Dzn: Have you got any advice to other drummers out there about practice or the music business or anything else?!

IM: I think just keep challenging yourself and push your limits. People always say that you never stop improving or learning, so just make sure that whatever you're doing is always helping you to develop and progress as a drummer really - that's what I've been told.

Dzn:  Amazing stuff!  Thanks so much for your time and answers!  Is there any other stuff you'd like to tell us about?  And tours, releases or projects you're working on?

IM: Please check out my band Cities of Glass at facebook.com/citiesofglass, twitter.com/citiesofglass or youtube.com/citiesofficial.  We're releasing our new EP on 13th Feb on iTunes, so have a listen and let me know what you think!

Dzn:  We've had an sneaky early listen - it's awesome!  Thanks again, and good luck with the band!

Matt Nolan Custom Cymbals!

That's right!  I had the extreme pleasure of talking with Mr Matt Nolan, custom cymbal smith from UK.  Some would argue that what he does is art, both visually and sonically; Mr Nolan makes some beautiful and unique instruments and if you don't know about Matt Nolan and his work, please go take a look:  It is truly amazing.

Read on to find out more...

Photograph by Andy McCreeth

Drumazine: Hello and welcome to Mr Matt Nolan, cymbal smith from the UK!  Where exactly are you from?

Matt Nolan: I am based in the historic city of Bath, in south-west England.

Dzn: And how long have you been making cymbals for?

MN: I started tinkering with cymbals, on more of a hobby basis, around 6 years ago. In 2008, I dropped the "day job" and started making cymbals as my full-time occupation.

Dzn: And what promted you to start making cymbals?

MN: I started making cymbals (and gongs, and little metal sculptural things that were also musical instruments) mainly out of fascination with cymbals. Curiosity, I guess. It was during a period when I wasn't able to play drums with a band. I think my creativity had to come out somehow, so it found a different vent.

Dzn: Indeed!  Your cymbals designs are very unique.  Where do you come up with new ideas?

MN: New ideas for designs just tend to present themselves to me. Sometimes, I will sit and think and plan, searching for an idea. But, mainly it is as a result of following an instinct, or being inspired by something that wasn't quite expected that happened as I was going along.

Dzn:  So, would you say your cymbals have a signature sound or look?

MN: I think that, while my work is quite varied, it does have a certain Nolan-ness about it. Sonically, things tend to be complex, usually dark, often quite dry. I don't have reference cymbals like antique Zildjians or classic Paistes or anything. I tweak each cymbal until it just sounds right to me. Visually, my vernacular of colours, textures, shapes, etc. is recognisable to those who follow my work.

Dzn: So what materials do you use?

MN: I use a wide range of different Bronze alloys - B5, B7, B8, B10, B12, B15 and B20. Most frequently B8 and B15. I occasionally use Nickel-Silver, more usually for gongs, but sometimes for cymbals too. I use Stainless Steel and, less frequently, Titanium for more avant-garde / off-the-wall cymbals and gongs. I use an Aluminium Bronze alloy and Cupro-Nickel for my hand-hammered orchestral triangles. I choose metals based on their sonic characteristics.

Dzn: And how long does it usually take to take a design through to completion?

MN: If I'm going at full speed, producing cymbals that I have made many times before, then I can make about 2 per day. If I am designing something totally new, it may take a week.

Dzn: Do you make any other instruments or is it just cymbals?

MV: I make cymbals (drum kit and orchestral), gongs (tuned and indefinite pitch), tam-tams, sculptural gongs, triangles, tubular bells and bell plates. Occasionally, I make smaller things, like little strings of bell-like cymbals or custom tambourine jingles. But these things tend to be for fanatics - as they cost so much - all that fiddly small work takes some doing by hand.

Dzn: Do you have any particular favourites you have made so far?

MN: I made a set of cymbals for UK drummer, Anthony Sargeant. All B15 alloy besides the B8 hi-hat bottom. They all had a certain look and a family sound even though the ride was pretty dark and the crashes pretty bright for my work. The 22" ride was very popular (on my website and at a public drum show), but it was reserved for Anthony. So I made 2 clones of it. One went to Germany and the other was bought later by the Hollywood film soundtrack composer, Danny Elfman.

