Nic Marcy's Austin Drummer magazine summer 2017
Read moreAlan Dawson exercises in a New Orleans context
When I attended Berklee in the late sixties, I studied with Alan Dawson and couldn't endure his drive for perfection. I wanted to move forward in a quest for new concepts, and he wanted to make sure I dotted every “I” and crossed every “t.” Alan had the patience of a saint, while I was a child that couldn't get his pants up quick enough to get started every day.
Our personalities at the time were, in many ways, at polar ends of the spectrum; yet, his demeanor was easy going and he was easy to like. Alan would say, “Here's your assignment I expect you to put a lot of time into the concepts I give you,” which, in his delivery, might include a passive-aggressive tinge. Alan preferred to imply his core message, rather than just say it out loud. At the time I didn't get it: I couldn't wrap my little young-adult head around such nuance.
Read moreA Deeper Mission For Austin Drummer Magazine
When I listen to Chris Layton, I hear the voice of Austin,Texas. Chris plays a shuffle in what I think is a similar place culturally speaking as Johnny Vidocavich, but instead of the NOLA music language, when Chris plays it's Austin drum-speak. Chris became the heartbeat of Austin music in the late 80s with a good variety of deep shuffles and solid funk beats. He wrote the book on it. If I were to try and pick out a drum style that most closely defines the Austin style of drumming during, this time, it would be his work. As the drummer for Stevie Ray Vaughn, Chris reached a national audience and joined the pantheon of Austin music gods in the late 80s.
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