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From a 1962 television broadcast of Jazz Scene USA
Not So Modern Drummer asked five distinguished drummers to share their ideas and opinions concerning the following quote attributed to Shelly Manne, "The ride beat is the easiest and the most difficult thing a drummer will ever play."
Read moreIn my high school study hall, I was reading the latest issue of Downbeat featuring Max Roach, Frank Capp, and Bobby Colomby who were featured on the cover. Bob Girouard noticed it immediately and asked if he could check it out. That very 1960s moment was the beginning of a lifelong friendship… We started talking drums, and the rest is History.
"Bob is an inspiration for all of us. His career has covered a lot of ground and his drive and love of drumming is something we can all learn from." - Rob Wallis
Over the years, I have seen Bob go through good times and bad. Musicians know the struggles to succeed. Bob understood this perfectly, yet never gave up. When stricken with Parkinson’s disease in 2003, the challenge became even greater. With each passing day, the God given drumming talents that Bob possessed were slowly fading away.
Previous to being diagnosed, Bob worked steadily with a number of successful groups. His greatest notoriety came with the band Forest. They toured on the East Coast circuit with a potent line-up of truly amazing musicians. At one point they were ready to sign with MCA records. A sudden change in company management caused the deal to fall through. It was a painful moment for the band so Forest took the master tapes and released their album independently. Although recorded in the 1970’s, their music remains fresh and vibrant to this very day. They were recently featured on the Atomic radio network with a Forest retrospective, coupled with live interviews. Based on listener calls, Forest’s album continues to be popular in both Germany and Japan.
I first met Bob Girouard when I was The Band's Road Manager in the 1990s. Bob worked for the City of Albany promoting cultural events. Being a drummer, Bob of course loved Levon Helm. Bob truly believed in the Brotherhood of the Drum, and still does to this day. He would book any band that Levon was part of, out of love and respect, plus a strong desire to be near Levon and Randy Ciarlante, our second drummer. His incredible devotion to drummers, drumming and good music is legendary in our circles. As Levon got sick, and our bookings dropped off, due to the fact that he wasn't singing Band songs, Bob never wavered. He would book Levon and the Barnburners (Levon's blues band) whenever he could. Oftentimes this helped Levon pay his mortgage. As Bob got sick himself, and his ability to drum waned, he took up writing about drummers. His devotion and loyalty to the brotherhood of the drum stayed strong. As my late friend Richie Hayward got sick, Bob wrote eloquently to help Richie's cause. After Richie passed Bob's eulogy was the most touching I ever read. Levon's health also declined and, whenever possible, Bob's writing would boost Levon's spirit and help in his struggle to live. Bob's devotion to drumming and drummers wasn't reserved for the big stars. Bob championed lesser known drummers, and always promoted quality music everywhere. Now Bob has resumed drumming even after brain surgery, and during his life's struggles. I, and the Brotherhood of the Drum, salute Bob Girouard's courage, strength and devotion.
Long may he wave.
Respectfully & Gratefully Butch Dener The Band (ret.)
A large contingent of upstate New York bands gathered to honor Bob with a fundraiser- “Boogie for Bob” to help defray his medical costs. The remaining portion, was donated to the Michael J. Fox Foundation for Parkinson’s Disease research.
Over 300 people attended the venue to help the cause. All the groups donated their performances.
“Boogie For Bob” featured:
Bob played and sang a few tunes throughout the show, although his condition made it difficult, His sheer determination helped him get through it. The event was a fitting tribute to a musician who continues to be loved by many.
"An excellent musician and accomplished writer...THE G-MAN RULES!! I'm proud to call him one of my best friends..." - Dino Danelli
As Bob’s disease continued to advance, he was determined to find another way to stay musically involved. He began writing for Classic Drummer, and Elmore Magazine, and is now writing for Modern Drummer; In 2013 he wrote the cover article on Dino Danelli. Another gathering of Forest alumni is scheduled for later this year, and all proceeds will be donated to the foundation for Parkinson’s research.
Bob Girouard is more determined than ever to keep on fighting. Even after recent brain surgery and a daily regimen of numerous medications, music is a constant presence in his life; he continues to remain optimistic about the future.
With a friendship that goes back over 45 years, Bob recently requested this author become a permanent member of the Forest family.
Musical Artists Interviewed by Bob Girouard: (2005-present)
Chapter six in an ongoing series of commentary from legendary drummer Mike Clark. His storied observations continue to inspire, and provide keen insight into ‘all things music’.
I was lucky my Mom loved jazz. At age five I would bring my Gretsch Broadcasters into the kitchen while she was cooking, play for her and she loved it. The neighbors would say, “how can you stand that noise”? She would say, “what noise”? He sounds like Gene Krupa.
My other heroes were Zutty Singleton, Cozy Cole, Lionel Hampton, Big Sid Catlett, Louie Bellson, and Buddy Rich. At eight I discovered Art Blakey.
My experience with Herbie Hancock happened when he became emotionally involved, and it was on the real. It was the most inspired and highly spirited music...Definitely not for the faint of heart. He would bring this to any genre...It was like John Coltrane as far as power, energy, emotion, and dialogue...Herbie is from that school in my humble opinion...Deepness Reigns!!
Don’t you just love it when you lose something and someone says -where did you lose it? If I knew that, I would know where it is and it wouldn’t be lost!
BB King… It is going to be weird without him. I am just so used to that sound. I know we can hear the music, but he has always been there. I’m glad I got to meet him.
BB King once asked the Headhunters to play a tune with him. Everybody plays some deep stuff trying to show BB they can play the blues. Hancock plays some totally avant-garde solos like something you would have heard on an Eric Dolphy record in 1963. After his solos BB takes the microphone with a confused look on his face and says…”Well, everybody has their own way of playing the blues”.