Dzn: What is your favourite music to listen to?

MN: I enjoy a lot of different styles of music - classical to modern orchestral, some jazz, a lot of rock, some pop, some electro, the list goes on. I guess the things that get me most are things where the musical innovation is high but without getting too "noodly" or soulless. A lot of Frank Zappa's work, King Crimson (mid-70s through 2000s), lots of stuff that Mike Patton has had a hand in (Mr Bungle, Faith No More, Tomahawk, Fantomas), current small group modern UK jazz such as The Neil Cowley Trio and Get The Blessing, sample manglers like Amon Tobin, visionaries like Bjork.

Dzn: Do you play drums yourself?

MN: Yes. I have played drums since I was 12 or 13. Currently, I play regularly in what could loosely be described as a boogie-woogie piano trio called "Fungus Licks" you can probably find some stuff of ours on youtube (ranging from the embarassingly fluffed to the quite good) and much less frequently in a (fairly heavy) rock covers band and even less frequently in a few different duos and trios making improvised nightmare soundtrack music with not a drum kit but a huge rack of my own gongs and some cymbals.

Dzn: And do you have a favourite drummer?

MN: If I had to pick one, it would have to be Bill Bruford. Always hugely entertaining. Clive Deamer would come a close second.

Dzn: You make a very traditional acoustic instrument; How important do you think new technology is in modern day drumming?

MN: I do make a very traditional instrument, in a very traditional way, though often with what you might call "modern" materials. As for electronic technology, I think it has a strong part to play. I'm all for anything which gives you a broader palette of expression and creativity. As it happens, cymbal sample packs of my cymbals, specially recorded for Yamaha DTX electronic drums will be available soon. Electronic drums have their place. I used to own a set of Rolands myself.

I had the great pleasure recently of jointly making a new percussion instrument for Bjork that really combined the old with the new. Together with Bjorgvin Tomasson, Icelands premier pipe-organ maker, I made the world's first "Gameleste" - a MIDI-acoustic Gamelan Celeste. This is a keyboard instrument rather like a small upright piano, but instead of having strings, it has bronze bars - a bit like glockenspiel bars, but made to have a Gamelan sound. Gamelan is the traditional (mostly metal percussion) orchestra of Indonesia.

Bjork uses the Gameleste on her new album, Biophilia, and also live on the tour in support of it. It sits there and plays itself, electro-mechanically, via a MIDI interface. This means it can play a lot more than a person with 8 fingers and 2 thumbs can. In the song "Virus", the Gameleste part is based on generative patterns - self-multiplying music. It is astonishing stuff, made possible through the creative use of computer algorithms.

Dzn:  And, (for shameless self-promotion purposes), please can you tell Drumazine! readers how to find out more about you and your amazing work? 

MN: My work is available by custom order or off-the-shelf from my website: www.mattnolancustom.com

Outside the UK, you can also find things in a number of drum shops in France, Germany, Switzerland, Canada and the USA, most notably the Memphis Drum Shop and their, www.mycymbal.com, with its fantastic demonstration videos.

Other stuff to check - you can follow me on twitter and facebook and also on YouTube

Dzn:  Well, thanks so much for the insight into your amazing work!  Keep it up and good luck from Drumazine!

MN: Cheers!

Photograph (and potrait above) by Andy McCreeth

HAPPY NEW YEAR!!!

Oh my god!  What a start to the new year...
I have had the immense pleasure of speaking with Brian Viglione, the drummer of Dresden Dolls as well as collaborator with Nine Inch Nails and many many more fantastic bands and artists.
Brian is also an active educator of music and recent projects include humanitarian work with HELO Magazine, reaching out to underprivileged and oppressed young people from some of the worlds poorest countries.
In this insightful and inspiring interview you can find out more about the amazing work that Brian has been doing...

Oak Custom with Paul Leim Snare:

Drumazine: Hello Brian!  Welcome to Drumazine!  For those people reading who might not already know you, please can you tell us a bit about yourself and your career as a drummer.

