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MUSICIAN: ln a sense, this is an elaboration of Joe fundamentals of your approach? lt often sounds as though
Morello's playing across the bars in three four time that drum set patterns have superseded the straight ride. For
had fascinated you a few years before. example, Gadd's drumming on "Lenore" (The Lepre-
HUMPHREY: Right. Morelio was great at that. ln five- chaun, Chick Corea) is a pattern rather than a ride. Does
four time as well, he would fly right out, playing sequential ambidexterity apply to playing in a ride situation as well as
rhythmic groupings over the bar line yet coming down ills?
boom
-
on one. lf you go only with him, you lose sight of
f

HUMPHREY: "Lenore" is a good example of some ol the

-
the five. The imporlant thing is to follow him while retaining things that Steve Gadd and some other people are doing.
the basic pulse f ive or whatever. That is the hardest thing When you tear a pattern apart, each limb has its own
for a drummer,- or anyone who is experimenting with rhythm. Together they sound like one rhythm. Ambidex-
rhythms, to do
- tc fly out and leave the basic structure
while still knowing where it is. The most important thing
terity is very important. Each limb has to be equal. You
have to be able to focus your attention on either a single
to do is to relate to whatever rhythmic thing has been es- limb, or all, in order to get the pattern or sound together.
tablished. This is a primary lndian approach
- to begin
with a basic rhythm of long notes, lhen to subdivide those
Steve Gadd has the uncanny knack of being able to do
that. lt is very educational to lislen to that kind of
notes at increasing tempos, all the while implying the basic drumming. ll's a new approach because most guys vrew
basic motif. playing time as the strong hand doing a pattern around
MUSICIAN: Did working with Don Ellis help prepare you which the other limbs are orienled.
for your next major gig, Frank Zappa and the Mothers of MUSICIAN: Do these patterns get built up, limb by limb,
lnvention? or is it best to play the pattern as a whole from the start?
HUMPHREY: Yes, it helped me a lot, especially the read- HUMPHREY: Both ways are good. I don't pretend to know
ing part of it. When I auditioned for Frank, he put charts in how Steve Gadd works out his patterns, but sometimes
front of me that were rhythmically "unusual," especially with the two hands, you can set up a pattern with one hand,
in an audition situation. He had been auditioning drummers and play all the in-between notes with the other. ln that way
for a week or so and he offered me the job right away, so you are playing a two-handed pattern, but each hand has
once again I felt fortunate, but I knew I could do it. I played its own pattern as well. lf you accenluale one, and then the
with that band for a year and a half . One of the important other, you can see how dilferent each orientation is, but
things that I learned was how to endure a concert perfor- how they work as one. The feet are a different story. You
have to slot them in as necessary. The right foot willoften
mance over a span of two-and-a-half hours
- we would
play a long time. Sometimes we would play continuously follow the right hand, but it also can play by itself, as in
Lenore. The left ,oot can be treated eilher as a timekeeper,
- Frank liked to segue immediately into the next tune. On
occasion I remember saying to him while rolling on a cym- beating out eighths or quarters, or it can take part in the
bal between songs, "Please, just give me thirty secondsl" pattern. I really enjoy playing in this style. I think that the
I was just wasted. I had to learn about power and endur- best way to approach it is to set a pattern with a foot or
ance so I spent hours in the hotel rooms practicing on a hand, and build around it.
mattress, building up my chops, working on my wrists and MUSICIAN: Do.you think that the approach which we are
fingers so that I could simply survive the concerts. I had talking about comes more easily from a rock concept or a
to play loud with Don Ellis, but never as loud as with Zappa. jazz one?
MUSICIAN: ln other conversations, you have mentioned HUMPHREY: I can't say that either style is responsible
that around the time you worked with Zappa, your lech- for the approach, although straight-eighth note music such
nique took a radical turn. as rock is definitely more prevalent today than swinging.
HUMPHREY: Actually, towards the end of my stay with You can hear the possibilities in much ot Tony Williams'
Don Ellis, I switched to matched grip. That helped a lot in work with Miles in the mid-sixties. He threw the traditional
many respects, I wanted to cross over into the rock and use of bass drum and hi-hat out the window. The feet were
latin elements. The matched grip gave my left hand power like the hands
and equality with my right. Before that I had a right-hand-
- all one big circle.
MUSICIAN: How do you develop the right drum part for a
lead concept most of the time. But watching players like session?
Tony Williams or Billy Copham go both ways made me HUMPHREY: A lot of times it is self-explanatory. By lis-
want to get into that more. I worked really hard on the left tening you just know what to play. Other times it is written
hand and brought it to a point where at times it would even on the part.
feel better than the right. MUSICIAN: Exactly as they want it played?
MUSICIAN: Even in a ride situation? HUMPHREY: Pretty close. They'll give you an idea. lf
HUMPHREY: Not so much in that context, although I will you have the time and, most importantly, the ability to pull
occasionally switch ride hands. lt was great for left hand off something special,rthen. the producer or artist might let
articulation and for going around the toms. you try it. He might love rt or he might feel it detracts from
MUSICIAN: Would you say that in contemporary drum- the intent,of the music, be it top forty or art. lf the producer
ming, a matched grip is superior to conventional? says to the musicians, "l just want you guys to play your
HUMPHREY: No. At one time I thought that, but now I best and create," on that basis everyone will feel like ex-
think that a person can develop his left hand as much as ploring more. lf a producer says, "We want this tune on the
he wants. lf he spends enough practice trme on his hands, charts; let's keep it refined, simple, and no tricky stuff,"
he will gain equality regardless of the grip. Some guys feel then l'll do it that way. And that's an art in itself. Learning
better with matched, others with conventional. I personally how to do that this is what separates the studio musician
like what matched grip does for my playing. Steve Gadd
-
from the regular musician, no matter how well he plays.
uses conventional grip
- and he's no slouch! He puts it
right where it needs to be. lt sounds like each hand is equal,
You have got to adapt to the situation at hand or you don't
get that kind of work. This is why I have made it a point to
he doesn't have a weakness in the left. get to know different kinds of music.
MUSICIAN: That is interesting. Just irom hearing him, I MUSICIAN: Since you are well acquainted with a large
had always assumed that he was a matched grip player. number of styles and idioms, could you give us your con-
HUMPHREY: So did I because of the nature of his playing. cept of what fusion music is?
When I saw him, I saw an incredible left hand. HUMPHREY: Well, it seems that rhythm plays a primary
MUSICIAN: lt seems.that your playing style and approach role in what is being fused lsuppose i\ is jazz and rock
are very similar to Steve Gadd's. What are some of the
- continued on page 47

44
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BobJo r-nes ehorts Fusion
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