I once realized there was something missing deep in my life.... so I bought a cowbell!!
Chapter number five in an ongoing series of commentary from legendary drummer Mike Clark. His storied observations continue to inspire, and provide keen insight into ‘all things music’.
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I played double drums on a gig with Lenny White once and he took a solo all poly-outness while I held my place quietly on the 2 and 4. He took it so far out I was hanging on for dear life. But Lenny was right, and here is the kicker...I was proud of myself for keeping my place. But he was the dude that played everything. It was amazing, as Lenny knows where he is at all times… But it really sounded like he modulated into about 80 different time signatures at once.
I love Art Blakey’s playing, his bands, arrangements, his groove… When it comes to swingin’ – Is there anyone that can swing harder? Not for me.
Does anybody but me get tired of seeing and hearing the same 6 or 7 guys playing all the festivals and jazz joints over and over? Who's idea is that? Or if there is a new guy… He has to make up some wild way of playing that most of us had thought of and discarded.
When I play swing no matter how far out I go, I play it on the 2 and 4. Same with funk… No matter where I put the backbeat, the "Thing" if you will is on the 2 and 4. That’s what I do.
I remember when you had to play several different styles of jazz… Usually a few you really liked best. It was hard to make a living specializing in one area unless you had really good luck. Now it’s hard to make a living playing any of those styles. Now I see that several guys stay in one bag for a lifetime and do OK. For me, that would be like eating eggs every morning forever.
Elvin Jones said he wanted to be part of the scene, but didn’t want to play in a conventional way. Elvin really didn’t hear that, and he was severely criticized for it. Being with Coltrane solidified his concept, and his words. How would things be if he didn’t have the good fortune to get that gig? How would things sound today?
I went to a mix when Tony Williams played, I was listening to the playback and the time sounded a bit soupy, Tony walked by the board and pushed the fader up to the top and the track swung incredibly, and it sounded like Tony. The engineer cried and whined about the fact that it red lined. Tony said, “the red line - that’s how jazz is supposed to sound”.
I admit it - when I played with musicians having great careers, I would be kind of nervous since I wanted what they had. While playing with Herbie Hancock, there was none of that. He was so famous I guess my brain processed it differently. In the last five years I’m finally over it. I really enjoy playing with anyone, no matter how much they’ve got. As long as the music is cool… That’s the end of it…I am actually in the moment. It took a lifetime… But better late than never!
When mixing drums for jazz, I would suggest listening to some old Blue Note records as many times as possible. Now the drums are compressed like a pop record and the tuning seems to be in between what used to be jazz tuning and pop or fusion. Also, the groove is in the ride cymbal… So don't turn it down and have it sound like mush.
Drummers who use traditional grip...Some people use the index finger over the stick along with the second finger etc. or some guys use the thumb as it is a strong appendage, or kind of open which they used to call rabbit ears...I really think all have certain advantages so why use just one?
OK, My humble opinion. To have a James Brown movie without mentioning Fred Wesley’s name, is like making a John Coltrane film and not mentioning Elvin Jones.
Drummers who want to play jazz, or whatever you want to call it… Check out ‘Do The Math’, an interview with Billy Hart. He talks about history, and his history…The ride beat, which drummers did what, and all kinds of great stuff for musicians who love this music.
Can never stop paying my debt of gratitude to...Philly Joe Jones, Papa Jo Jones, Max Roach, Elvin Jones., Tony Williams, Art Blakey, Tootie Heath, Mickey Roker, Billy Hart, Billy Higgins, Roy McCurdy Lenny White, Kenny Clarke, Gene Krupa, Buddy Rich, Clyde Stubblefield, Louie Bellson, Sonny Payne, Sam Woodyard, Louis Hayes, Jabo Starks, Dave Garibaldi, Bernard Purdie, Clifford Jarvis, and Joe Chambers.... I think about what these cats did and why everyday...Many more, but it would take forever.
Lenny White and I are working on a book about what it was like when he was with Return to Forever, and I was with Herbie Hancock. It also addresses many other things… Even though I lived it, I enjoy the proofing as I’m learning from reading it. At any rate, it’s way cool...Not just drum talk…There’s so much more.
Shelly Manne said…“The ride beat is the easiest and the most difficult thing a drummer will ever play”…Or something like that.
The accolades and praise for Hunt Sales’ abilities have never ceased. For some, he is simply a living legend. Hunt seriously began honing his chops at a very young age. Growing up in a well-known show business family gave him access to the finest drummers in New York City and Los Angeles. His dad, the legendary entertainer and comedian Soupy Sales, was a serious jazz aficionado. Soupy’s show business connections allowed Hunt to study and hang out with the likes of Buddy Rich, Louie Bellson, and Shelly Manne.
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In 1976, Bobby replaced Tommy Aldridge in Black Oak Arkansas. He also began the first of two stints with fellow New Haven native Michael Bolton. At the time, Michael’s career was exploding with two new RCA albums. Bobby was also touring extensively with Johnny Winter opening for Aerosmith, Lynyrd Skynyrd, Molly Hatchet, Ted Nugent, and ZZ Top. He also recorded two albums with Johnny Winter on Blue Sky Records – ‘White, Hot & Blue’ in 1978, and ‘Raisin’ Cain’ in 1980. Bobby also recorded an album with Jefferson Starship’s Grace Slick, 1981’s ‘Welcome to the Wrecking Ball’ on RCA.
