I met Dom at a NAMM show in Chicago in 1987. He was performing at the Tama drums booth with an electric guitar and drums duo. They sounded like a full band. Quite impressive. He was a great player and was cool enough to give me some of his time.

I introduced myself and asked if I could send a demo of some music I had recorded. Dom asked if I had anything he could listen to right then, as he saw I had a Sony Walkman cassette player. I of course did, and held the speaker up to his ear and hit play. He seemed to like what he heard, and asked what I was doing. I told him I was there with a music store I was teaching at and was saving money to move to Los Angeles from Syracuse, NY where I had just left my band that was signed to RCA Records (and dropped during preproduction of our second album) and was at a crossroads career wise.

Well, Dom called the music store I taught at a few months later and asked to speak to me, and the first thing he said was “I hate to see talent wasted, you should write a book” Seriously. No one had ever proposed such a thing to me. I had massive respect for him and plenty of material and ideas, so I started to write my first book “Complete Modern Drum Set”. It took a few years to get it all together in terms of what kind of book, and all the logistics of creating a manuscript before computers, but in 1994 I finished it and sent it to Warner Brothers, Hal Leonard and Mel Bay publishers. All of whom wanted it, but Mel Bay promised they would have it printed and in stores within a month.

I wrote a few more titles, but probably wouldn’t have completed any of it without his initial encouragement and the success of my first book. My move to Los Angeles was a whirlwind. I know I sent him copies of everything I had published, and thanked him for the inspiration, but rarely saw him in person (with the exception of a NAMM show here and there) as we were both busy living our lives and working.

RIP Dom

We should all encourage someone today in his memory.

I met Billy Porter in 2004, before he was a Grammy, Emmy, and 2x Tony Award winner. I only knew him as a singer who was booked on some of the event and award shows I was doing at the time. The first project we worked on was the launch for Lunesta, a sleeping aid developed by Sepracor. I was hired as the band leader/music director/contractor for that gig, and Billy was going to sing the finale. This was fall of 2004. I got a call from Ronnie Lawson, who was based in New York City asking if I would record Billy’s vocal performance to a track he prepared for the show at my studio, because Billy was living in Los Angeles at the time.

We scheduled the session and Billy drove over to my house to record. Not the Billy Porter everyone knows today, but a straight, subdued, contemporary acting/looking Billy, with dreadlocks and a beard. I liked him immediately. He had great energy, and was easy to be around.

Once I got the mic and headphone levels situated we started recording. Billy nailed the first take so hard it gave me chills. I couldn’t believe it. I have recorded some great singers here, but this was another level. It was like having Stevie Wonder himself in the room, No punching in, no fixes, perfection from beginning to end, emotive, powerful, and with great phrasing and tone. I was more than fine with that first pass, but wanted one more take as a safety. He nailed it the second time too! I used the first take, and sat back totally awed by what just happened.

We had plenty of time to chat. It felt good knowing he was comfortable enough to be himself around me, but little did I know. Neither of us knew the path his career would take at that time. I regret not having a picture of us. Selfies were not a thing in 2004.

Most of the big pharma gigs I did were heavily protected. Photos weren’t allowed unless taken by an approved photographer, and rarely released to those working the shows. When Michael Moore showed up at this event with a film crew to record footage for his documentary “Sicko” he was denied entry. The Lunesta launch was huge, and took over the entire Mandalay Bay Hotel and Events Center. Every room, ballroom and venue was booked for it. It was exactly the type of show Moore was highlighting in his documentary.

Side story; My wife and I had been dating for about a month then. I offered to fly her to Vegas to see me play, because she hadn’t yet. She declined my offer and opted to pay her own way, but ended up staying with me in my suite, and we flew back together.

I had a seat reserved for her in the first row, right in front of the band where I was front and center. Hey.. I was the leader, plus it was easier to cue stops and starts if everyone could see me. I had a stellar 7 piece band with me. Btw. the bands I put together for these events were exactly what you would see on a late night TV show. We warmed up the audience, backed performers, and played guests and speakers on and off the stage.

We were already playing our first song to a packed house when I saw someone usher Melonie to her seat. At one point in the first tune the whole crowd stood up and started dancing. When we finished, they gave us a standing ovation! Again, after the first song, and my girlfriend was right in front to see it! Needless to say, it couldn’t have worked out better for me. Btw. we celebrate our 20th anniversary next year.