Brian Viglione: Thank you for having me, Rich.  I decided at about 9 years old that I would like to be a drummer. Music became the catalyst that got me out of my small New Hampshire hometown and gave me purpose, release, and fulfilment in life.  I love all kinds of music and have sought out other musicians with an equally wide ranging taste and love of performance.  I have played gigs in bedrooms to 5 people and in packed arenas to thousands of people; it's all great to me.  I just need to play.  Otherwise I go insane.

Dzn: You have been an extremely busy session musician, constantly touring and recording with countless bands and artists, but you also teach drums and I also heard that you are doing workshops via Skype for young musicians in Afghanistan!  Can you tell us more about these Skype workshops and where the idea came from?

BV: I was invited to participate in TheCentral Asian Modern Music Festival in Kabul by my friend Yula Beeri, and festival organizer, Daniel Gerstle of HELO Magazine as they knew I do a lot of work with young musicians whenever I am home from tour.  I had booked a ticket to fly to Kabul, but due to the overwhelming amount of attacks that took place in Kabul in September, I was forced to reconsider my travels and instead conduct my workshop via Skype, and it went beautifully.

I was able to speak to about fifteen wonderful people there for two hours, answering questions ranging from technique, to working with Nine Inch Nails and ways to grow a band like DresdenDolls from DIY to working with a major record label.  But I was mostly intrigued to hear their stories about what it is like trying to forge your way as a rock band in their region of the world.  

Dzn: Why Afghanistan?

BV: The festival originated in Kabul, thanks to a group of fearlessly motivated individuals seeking a way to broaden the reach of music in Afghanistan.  As many people know, the culture and religious views are often extremely restrictive when it comes to personal expression and there are many young people there working to widen the boundaries of human rights and artistic work being done.  It's incredibly courageous work, considering the possible consequences.  My approach to this is to not take on a political stance, as my experience or understanding could never compare to theirs, but rather to offer whatever words or example that would help to inspire them in their work.  Freedom of expression is something I believe in for all people, so I'm happy to share whatever I can if it's a source of empowerment for people.  

Dzn: And are there any plans to extend these workshops to young musicians in other countries?

BV: I would love to at some point.  Skype has proven to be a valuable tool to reach people.  For the second clinic I just did, people in Brazil, New York, Iran, Afghanistan and Turkey joined in, so I want to find the way to get the best audio and video signals so more people can join without losing signal.

Dzn: Most people will know you for being the drummer in The Dresden Dolls, but I understand you are very busy performing and recording with many other bands.  Can you tell us more about your current projects?

BV: I've been dividing my time between two projects that I love.  The first is Gentlemen& Assassins with Sxip Shirey (NYC) playing his wild collection of toys, winds, percussion, vocals, and stringed instruments through tripped-out effects, and Elyas Khan (Berlin) roughhousing his guitar and bass and singing.  The three of us all come at it with this similar unhinged, punk-rock street performance type of energy and share a love of punk, funk, and hop-hop that melts its way into the sound.  We ended our show with a cover of "Big Takeover" byBad Brains on the last tour, and just have a total blast together.  Our first album is due out in January and will be available for download online and on tour in May in Europe.

I also play in a great band called Botanica, which is currently involved in a new production of The Master and Margarita, being presented in Germany at Theater Dortmund this Spring 2012.  We, as the band, will play on a platform above a four-sided revolving stage, providing the musical accompaniment for the show.  It will be the third show I've done with Botanica and the theatre and it's always a good time.  Botanica is great to tour with as well and puts on a hell of a show, which usually ends with Paul balanced on one leg, hollering into his megaphone,

belting out the last chorus of the song.  John Andrews the guitarist and Jason Binnick the bassist are great musicians and really spur me on to play my best.

Dzn: What would you consider to be your first “success” in music?

BV: Seventh grade, 1992.  Me and my best friend who played guitar, Casey Donovan, were invited to play a with this recital that our music teacher had set up at the high school auditorium, as part this "Music in the 20th Century" program.  Our music teacher let us play two songs for the crowd from the "80s" and "90s".  We did "I Remember You" by Skid Row, and "Enter Sandman, by Metallica.  Casey's older brother let us use his half-stack rig and we jammed our asses off.  The auditorium was packed solid with kids and parents, but the coolest moment was when this kid, Rob Pariseau, who was a senior and a metal fan, came up to the front of the stage and started head banging and threw the horns at us to cheer us on.   For us as 13 year old kids, that was the best.