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"OK… So the snares broke on ‘God Make Me Funky’ and I continued to play it on Tom. The engineer Fred Catero takes a brass wastebasket, puts a mike in it and puts the now fixed snare on top of the basket. He then plays the track to the snare which makes a sound at each backbeat, but leaving out all the ghost notes. I hated that sound, and without the ghost notes the beat sounded pedestrian to my ears…Like anyone could have played it. Now it’s one of the most sampled drum loops ever. They dug it, and some drummers say Hey, Man - I worked hard to get my snare to sound like yours!"
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This is the second chapter in an ongoing series of quotes and commentary from legendary drummer Mike Clark. Mike’s numerous observations provide insight into ‘all things music’. As always… Mike just tells it like it is.
“Many jazz musicians tell me they are doing something new. When I hear them, it sounds almost exactly like the things I used to do in the early 1960’s when we thought it was new. This being said, the new thing is the old thing. Hence, at a certain point you just go… Let’s swing and play whatever. Maybe we can have an old ‘NEW THING’ revival.”
“Lots of musicians start to play whatever the latest thing is… It was rock, then funk, hip hop, etc. I still dig playing standards, I’ve been playing them since I was five, and it’s always brand new to me.”
“Was just reading a post realizing that I have never been on any jazz polls, or in the running for best drummer; or even worst drummer… Must say, I find this interesting.”
“Gave a lesson on Max Roach the other day. Man that was fun… I had to go back and shed some stuff to even be in the same ballpark…totally challenging... Max was a genius.”
“Was listening to Art Blakey, Lenny White, and James Brown last night and realized it’s all been played before... We just kind of changed the order and intention of things.”
“I always find it laughable when musicians talk about the groove, the pocket, the time, getting real funky, and all the rest. They then get up on stage and play as loud as they can, thinking it was killer. At that volume there is no funk, no groove, no grease and you can’t play anything inside of it.”
“Just played a medium blues at sound check that had tears of joy running down my face... Every once in a while I’m reminded of why I do this.”
This is the first chapter in an ongoing series of conversations, quotes, commentary, history, and updates with Legendary drummer Mike Clark. Mike’s keen observations provide numerous insights into ‘all things music’. I asked Mike to just tell it like it is… Including the good, the bad, and everything else in between.
“Jazz drummers are a different breed ! We don’t care about, the newest lick, how fast you can play, the double pedal, 22” bass drums, we care about phrasing, knowing the language, the tunes, history, swinging, groove, interaction, communication and dialog. We are not afraid to play something old or new.”
“Fusion chops drummers say the 18” bass drum sounds like a mounted tom…Or, why isn't he or she playing as fast as they can. What no 7's or 9's? Ha! Phew!! A different aesthetic & understanding for days !!!”
“I have a new product out on the market. ... Stool Softener for drummers who feel the need to play fast rolls all over the kit.... A quick fix for double pedal jazz !!”
“I was just checking out how some cats don’t swing hard and call that swing, other cats are emotional and dig real deep, swing real hard and to some it seems too much, too loud over the top etc. Some cats play real straight, and others take it out and everything in between. There are cultural differences and misunderstandings etc… But in essence, since we are all going to die some day, who cares… !!!”
“Many jazz musicians start to play whatever the latest thing is…It was rock, funk, hip hop, whatever... I still dig playing standards, I have been playing them since I was five, and it is always brand new to me !!”
“Occasionally people ask me at drum clinics how it feels to at one time have been one of the most sampled drummers in hip hop history… I tell them I dug the Cred, but would have really dug the Bread!... That's right, the Cred and the Bread !!!”
Growing Up In The Shadow of Joe Morello: Part Two - Recollections of Joe Sefcik by former students Dave Barsalou, Greg Caputo, Jim Cote, Tim Griffin, Ron Hurst, and Chet Pasek
David Barsalou
My very first lesson with Joe Sefcik was both frightening and exhilarating at the same time. For many years, Joe’s reputation as a seriously demanding teacher preceded him. As Joe Morello’s first drum teacher, Sefcik had achieved mythical status in the drumming community. Every serious drummer wanted to study with him. In fact, Joe was so busy, a large number of aspiring students were placed on his waiting list. Joe was teaching all day long six days a week, while gigging most every night.
When opening the door to Joe Sefcik’s studio, I was instantly hit by the strong smell of cigar smoke. With my first lesson, Joe wanted to build upon what I had already learned… So he had me bring all the method books used with my first teacher Johnny Beger. Joe Morello and Beger grew up in the town, and had been close friends since childhood. Joe Sefcik knew Johnny used some of the same books, and didn’t want me re-hashing the same material. So the following week I had some brand new books to keep myself occupied. These included Stick Control by George Lawrence Stone, Finger Control by Charley Wilcoxon. and Advanced Techniques For The Modern Drummer by Jim Chapin. Sefcik had me locked into an intensive practice regimen which led to college and a career in Education and the Arts.
I spent four years with Joe learning how to be patient, practicing slowly at first, and building up speed gradually. In fact, Joe had an old sign hanging on the wall which said, “The Hurrier I Go – The Behinder I Get “. It was a very sad day when I learned that Joe Sefcik passed away suddenly, at the age of 72.
Soon after Joe died, I continued my studies with, U.S. Air Force drummer, Gerry Bartiromo; And after to New York City to study with the great Joe Cusatis for two years. Afterwards, I also spent a richly productive four years learning from drummer / educator, Ed Soph.
Gregory Caputo
My Dad was a fellow musician and life-long friend of Joe Morello. He played Joe's records during my entire adolescence. I simply grew up listening to one of the greatest drummers in music history. I contacted Joe Morello in regards to drum lessons. At that time, Joe was a member of The Dave Brubeck Quartet. Because of his intense touring schedule, Morello advised me to study with Joe Sefcik.