It was a grueling multi-day event, but so incredible. The sound and lighting company were straight off a Madonna tour. The stage lighting and set were other-worldly. Acrobats from Cirque Du Soleil and AntiGravity were flying above our heads while giant screens projected images of us playing. Truly spectacular in every way.

Anyway, back to THE Billy Porter.

The tunes we got to play together, especially the finale, with its confetti canons, dancers, aerial acrobats, and jumbotron images, brought the house down. Billy Porter brings it every time. I have never seen anyone deliver a song like that guy. Such a great experience for everyone who was there.

When I saw him at an awards show wearing his now famous tuxedo/dress I thought, that’s definitely going to get him some attention, and of course it did. The next day he made the front page of the LA Times, and that momentum hasn’t stopped. He is living what looks to be an amazing life, as his authentic self, having fun, and killing it. I couldn’t be happier for him, or prouder for the opportunity to work with such a badass.

Ok, that’s the story. I haven’t seen Billy since he moved back to New York, but am hoping I run into him again so I can congratulate him for his awesome success, and maybe get that picture. Check out Billy‘s music. He truly is one of the best singers on the planet.

The audience was so responsive to the band the producers asked me to record a CD for them as a gift. Money was no object, but time was. This was put together quickly at my studio. I believe there were 8 original songs on it, written by me and other guys on the gig. Here is one of my favorite tracks written by Michael Hakes (Natalie Cole, Brenda Russell, Edgar Winter), who played guitar in my band. Michael passed away the year before, and we recorded this in his memory.

I met Jeff in January 1989 at Winter NAMM in Anaheim, CA. I was performing at the Noble & Cooley booth and he was performing at the Paiste cymbals booth, which happened to be right next to each other that year.

Noble & Cooley had just introduced a full drum set, and for some odd reason asked me to demo them at NAMM with their designer Bob Gatzen. I had lived in Los Angeles about 6 months. I had already played on a few albums for people, was working part time, and going on auditions. Bob and I decided to perform some drum set duets, and asked that I arrange them for us. We were rehearsing one at 7:30 AM the first show day. When we finished our run through we heard someone clapping outside the booth.

I looked out the window to see who was clapping, it was Jeff. Blew my mind. I walked out to meet him for the first time with my hand extended, and he gives me a big bear hug instead. Ha! Then he says “Who the f**k are you?” in his deep baritone voice. “Do I know you? Should I know you?” “Man, I wish I could play like that” at which point I just laughed out loud, and said “I listen to you.” he says “If you listen to me you’re listening to all the wrong cats”

So yeah, that really happened. If that wasn’t enough Jeff brought people to see us play every show. We would go watch him and he would come watch us. There was Chad Wackerman, Dave Weckl, Jeff, Steve Smith, David Garibaldi and a few other big names 6 feet in front of us some shows, with Jeff cheering us on. Mind boggling. At one point Bob and I got Jeff and Steve Smith on our drums, they started playing together and all of a sudden Jeff stands up, hands me the sticks, and says “Frank, you play” and left the booth. I did, and ended up playing double drums with Steve Smith, (so surreal) who BTW showed me no mercy.

Jeff also invited me to the Baked Potato to sit in with the band he was playing with, either Karizma or Los Lobotomys, can’t remember which. We met at the club where there was already a long line waiting to get in. Jeff invited me in for the soundcheck, just Jeff, a Regal Tip rep, and me. After he was done checking his drums we sat and talked in the empty club. At one point he says “I really like your groove” Haha! I might have asked for that in writing as a joke, but he did say it. He also asked what I was doing. When I told him I was working at a music store he immediately said “Get out of that store man” I did, that month, and never worked a job like that again. I landed a major tour a few months later, and for the next 5 years was in and out of town. I didn’t sit in that night because the leader didn’t want anyone but Jeff to play drums, which is understandable. Jeff always remembered my name whenever I ran into him, which was rare after that show.

Here’s the thing. None of what he said I believed for even a moment. The real lesson here I think is.. get over yourself and encourage others.

Jeff, hands down, was the coolest music superstar I ever met. A couple thousand people attended his funeral, and it seemed everyone I talked to, and all the eulogies given had stories similar to mine.