Dzn: Would you describe this as a “defining moment” in your career?

BV: Absolutely.  Playing in front of 300 people with your best friend and having a kid rush the stage and rock the fuck out was a dream-come-true.  It was the first time I had ever played live in front of a crowd, so I was nervous at first, but once we started playing and I saw the kids digging it and cheering us on, it just spurred me on and once you get that kind of adrenaline rush, it's completely addictive.  It's the best feeling in the world to play music and see people become completely energized by it.

Dzn: You’ve talked about success; have there been any failures, defeats or bad times you can tell us about?

BV: Yeah, Bad Times a' plenty.  In fact, most of my life from 1995 through 2006 was like some kind of fucked up nightmare, beginning with my friend committing suicide at my house, and ending with the premature disbanding of The Dresden Dolls.  Frustration, confusion, sadness, and that feeling of being pulled apart from inside, and also like you're doing everything you can to maintain your sanity, but factors beyond your control are just fucking things up and you just have to ride it out until something gives and life presents an opportunity for change.  Getting to play the drums was the thing that helped me through all of that, though.  It's been the only constant in my life.  

Dzn: So, would you describe the problems you have encountered as physical or psychological?

BV: Neither, the problems that have been the most difficult to work through and resolve have been interpersonal.  Physical or situational problems are generally the clearest to resolve when you take a step back to analyse them.  The psychological stresses that build up are usually a by-product of things getting out of balance in life, like physical fatigue, too much time away from home and friends, pressure to get things done, etc.   In my experience, there's nothing that's been as complex and exhausting than trying to navigate human relationships.  That's why I feel very fortunate that recently I've had a very satisfying time with the people I have been playing with.  I don't take a second of that for granted. 

Dzn: How have you combated this problem?

BV: I just try to do my job well, work hard, be a good listener and also ask for what I need, follow through, and have a good time.

Dzn: Onto equipment!  For all those gear-heads out there, what kit 

(drums/cymbals/anything else you would like to mention) do you play?

PHX with John Robinson Snare:

BV: I have the full list of everything I use here (http://www.brianviglione.com/gear/) on my website, but generally I've toured with a Yamaha Oak Custom, and recently bought a new Yamaha PHX kit that I am excited to bring on tour. It looks and sounds absolutely phenomenal - completely inspiring to play.   The Yamaha hardware holds up great and has toughed out a lot of touring with me, very reliable.

I use Zildjian cymbals; "15 Mastersound hi-hats, "19 Hybrid Crashes and Chinas, and a "22 inch K Ride.  All very musical and work beautifully for whatever style I need.

I use Vic Firth sticks and recently had some printed up with my signature and logo.  I also use the Corpsmaster CT-1 mallets and the white Jazz brushes.

Love working with the folks at each of these companies, too.  Great people.

Dzn: With the advent of new technology on what seems to be a daily basis, what modern technology do you incorporate into your practice, live work, recording and teaching?

BV: I still keep it pretty simple.  I don't use a whole lot of gadgets or fancy gear.  I use an iPod for practice, play an acoustic kit live and in the studio, and other than that I like to have students bring a camera or something to record on so they can take home something to reference.  Especially for beginners who are trying to get down stick control and rudiment exercises.

They can watch it back to make sure they've the correct grip and posture.  I used to do the same thing when I was taking vocal lessons, it helps a lot.

      

Dzn: So, you have many varied jobs using the drums as your specialist tool, but which of the following do you prefer and why:

a. Recording?

b. Live performance?

c. Teaching?

BV: Performing live for me is the best feeling in the world.  Recording is great as an artistic process, and teaching is wonderful to share what you love with someone and inspire them to learn more, but for me all of that comes together with getting to actually express everything you have and feel that kind of synergy with an audience.

Dzn: Finally, a question from a fan: Ev Vizor (UK): "You're a very dramatic and charismatic drummer and have been in some amazing bands...what would you say was the most memorable moment with the world/inferno friendship society?"