Sefcik was a highly dedicated teacher. One had to be self-motivated and serious just to study with him. His students were his family… Sefcik knew immediately if you were bluffing your lesson. He would ask,”Why did you not practice?" What did I not make clear to you? The pressure was always there to be the very best you could be.
Joe would always make sure that you understood the concepts of your lesson. I can clearly remember him requiring me to write the counts in over all notes of my lesson before I left his studio. He would check to see if I did this correctly before I was dismissed. Each lesson had to be played at three different height levels of 18, 9 and 4 inches for dynamics and stick control.
Thus what I learned from Joe Sefcik was discipline and control of the hands. Everything was played slowly with a focus on ease and fluidity of movement. This instilled a good time pulse and feel into my drumming.
After my lesson one day, Joe said, "Look at me, Gregory this is it! I have done all I can for you. You need to go see Joe Morello now."
This was very sad to me because I loved the man. I never respected him more than at that moment. It takes a giant of man with a lot of morality to do that. I traveled with Joe Sefcik to New Jersey for a drum lesson. Joe sat in the passenger seat and practiced all the way down on a pad! (three hours each way). My Studies with Joe Sefcik prepared me for the years ahead as a student of Joe Morello. Studying with Morello was humbling to say the least. He was a genius of improvisation with boundless technique.
I always was in awe of his command of the drum set. His exercises were endless. He would not teach licks. Morello's philosophy was to give you the skill to play what you heard in your head. He used to say, “The more letters you have the more words you can spell." Morello gave me the facility to play what I feel in my soul. I carry both Joe’s with me in all of my performances.
Jim Cote
I have many memories of studying with Joe Sefcik; those were great times. There was hardly ever a lesson where Sefcik didn't mention Joe Morello. As always you were expected to be at all your lessons on time, and had to pay for any that you missed… He always said, “Morello never missed any.”
Sefcik also mentioned how Morello would always double the amount of practice time on any given exercises. He would add, or move accents around to make it more challenging and creative. Having had a student like Joe Morello, Sefcik knew that anything was possible with the proper dedication and will to learn.
Joe did expect a lot from his students, and had much success with many of them. I only wish there was more time, and had been a bit older so I could've grasped more of the Moeller thing Joe was teaching. Sadly, Joe Sefcik passed the summer of my sophomore year in high school. Joe got me into my first band after only three years of lessons, Unfortunately, he didn't live to see some of my other accomplishments.
Studying with Joe and knowing the legacy of Morello, made most of Joe Sefcik’s students set their goals much higher. I miss Joe, and am happy and thankful to have been one of his students.
Tim Griffin
I was first introduced to Joe Sefcik by my father, Larry Griffin. Larry was a well- respected singer and dancer in the Western Massachusetts area. Many times when he sang, Joe was the drummer that my father performed with. He always liked how well Joe played the drums behind his dancing.
I also started out very young as a tap dancer. My father's dancing was a great influence on me… His nickname was "old smoothie"… Dad’s rhythm was always effortless. One time I showed up at my Pee Wee league baseball game in tap shoes. Needless to say, there was some laughter, ridicule, and embarrassment. I soon decided it was time for a change.
In sixth grade I began playing drums at my elementary school. It was much cooler than tap dancing. At 14 years old, I was lucky to begin playing out professionally in some great rhythm and blues, and rock and roll halls. At this point in music history, most national recording stars did not have the budget to bring complete music groups with them. So we were lucky enough to be the backup band for many well-known recording stars. It was then that I started studying drums with Joe Sefcik. At the time, The Dave Brubeck Quartet were at their peak.
Joe invited me to go with to a Brubeck concert with him at the Springfield MA Symphony Hall. The concert was truly memorable. There was only one microphone on the stage 4 feet away from Paul Desmond. The group played and was balanced like a symphony orchestra. Joe Morello had played most of the night lightly touching his bass drum, but had it tuned so perfectly to the room, that when he hit it hard, it had an architectural room resonance. It was also the first time I met Morello. We stayed until after the concert was over, and went backstage to help Joe pack up his drums. Before we packed up, Morello let me sit behind his set and play them. I was scared to death. We stayed in touch over the years, but with some large gaps in time. Every time I have a conversation with anyone about Joe Sefcik, I remember two of the most inspiring sentences and facial expressions that somehow permanently affected me way down deep. If you knew Joe Sefcik, you can imagine the look on his face when he said these things:
Ron Hurst
Joe "Drums" Sefcik - On the international performance stage his name may not have been a household word, but in the teaching arena he was a giant. A taskmaster and disciplinarian who would expect nothing less from his students then he would give as a teacher - which was 100%. Perhaps Joe's greatest musical achievement was being the first instructor of the late and great Joe Morello. As his reputation as an extraordinary drum teacher spread throughout the Northeast, people young and old alike were clamoring to study with him. With his time being limited, he wouldn't think twice about washing somebody out if he felt they weren't trying their best and wasting his time. Through shouting & obvious intolerance for people he felt weren't giving their all, he got amazing results. I recall one time when a student before me hadn't practiced as much as Joe thought he should have. He grabbed his books and threw them out the second-floor window onto the street. As he walked back toward the student rubbing his hands he said "he hoped a car was going by and they landed on his windshield" then he said "at least he knows the driver would be getting more out of the books than the student was."
My first meeting with Joe in 1962 was absolutely intimidating. I recall standing in the studio above the Victory Theater with my mother when he told me that if I wanted to learn to drum he would teach me, however if I wanted to learn Rock N’ Roll teach myself. Now one has to remember at that time period, Rock 'N’ Roll was looked upon as a fad and a trend that was going to go away and Joe was a very traditional instructor. Fortunately a lot of that thinking fell by the wayside with the onset of the Fab Four and the rest of the British invasion.