RIP Jeff Porcaro.

I wish I could play like that.

Rhythm Magazine: RUFF CUTS

The best from the bravest are reviewed by the ballsiest… the Marquis de Rhythm rides again!

Frank Briggs is a recently displaced resident of Syracuse, New York, who just arrived in Burbank to accelerate his music career. Briggs has an impressive background that includes a tenure as the drummer of a highly successful band from the northeast who toured the area extensively and had an album that made the charts several years back. He is well versed in all facets of contemporary drumming, from programming (of which he is a big advocate), playing with click tracks, triggering, MIDI and synth programming, to being a skilled technician of the acoustic kit.

His tape contains four extended self-performed, written and programmed tunes, that exude professionalism from the first bar. ‘No Age’ blends simple effective patterns with some more intricate triggered percussive augmentation, pedal bass lines and vocal tinged keyboard samples. The patterns bleed into new forms, and two nicely harmonized melodies emerged and recede periodically during the tune. It creates a sort of grand, yet dark sentiment that would be à propos as a film score – perhaps for Rocky Rides the Midnight Express. ‘Electric’ has a highly unusual and ponderous drum intro, and as the pattern moves from busy to spare, another complimentary pattern begins, two distinctive melodies emerge and Briggs employs a curious bass effect, sounding remote, yet penetrating whole notes. The material has nice overlapping layers, never giving you too much, but always keeping it in motion, resembling the Rippingtons sans the guitar at times.

Briggs’ tunes are a definite journey, and he has a penchant for unfolding structures rather than rigid compositional forms. He displays chops and technical agility with a supercharged, yet controlled drum solo, that reveals his time spent under the tutelage of Jack DeJohnette. Remaining cool, he never overplays, and the tune shifts into a brief section with 16ths in the bass and quarters on the snare to change the groove. ‘Go West’ opens with thunder-like whole notes, one of his favorite devices, and the melody voice has a bit more intensity this time, reminiscent of Rick Wakeman. ‘Big Brook’ ends the tape with the nicest keyboard solo on the offering, which effectively tells a story, accompanied by some nice popping bass lines. The only missing ingredient on the song and the whole tape in general are other musicians to bring some additional contrast to the material.

More than anything else, Frank Briggs’ tape is a showcase of talent and maturity.

In 2001 I was hired to compose 45 minutes of music for a Toyota event at Caesars Palace, Las Vegas. The music was choreographed by Christopher Harrison, and performed by his acrobatic troupe ‘AntiGravity‘. The producers requested a Cirque Du Soleil vibe. I played all the instruments, except guitar, which was masterfully handled by my friend, the late Michael Hakes (Natalie Cole, Brenda Russell, Edgar Winter), plus samples, and sound design. I engineered, mixed and mastered the recording at my LA studio. Every track had to be approved by the producers and Mr. Harrison. So, lots of overnighting DAT tapes to NYC and Las Vegas. I even played tracks over the phone, because the digital life we enjoy today was in its infancy 21 years ago. Sending files was not an option. The project was grueling because of the deadline to write, record, mix, and master the tracks. It was 3 solid weeks of very little sleep, but in the end way worth it.

AntiGravity is composed of former olympic athletes, dancers and acrobats, who are phenomenal. I worked on several corporate events with Mr. Harrison, a great guy, and an amazing talent.

Side note: Speaking of working with amazing people and talents, that has not always been the case for me.

Independent contractors have no HR department to complain to, and today’s Musician’s Union is mostly non-existent. You’re on your own, and as a sideman you need to be both politician and psychologist, not to mention your own agent/manager. I have had wonderful experiences, and not so wonderful. It’s the biz. Learn it, and deal with it the best you can.

Part of having a successful career in music, (I eventually did), is aligning yourself with the right people. You won’t get along with everyone, and some will see niceness as weakness, be nice anyway, They may use and underestimate you, roll with it, but don’t forget it, it’s all OK, and part of the circus that is today’s music business, and one of the reasons I’m happy to be retired from it.

Music however isn’t going anywhere. You could be a part of its future, and its healing. Keep moving, keep your eyes open and on the ball, be smart, listen more than you talk, save every penny, and make connections that feel good, and are beneficial to everyone. Like any relationship, you shouldn’t waste time on those who don’t fit, and don’t appreciate you, or you may not be available for the situations that do.