BV: Ha! Touring with World/Inferno is filled with memorable moments with entire audiences rushing the stage and kids diving off of balconies and crazy shit, but the one memory that I will never forget is when we played on the beach in Villamarina di Cesenatico, Italy in July 2009.  We finished a great show and right after the last beat of the last song, I kicked off my shoes, jumped off stage and bolted through the crowd and dove straight into the ocean and swam around looking up at the stars, still buzzing from the gig. It was just one of those perfect moments.

Dzn:  So, what does 2012 hold in store for you?

BV: I am touring all of January with The Dresden Dolls in Australia and New Zealand.  Then will be touring Europe with Botanica in March and April, also with Gentlemen & Assassins in May and early June on new albums from both bands.  Come out and see it!

People can get all the tour info on my website  http://www.brianviglione.com/,  my Facebook http://www.facebook.com/brianviglionemusic and subscribe to my Youtube channel for video updates http://www.youtube.com/brianviglione.

Amazing stuff!  Thanks so much for your time and the insight into your life!  All the best for 2012 and – HAPPY NEW YEAR!!!

Photo by: Jingersnaps Photography

Matteo D'Ignazi Interview

MERRY CHRISTMAS all you Drumazine readers!  Here is one half of the Christmas day interview special with Italy's newest drumming sensation, Matteo D'Ignazi!!!

Drumazine: Hello Matteo! Welcome to Drumazine! For those people reading who might not already know you, please can you tell us a bit about yourself and your career as a drummer.

Matteo D’Ignazi: Hi guys!!!  I'm Matteo D'Ignazi from Pisa (Italy), i'm 25 years old and i'm a drum teacher and a touring musician, so i divide my life between drum lessons, the stage and the recording studio.

­­­­Dzn: Now a typical, but essential question: How old were you when you started drumming?

MD: I started playing drums when i was 13 years old.  My first approach with the drums was with my father (he was a drummer) and some friends of his.  I was at the rehearsal of a jazz band and in this band the drummer is one of my dads best friends.  When i saw the drums for the first time, I was immediately in love!!

Dzn: And did you have lessons at school, or with a private drum teacher?

MD: I began to study with a great teacher; Giampaolo Pellicci.  He gave me great advice and he prepared me a lot about technique with the help of great books like Stick Control, Syncopation, Gene Krupa, and also i started listen to great drummers like Steve Gadd, Gary Chaffee, Dave Weckl, Vinnie Colaiuta & David Garibaldi.  I have studied with other great musicians; Fabrizio Desideri, Christian Meyer, Piero Borri & Andrea Spinetti and I have a diploma (with merit) from Drumtech, a great music college in London, where i had the opportunity to study for one year with Bosco de Oliveira, Erik Stams, Giuseppe Grondona, Darryn Farrugia & Philippe Castermane. Also i have participated in many masterclass's with some of the worlds most famous drummers, like Steve Gadd, Dave Weckl, David Garibaldi, Horacio Hernandez, Benny Greb, Steve Smith, Gregg Bissonette, Pete Lockett, Maxx Furian, Stefano Bagnoli, Ellade Bandini, Maxx Furian & Cristiano Micalizzi.
Dzn: Was your teacher at that time an inspiration?

MD: Absolutely, all my teachers were, and still are my great inspiration.  So this is a beautifull thing for the teacher and for the student, because it means that something concrete has been created deep in the soul.
Dzn: Have you had any other form of education in drums and/or music?

MD: Yes, i think that it's really important for a drummer learn music theory, and also play other instruments!  I studied trumpet for 2 years and i have participated in courses of music theory.

Dzn: What would you consider to be your first “success” in music?

MD: I like to play guitar, and I'll soon begin recording a new album of my personal project called Ozlo with another talented musician, Filippo Cosci.  The songs are composed by myself and by Filippo and I will be recording the drums, guitar and synthesizers.  For me this is another important goal in my career as a musician.

Dzn: Would you describe this as a “defining moment” in your career?

MD: Personally, I don't think that it's important want success or to be the best drummer in the world; I never think about these things.  My greatest success is to have a salary doing what I love most in the world: play drums every day. It's awesome!

Obviously I always try to do better; I'll continue to study and try to grow my music baggage.

My “defining moment” is my year spent in London to study drums and music.