I too was not immune to Joe's wrath at times when he thought I was slacking. I recall one occasion when Joe apparently felt I wasn't coming along fast enough with my footwork to which he suggested I join a drum Corps and March in the St. Patrick's Day parade - that way when he saw me marching he knew I was doing something productive with my feet. I also recall the time when Joe apparently felt I wasn't rebounding my left hand high enough to which he grabbed my wrist pulling my stick up and knocking a 1 inch red hot ash off the tip of his cigar onto his tie, burning a hole in it.
The moral to the story being "had I practiced as I should have I would not have ruined his tie."
These stories that I'm sharing are meant to be humorous and hold very WARM memories (pardon the pun). I will always be indebted and grateful to Joe for taking me under his wing as a student. All the things he taught me years ago still hold true to this very day. Throughout my life and my own musical journey, which includes studying with other incredible teachers around the country, I can't tell you how many times I've thought "where have I heard this before ? “ as they share their advice and brilliant techniques. To sum it all up, Joe Sefcik will always be my primary mentor and is missed to this day, but what a wonderful legacy he left behind. A legacy of superb drummers who had the privilege of studying with him - and you all know who you are.
Chet Pasek
I started studying with Joe Sefcik at 12 yrs old. He set all the rules right away. If you didn't listen, he would let you know immediately. I remember seeing a few students come out of lessons crying. I pretty much listened to everything he said to avoid the consequences. Sefcik was always getting new information from his former students and acquaintances like Joe Morello and Joe Raiche…This included Morello’s further interpretations of the Gladstone and Moeller methods.
Joe Sefcik first taught Morello in the cellar of an old theater. Morello once said, he could hear rats chewing on things during that time. Apparently, it never really bothered Morello; he never missed a lesson. I knew Sefcik because my grandmother and he were cousins. My Aunt also told me Joe Sefcik was offered a teaching job at The Julliard School In NYC, but turned it down. His close friend, Morris Goldenberg (also of Holyoke, Mass.) took the job instead. One time, Joe Morello and Sefcik visited Mo Goldenberg at his home… Spending all day practicing the rudiments; each time playing them faster.
Eventually, Sefcik and Goldenberg finally conceded to Morello who was completely relaxed, and hadn’t broken a sweat. Later on I studied with Joe Morello – Joe was always thankful for the time he got to spend with Joe Sefcik.
For over fifty years, Joseph D. Sefcik was highly regarded as one of the finest drum teachers in all of New England. A great number of his students commuted long distances every week just to study with him.
Long before Sefcik was known as the man who taught Joe Morello how to play drums; he had established impeccable credentials as a premier percussionist and drummer at the legendary Valley Arena in the city of Holyoke, Massachusetts.
Every major act had perfomed there at one time or another. This included The Dorsey Brothers, Lionel Hampton, Sammy Kaye, Count Basie and untold others. With all of this ongoing notoriety, Sefcik was repeatedly offered countless opportunities to travel with a host of well - known bands. Yet, Joe preferred staying close to home with his family, full time teaching practice, and steady job at the Valley Arena.
Joe studied with Morris Goldenberg who was originally from Holyoke, and a faculty member at the Julliard School of Music in New York City. Joe’s other distinguished teachers included Billy Gladstone, Alfred Friese, George Lawrence Stone, George Willets, and Charley Wilcoxon.
Joe Sefcik absolutely loved teaching the drums; it was his passion. Studying with Sefcik was a rite of passage for countless young drummers eager to learn and master the instrument. Joe knew almost everyone in the music business; including a large contingent of drummers across the United States and Canada. Every time Joe learned something new, he passed it on to his students. He always strived to incorporate the latest drum methods into his teachings. Joe taught at the Pizzitola Music Studios in Holyoke, Mass. located on the second floor above the Victory Theater at the corner of Suffolk and Chestnut Streets. Although vacant since 1979, the original building is still standing. Back in the 1960’s, the aroma of Sefcik’s cigar smoke filled the air. Joe was a very strict disciplinarian who demanded excellence from himself, and all others. If a student showed up to a lesson and hadn’t practiced; there was going to be a serious scolding ahead.
“I recall one time when a student before me hadn't practiced as much as Joe thought he should have. He grabbed his books and threw them out the second-floor window onto the street.”
- Ron Hurst (John Kay & Steppenwolf)
Studying with Joe was an adventure in itself. Sefcik and his trademark cigar would get right in your face, yelling out commands like a drill sergeant. He had absolutely no tolerance for students who didn’t practice their lessons. Joe dismissed a number of students over the years for not doing what was expected.
“You had to be a serious and self-motivated student to study with him. Sefcik knew immediately if you were bluffing your lesson. He would ask, Why did you not practice? What did I not make clear to you? The pressure was always there to be the very best you could be.”
- Greg Caputo
Of all Joe Sefcik’s many students, it was Joe Morello who achieved the greatest notoriety. Even as a teenager, Joe would practice eight hours a day. On one occasion, Sefcik took Morello to hear Louie Bellson, who was with Count Basie at the time. Louie showed Morello a fast rudimental pattern; and asked Joe to play it. Morello then played it twice as fast as Bellson. This kept happening repeatedly. No matter what Bellson played, Morello would proceed to play it faster, and more precise. It was then that an exasperated Louie Bellson acknowledged that Joe Morello was destined for greatness.
Joe was playing his drums at a family gathering when he suffered a major heart attack, from which he never recovered. Sefcik passed away at the age of 72. Years later, his storied career and legacy are still alive. Joseph D. Sefcik’s numerous contributions to the history of drumming in America will always be remembered.