Anyway, this was a great gig, and an amazing opportunity for me that once again my bro Jeffrey Davis helped facilitate. Everyone loved it.

Here is a sampler. I wish I still had the script. The opening track was played while the acrobats/dancers entered from the back of the venue (behind the audience) to the stage. The Bolero (in 7) worked perfectly for this, and was aptly titled ‘Entrance’

This was my very first pro recording session when I moved to Los Angeles. Many thanks to my friend Scott Sheets (Pat Benatar) who believed I could pull this session off. Minako Honda (RIP) was Japan’s equivalent to Britney Spears, I recorded these 2 songs, which appeared on her 1989 EMI/Sony Japan release. These tracks feature LA studio legend Tim Pierce on guitar, and I believe Jonathon Cain (Journey) piano and Rudy Sarzo and Gary Shea on bass. We recorded both basic tracks at the now defunct Master Control Studio in Burbank, California. Just guitar and drums. I was a bit nervous to say the least. The great Myron Grombacher (Pat Benatar) played drums splendidly on the rest of the tracks. Btw. Lee Aaron, who wrote Heat Me Up is responsible for dozens of hit songs you’ve heard of.

MINAKO WITH WILD CATS – TARGET – 1989

Format: CD

Released by EMI Japan 1989-07-05 on Cd (CT32-5510)

Players:

Minako Honda: Lead Vocals

Gary Shea: Bass

Rudy Sarzo: Bass

Tim Pierce: Guitar

Frank Briggs: Drums

Myron Grombacher: Drums

Tracks:

1. Katte Ni Sasete (Let Me Follow My Way)

(Micky/Scott Sheets)

2. Hearts on Fire

(/Scott Sheets)

3. Walk Away*

(/Scott Sheets)

4. Helter Skelter

(Lennon/McCartney. Arrangement:Scott Sheets)

5. Asamade (Until Dawn)

(Minako/Scott Sheets)

6. Heat Me Up (That’s What You’re Doing To Me)*

(Jonathan Cain/Lee Aaron/John Albani. Arrangement:Scott Sheets.

7. Slow Walk

(Minako/)

8. Kill Me
(/ )

9. Ai Ga Kikoeru (The Call For Love)

(Minako//)

10. Surrender

(Stan Bush/Jonathan Cain/Lenny MacAluso/Lee Aaron/John Albani. Arrangement:Scott Sheets)

I recorded 2 albums with Frank Macchia’s ‘Swamp Thang’ in 2011-12. Almost all of the tracks were recorded at my studio in North Hollywood. Frank’s previous albums featured Vinnie Colaiuta, and Peter Erskine on drums.. so yeah, I was slightly nervous. The musical concept was Dr. John meets Frank Zappa. So, there are second line grooves in 5/4 etc. Really fun, and we played some exceptional gigs. The last one at Vitello’s was a lot of fun. Great musicians, people, and Frank is a generous leader.

Recorded at Steve Vai’s studio, Hollywood California in 1995. I played Dean Castronovo’s huge set that he left there, as they were mic’ed and ready to go. Features a bunch of guys you’ve probably never heard of. I wasn’t happy with the way these tunes came out, or that band for various reasons.

There was at least a 7-8 year period (maybe more) between my recordings on this album. The first 3 were recorded at Wayne Cook’s studio (Steppenwolf/Player) in Glendale, CA, and were originally John Ondrasik/Five For Fighting sessions. John’s vocal was replaced by Ron Corbett. The last two were recorded at the now defunct Master Control Studio in Burbank. Vinnie Colaiuta played a killer track on this record also. Tim Pierce (Crowded House/LA Studio) Scott Sheets (Pat Benatar) guitar, Rudy Sarzo (Ozzie Ozborne/Whitesnake) and Gary Shea (Alcatrazz/New England) bass, and Wayne Cook (piano/keys).

I toured with this band for a few months in 2008. Chris Poland is the lead guitarist on a few of Megadeth’s biggest albums. This was recorded at Downtown Rehearsal Studios in one day. I used my Noble & Cooley CD Maple set for these tracks. There are some moments. No click, played live with guitar overdubs. Joel Taylor and Kofi Baker also played on this record and killed it. Again, not really my thing, but happy it happened.