It was during that year that I decided that I wanted to be a professional drummer, so when I came back to Italy I started teaching in various music schools, in my private studio and playing in different bands and touring the world as a session musician.  I have just returned from a tour of 40 gigs in U.S.A with an English band called Capelle, (below), to promote their new album [where I recorded the drums].

Dzn: You’ve talked about success; have there been any failures, defeats or bad times you can tell us about?

MD: There have been not so much failures, but more what I would describe as bad moments, where I thought that the career of a professional musician was too hard and so difficult...  I mean, it is really difficult, but if you really believe in what you do, then you get to do what you want.  All of us have opportunities.

Dzn: Have you ever encountered any physical or psychological problems?  If so, how have you combated these problems?


MD: I'm very lucky because I never had problems physically.

The biggest psychological problem that many drummers have is to be uncomfortable in their playing because they don’t feel sure; maybe because they are playing in front off hundreds of people, or maybe in front of a jury (examination board or tutor).

There is a great book called “Mental Training For Musicians”.  This book illustrates all the techniques of "mental training" to increase the control of movements, to create a precise internal representation of the sound to be produced, controlling emotions, overcome anxiety and muscle tension.

I recommend it to all musicians!!!!

Dzn: Onto equipment! For all those gear-heads out there, what kit (drums/cymbals/anything else you would like to mention) do you play?

MD: I am very proud to be endorser for three great companies: i use STOCCO DRUMS, great custom drums from Italy and completely handmade.  I have two different sets with different sizes: one is my “Rock” set, the other one is my “Funk/Jazz” set.

I'm endorser of “DIRIL CYMBALS”, great cymbals from Turkey: i use the Raw, Special, Hammer and Jazz series.

At last i use the AGNER DRUMSTICKS, great drumsticks from a company with decades of experience.  I use the classic 5A.

Dzn: With the advent of new technology on what seems to be a daily basis, what modern technology do you incorporate into your practice, teaching, recording and live work?

MD: New technology is now something essential for all musicians.
For practice... How many drummers use a metronome??  Most drummers use them I think.  I personally have always used and studied with a metronome, (the greatest friend of the drummer)  :)

Another thing I often do, is to record myself during practice: I use an interface with just a couple of inputs for the microphones, a computer and any software like Cubase, Logic or ProTools (personally I use Logic, but all of this programs are very good!!).

Live performance: in many bands I use a metronome, this is important if you want to be very precise, and it's essential if there are samples.

Teaching: during lessons I use a metronome and a computer to demonstrate samples where the student can apply what he has learned in the lessons.

Dzn: Is there any other advice you would like to give young drummers?

MD: Yes. Listen to as much different music as possible!  Don't stick to a single genre; open your mind!  Also, study with a metronome, watch the great drummers and go to concerts.

Dzn: Would you like to promote yourself a little bit? Now’s your chance! Please tell us about any tours, releases, web links, endorsements etc…

MD: Thank you to STOCCO DRUMS, DIRIL CYMBALS, AGNER DRUMSTICKS.

Currently i'm playing with:


a postrock/experimental band called NUT (I recorded 2albums), i'm touring Italy, Germany, England. You can find some stuff on youtube or google, or check these pages:
www.myspace.com/nutbanditaly

http://nutband.jimdo.com/

http://sinusiterecords.bandcamp.com/album/nut-gravit-inverse (Here you can listen the new album!!!)

a garage/indie band called Strange Flowers: Tour started 17^th december, 50 gigs in Italy, Germany, Spain, France, England over the next 6 months.

http://www.strangeflowers.net

http://soundcloud.com/strangeflowers/sets/the-grace-of-losers?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook&utm_content=http%3A%2F%2Fsoundcloud.com%2Fstrangeflowers%2Fsets%2Fthe-grace-of-losers (Here you can listen the new album!!!)

a funk/jazz band called John la Forges.  I'll be recording a new album in January.  You can find some stuff on youtube and google.

Also my very own website(s) where you can find videos, news and the next shows:

www.matteodignazi.com

Facebook
Myspace

Thank you so much Drumazine!!!!!

GROOOOOOOOOOOVE

Dzn:  Thank you and Merry Christmas to you Matteo!  Keep smashing the drums up and we look forward to hearing from you in 2012!