Growing Up In The Shadow of Joe Morello: Part Two continues next month featuring insights and recollections of drummer Joe Sefcik by six of his former students… David Barsalou, Gregory Caputo, Jim Cote, Tim Griffin, Ron Hurst, and Chet Pasek.
Dave Mattacks, (DM), continues ‘living the dream’ with a career that shows absolutely no signs of slowing down. Since moving to Boston, Massachusetts from the UK in March 2000, Dave appears to be busier now than ever before. With international notoriety, he has played on over two hundred albums - including five with Sir Paul McCartney. Since the 1960’s, his long resume reads like a who’s who of the UK and American music scenes. Revered and respected around the world; Mattacks is a prime example of the totally consummate professional...Creative and focused at all times. Never one to get caught up in unnecessary hype; his primary objective was always about the music.
Level 42 Drummer Phil Gould acknowledges Dave with the following:
“Dave Mattacks was my first drum hero, my first major influence, and I remain a fan to this day. I have a lot to thank Dave Mattacks for; a great musician and a true inspiration. Dave has a unique and identifiable voice. His ideas, sound, taste, economy, technique, and execution are always crystal clear.”
Doane Perry, drummer with Jethro Tull for 27 years had this to say about Dave,
"Dave is one of my favorite players for several reasons. His musicality, taste, feel, note placement and sound put him in a unique class of musicians. He never resorts to "smarty-pants" playing, although he has considerable technique. But he has the maturity and style to make that part of his craft invisible. We have played many gigs together over the years and I have always loved watching him perform. He has a big, fat, warm sound and he's able to extract a tremendous dynamic range from his drums and cymbals. Right notes, right time, right place. You can't ask for a lot more from a musician. It is no surprise that he has enjoyed such a long, varied and enormously successful career. He's a great guy with martini-dry wit ... not to mention that anybody with the enviably extensive snare drum collection that Dave possesses, better be pretty damn good!!!"
Although Dave continues to amass numerous and varied accomplishments: he is most associated with the now legendary, and hugely influential British folk-rock group ‘Fairport Convention’. Mattacks joined up with them in 1969, touring, and recording seven albums. His style remains unmistakable as he forges ahead on a six decades career. The Fairport album ‘Liege & Lief’ is as fresh today as it was in 1969 - It is now considered a classic. After leaving the group in 1974, Dave has never looked back. He began focusing on dual roles as a musician and producer in the studio, and on a number of film and television scores. He also recorded or toured with George Harrison, Elton John, Jimmy Page, Jethro Tull, Brian Eno, Cat Stevens, Loudon Wainwright III, Steeleye Span, Roseanne Cash and Chris Rea, amongst many other notables.
Since settling in the United States, Dave has had a full schedule of playing, teaching, recording, and producing. He has given master-classes and clinics at London’s Royal Academy of Music, and Berklee College of Music in Boston. He has also been ‘house drummer’ at the Marblehead Arts Festival for the last seven years. In 2011 he had the distinct honor of performing with the Portland Symphony Orchestra.
Presently, Dave continues to enjoy working with the band, KBMG, around New England. He recently finished another recording with Washington, D.C. based singer and songwriter, Mary Ann Redmond, and a CD with Josh English. Dave has done twenty tours with the band, Feast of Fiddles. The band will be doing its twenty first tour of the UK this April. He continues to freelance extensively around New England.
Mattacks says:
“It’s always a great time with all of these wonderful friends of mine.”
Dave has attained such a respected reputation, that it borders on the mythical. His level of intensity behind the drums never ceases to amaze audiences everywhere. He has an incredible amount of achievements that most musicians can only dream of. Yet, with so many abundant accolades received over the years, Mr. Mattacks remains a soft-spoken and humble gentleman. Through his influence, encouragement, and passion for the instrument, Dave Mattacks continues to inspire drummers of all ages by always totally immersing himself into the music.
When asked who are some of his favorite drummers; who do you listen to for inspiration? He responded:
“It’s a very long list which obviously includes Buddy Rich, Tony Williams, and Steve Gadd. But for starters – Kenny Clare, Ringo Starr, Shelly Manne, Joe Labarbera, Paul Motian, Bill Stewart, Jake Hanna, Charlie Watts, Steve Jordan, Paul Clarvis, Tony Oxley, Roy Haynes, Jim Keltner, Mel Lewis, Levon Helm, Papa Jo Jones, Peter Erskine, Earl Palmer, Jack Bruno, and so many more."
Selected Television and Film Scores: Death Wish 2, Give my Regards to Broadstreet, "Lisztomania"; "McVicar", Time Bandits, Your Cheatin’ Heart
Selected Concert / Tour Credits: Rosanne Cash; Mary Chapin Carpenter; Richard Thompson; Steeleye Span; Jethro Tull; Chris Rea; Georgie Fame; Nick Hayward; The McGarrigals. Richard Thompson.
