high school, I traded it for a 1985 Cherrywood
Yamaha Recording Series kit. I still have it. But
I do wish I could get those old Sonors back.
[Alex] I know exactly what you mean by
missing those original drums. Our parents were
so sweet to accommodate our dreams, weren’t
they? My dream kit early on was that Ludwig
set, after seeing Ringo on TV. I got my Ludwig
kit, and played them for many years, but got
rid of them for another kit, a 1973 “Big Blue”
Ludwig Vistalite kit. The airlines then broke
them.
[WM] Who were your major influences in
drumming?
[Scott] When I was young, the influences
were Steve Gadd, Jeff Porcaro, John Robinson,
Vinnie Colaiuta, Gregg Bissonette, Dave Weckl,
Gary Novak, Steve Ferrone, Buddy Rich, Peter
Erskine, Paul Leim, Ed Greene, and Bob Wilson.
Also, there were two L.A. session drummers
that my Dad used to work with - Ron Aston
and Fred Petry. Both tremendous musicians,
and always gracious to the red-headed kid who
wouldn’t stop asking questions. As I’ve gotten
older, I’ve become a fan of Steve Jordan, Jeff
Ballard, Antonio Sanchez, Taylor Hawkins, Mick
Fleetwood, Jim Keltner, Aron Mellergardh and
James Gadson. I’m also a huge fan of great
Big Band drummers like Alvin Stoller and Irv
Cottler. And, I’m sure I’m accidentally leaving
out at least ten other influences.
[Alex] Fred Petry was also an excellent
studio percussionist. I worked on a project
with him (Shotgun Angel/Daniel Amos). And
Bob (Wilson), on those Seawind nights at The
Baked Potato in Studio City, was just burning.
What an inspiration!
[WM] Have drumming styles or approaches
changed within the past ten years?
[Scott] Music is always evolving. I try to
maintain my identity as a player, but I constantly
have to re-invent my approach. Being a studio
musician requires you to be aware of what’s
going on in different music genres, and to any drum that I can connect with emotionally.
adjust to it. More on that in a minute…
[Alex] I would say that there are two main [Alex] There are definitely a lot more flavors of
things that I have noticed over the past decade everything, but good heads and great drums
or so. The first thing is a busier use of toms can also sound poorly if the drummer does not
during verses and not necessarily playing 2 and strike them correctly; if the attack is wrong,
4 on the snare - not simply using toms for drum or if the tuning is bad. I remember hearing
fills. The other thing is the increased complexity Elvin Jones play in a club with a brand-new
of kick drum patterns brought about by the kit that his wife tuned for him just prior to his
design advances in double-kick drum pedals. performance. It was magic! His touch, attack,
and finesse was absolutely impeccable.
[WM] What design or crafting innovations
have drums and/or cymbals incurred over the [WM] How often do you not use a click-track,
past twenty years? depending on that “inner time clock”?
[Scott] You know, I always give the same [Scott] Funny you should ask. I recorded
answer when people ask me about drum gear. a song today without a click. But, that’s the
I’ve never been very interested in what makes exception. Given where we are in modern
a drum sound a certain way. I don’t really care music, the click is a necessity 95% of the time.
about wood type, or ply, or whatever. I just I might record five songs a year without a click.
know the general sound that I like, and I’ll play Maybe not even that many.
December 2019
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