Selected Recording Credits: Joan Armatrading ("The Shouting Stage", "Love and Affection" Mary Chapin-Carpenter ("Place in the World", Nick Drake ("Bryter Layter"); Brian Eno; Everything but the Girl ("Amplified Heart"); Georgie Fame; "Feast of Fiddles" Debut CD; Peter Green; George Harrison; Juliana Hatfield "Gold Stars"; Jethro Tull ("A Little Light Music"); Elton John (tracks on "Ice on Fire" and "Leather Jackets" including the single ‘Nikita’); Paul McCartney (tracks on "Run Devil Run", ‘We got Married’ from "Flowers in the Dirt", ‘Long and Winding Road’ from "?Broadstreet", "Pipes of Peace", "Tug of War"); Alison Moyet (‘That Old Devil Called Love’ single); Jimmy Page ("Death Wish 2"); "Chris Rea (four CD’s including "On the Beach" and "Stainsby Girls" singles); Steeleye Span: "Bedlam Born"; Cat Stevens; Linda Thompson "Fashionably Late"; Richard Thompson (various recordings including "Hand of Kindness", "Mock Tudor", "Action Packed")"; Susan Tedeschi "Wait For Me"; Loudon Wainright; XTC ("NonSuch")
Present equipment specifications: Yamaha Drums ... Various Sets: Maple Absolute / Recording Series / Club Custom, Vintage Gretsch Kits, Large assortment of Vintage Snares, Large assortment of Avedis Zildjian Cymbals
Dave Mattacks is proud to endorse the following: Avedis Zildjian Cymbals, Yamaha Drums & Hardware, Evans Drum Heads, Pro-Mark Sticks, LP Percussion, Protection Racket Drum Cases, Hardcase Drum Covers and Cases, Cympad Cymbal Felt Alternatives, Porter and Davies Drum Thrones
Dave Mattacks Official Website:http://www.dmattacks.co.uk
KBMG at Berklee College of Music https://www.youtube.com/watch?v=-MYuC0NG6yw
FEAST OF FIDDLES http://www.feastoffiddles.co.uk/index.htm
Fairport Convention Official Website http://www.fairportconvention.com
Photo Credit : Dave MattacksPaul Janovitz Photography
Photo Credit : Steve Smith - Charlie Watts - Dave MattacksCourtesy of Jim McGathey/John DeChristopher of Zildjian
“I have fond memories of musical discovery years before ever picking up the sticks”. – Shawn Meehan
Shawn Meehan grew up in a household, surrounded by many distinctive styles of music. His dad played guitar and owned an extensive record collection. As a young drummer in his hometown of Portland, Maine, he was unknowingly building a storied musical career. His first teachers, Gerry Gemmiti and Anthony Fournier taught him all of the important basics. Shawn would then spend countless hours practicing every day, and never missed a drum lesson. Due to his hard work and determination, Shawn’s parents bought him a new set of drums.
He then began jamming with friends; gigging soon afterwards with two bands ‘Stagnation’, formed during junior year of high school; followed by ‘Solitude Made Easy’. Both groups focused on heavy rock and the progressive. In his senior year, he studied jazz techniques with Steve Grover emphasizing diversification in one’s approach to drumming.
Subsequent to graduation, Shawn attended Berklee College Of Music majoring in percussion. His first teacher, John Hazilla taught him brush techniques and various methodologies of Charley Wilcoxon. He spent a minimum of six hours a day practicing, fully understanding that dedication would result in success.
“Shawn respects the traditions of the past, while adding something new. He’s always been about getting exactly the right feel and support for each piece of music. Excellence and authenticity define him. He is a totally unselfish player with an accomplished track record and reputation… It’s a groove thing; he Just Gets It.” - Casey Scheuerell
Upon completion of his freshman year, Shawn returned home to Portland, and enrolled at the University of Maine, playing in their Big Band, and the Contemporary Jazz Ensemble. Between numerous gigs, he also attended classes at the University of Southern Maine. Shawn spent two years studying with the legendary Alan Dawson; then returned to Berklee to complete his degree.
“The Berklee environment was incredible and intense, I still have stacks of notebooks and cassette tapes from those days.” – Shawn Meehan
Upon returning, he was required to audition for evaluation and placement in the various Level 4 ensembles. Succeeding admirably, it was time to begin once again. Shawn fully immersed himself in his classes with Steve Houghton and John Ramsay learning a variety of techniques, followed by an intense year of study with Kenwood Dennard. His other professors included Frank Briggs, Eguie Castrillo, Ernesto Diaz, Ed Kaspik, Jackie Santos, Casey Scheuerell, Ed Uribe, Mark Walker, and Bob Weiner.
“I studied privately with quite a few people. There were so many masters who influenced me, and not only drummers. It would be a very long list to include everyone.” – Shawn Meehan
After graduating from Berklee, Shawn began working regularly with bassist James Thacker. He later toured with renowned blues legends Eddie Kirkland, Johnnie Marshall, and Toni Lynn Washington.
Since 2006, Shawn has been the drummer for the legendary swing group “Eight To The Bar, (ETTB)”. The band was formed in 1975, predating the retro-swing revival of the late 1980’s. Their impeccable reputation precedes them wherever they perform. Next year, they will be celebrating their fortieth anniversary. Although Swing and Motown are their specialty, they play in a vast array of styles.
“Eight To The Bar affords me the opportunity to perform a wide range of music from old school swing, to R & B and contemporary pop.” – Shawn Meehan
The present ‘Eight To The Bar’ line-up features Cynthia Lyon, Brinna Jones, Colin Tilton, Michael Corsini, Shawn Meehan, and Tommy Whalen.
“I have worked with Shawn Meehan for many years. His drumming is always inspirational. He also plays some of the best ‘Texas Shuffles’ I have ever heard.” - Tommy Whalen – guitarist, Eight To The Bar
Playing an average of 150 gigs a year; they are also working on their 12th album. In 2011, they were invited to perform at the U.S. Embassy in the Republic of Georgia, which launched a goodwill tour of the entire country. Shawn has gone full circle with ETTB. At age 12, he saw them perform in Portland, Maine, which left such an indelible impression on him; it fueled his desire to play in a band.
As a side project, Shawn performs with ‘The Darktown Tumblers’, covering the Meters, Dr. John, and the Neville Brothers.
“Shawn is a dedicated, hard working drummer who is always in the rehearsal studio practicing. He literally lives and breathes the music. Shawn is always the first one I call for any type of gig. I love every opportunity I get to play with him.” - Jeff McAuliffe - bassist, Darktown Tumblers.
Currently he is filling in with the band, “Jukebox Heroes”, who have over 450 songs in their repertoire.
Shawn Meehan is also an extremely passionate educator with a busy teaching schedule at his Boston studio. He is thrilled having the opportunity to give back to his community, especially working with the children at the North End Music and Performing Arts Center, which for many is the first introduction to the joys of music.
“As a teacher, I hope to positively influence my students the same way my teachers have influenced me”. - Shawn Meehan
Shawn’s unending dedication to his profession has brought him much acclaim by his peers and former teachers. He has a long career ahead of him and says he is really grateful to be living his dream.
Discography : Shawn Meehan Peter Hostage Trio ‘Do That’ (Resonance 1999) Robbie Lee Quintet: ‘Live at the Regattabar’ (RSL 2000) Eight To The Bar ‘Calling All Ickeroos’ (Jitterbop 2008) Eight To The Bar ‘The Romper Room’ (Jitterbop 2010)
Selected Discography : Eight To The Bar The Joint Is Jumpin’ (Jitterbop 1983) Swingin’ School (Jitterbop 1984) Redheads Of Rhythm – EP (Jitterbop 1989) Something Old, Something New, Something Rhythm, Something Blues (Jitterbop 1993) Behind The Eight Ball (Jitterbop 1998) Beat Me Rocking (Jitterbop 2001) Hey, Sailor (Jitterbop 2002) Superhero Swinger Undercover (Jitterbop 2003) You Call This Swing ? (Jitterbop 2005)
Shawn Meehan’s Equipment Specifications: DW Collector’s series Black Oyster Glass Bass Drum 18 x 20 -Toms 8 x 10 9x 12 14 x 14 Various Snare Drums – DW Edge, Craviotto, Sonor maple/birch, Pearl Maple 8 x 14 Sonor 6.5 x 14 Ferromanganese 1966 Vintage Slingerland Blue Satin Flame kit 20 inch Bass Drum 12 inch Tom / 14 inch Floor Tom Sonorlite Piano Black 18 inch Bass Drum / 12 inch Tom 14 inch Floor Tom Avedis Zildjian Cymbals - Various A’s & K’s Vic Firth sticks and brushes Shawn Meehan is sponsored by Sergio Bellotti’s 247 Drums Winchester, Massachusetts.
‘Eight To The Bar’ - contact information: P.O. Box 123 Northford, CT 06472 Ph. 203- 484- 4749 http://www.eighttothebar.com https://www.facebook.com/EightToTheBar https://www.facebook.com/cynthia.lyon.54?fref=ts
NRBQ (New Rhythm and Blues Quartet) drummer Tom Ardolino passed away on January 6, 2012 of complications from diabetes at the age of 56. It has been two years, yet his unmistakably distinctive style will live on forever. Tommy helped define NRBQ’s sound with impeccable taste and timing for well over thirty years. He could easily play anything from the ‘Q’s extensive repertoire of tunes, and was the perfect drummer for the band. He had an encyclopedic knowledge of American music, with much of it drawn from his own world-class record collection.
“ There’s Charlie Watts, and there’s Tom Ardolino,” Bonnie Raitt once told the Boston Globe. “That’s it.” Mr. Ardolino “deserves an entire wing in the Rock and Roll Hall Of Fame.”
Sadly, Tommy’s death should be a serious wake-‐up call. NRBQ’s induction into the Rock and Roll Hall of Fame is long overdue. The core group of Terry Adams, Al Anderson, Joey Spampinato and Tom Ardolino have been referred to as the ‘American Beatles’. Some of their many fans include; Bob Dylan, Sir Paul McCartney, Bonnie Raitt, Keith Richards, and Elvis Costello.
Costello once told Rolling Stone, “I’d much rather any day go see NRBQ playing than any of our illustrious punk bands in England.”
Tommy joined NRBQ in 1974 when original drummer Tom Staley departed. He subsequently recorded 15 studio albums and toured the world with them numerous times. Everything about him was instantly recognizable. His fans loved the passion and exuberance of the group. His self-‐taught drumming style was original, and totally his own. He was a rare combination of talent, personality, and loved all things music. Watching him play live was a sight to behold. His rockin’ out on “It’s A Wild Weekend”, “Green Lights” and “Me And The Boys” was amazing.
Former NRBQ guitarist Al Anderson said this about Tom Ardolino:
"He was a great drummer and a great guy, "He had a totally unique style of drumming that nobody can ever duplicate. That was one of the baddest rhythm sections in the world."
Once again, one of America’s all–time greatest bands are still not enshrined in The Rock And Roll Hall Of Fame. It makes no logical sense, and is a sad commentary on the entire music industry. Mainstream musical success should not determine greatness. The original NRBQ made great music which will ultimately stand the test of time. The ‘Q’ were completely spontaneous on stage, never working from a set list. Their many performances over the years were legendary, upwards of 250 shows a year.
Founded in 1967, The New Rhythm and Blues Quartet released their first record on the Columbia label. In 1969, the legendary Carl Perkins and NRBQ collaborated for a second album titled “Boppin’ The Blues”. From these storied beginnings, the “Q” as they are affectionately known, began carving out their long musical legacy. They have a trademark sound like no other, and a unique blend of multiple styles that can be only be defined as truly American. After a short hiatus, and some new members, NRBQ are still together, and their sound is unmistakable. It is impossible to confuse them with any other band in the world, NRBQ never sold out; they didn’t change musical directions to fit the trends, or compromised their integrity for profit. Once again, Tom Ardolino and NRBQ were not among the Hall Of Fame inductees this year. I’ll always keep wondering “WHY”.
Photo Credit : Lili Chilson
NRBQ Website NRBQ Headquarters
