A Debut & a Swan Song

I have a new band. It is called NEOLITH. After many months of writing and preparation, we are finally ready for our debut and we'll be playing at The Acheron this coming Monday, June 13th. Listen to our first demo:

Additionally, this coming Friday, June 17th will be George Pleasance & the Golden Dustmen's second and (probably) final performance. We'll be playing a few numbers borne of riff and tongue at Brooklyn's Union Hall with help from Megan Reilly and The Maledictions. Come out and hear what we've "cooked up" (ha ha) for you this time around. That joke will make more sense once you know what we're playing, but unfortunately it won't be any funnier.

Posted on June 10, 2016 .

George Pleasance and the Golden Dustmen

Hello friends,

I'd like to invite you to join me at Union Hall in Brooklyn on Friday, December 11 for what promises to be a memorable evening.

I will be joining members of BatillusThe Scene is Now, and P.G. Six for a very special performance under the moniker George Pleasance and the Golden Dustmen. With captain Greg Peterson at the helm, we'll be covering in full a rather obscure album that you've likely never heard but which will at once sound familiar, warm, and comforting.

I'll be pulling double duty that evening and playing with my good friend Paul Vitolins and his band Stationary as well. Brooklyn-based Americana songwriter Nathan Xander rounds out the bill.

Show info and tickets are here.

See you there!

-gs

Posted on November 18, 2015 .

Blood Cousins

Awhile back my friend and fellow artist Joey Angerone conscripted my services as a drummer to provide some soundtrack material for his short independent Civil War film, "God's Eternal Campground." Joey, being the creative genius that he is, took one of the rope drum tracks from that session and re-engineered it as a haunting end credits score for the film. That song, "Blood Cousins," is below:

The film itself is available to view in full (it runs just over 20 minutes) here, but viewer discretion is advised as it is quite graphic.

-gs

Posted on August 16, 2015 .

Stationary

I am pleased to announce that I will be joining longtime friend Paul Vitolins and his band Stationary at the end of this month for a show in New York. Show details are here, listen to Stationary's self-titled EP below.

Posted on August 15, 2015 .

Don't Look Down

Actor and musician Janina Gavankar, probably best known for her roles in the television shows The League and True Blood, is a diehard fan and supporter of fine and performing arts in schools and the marching arts in particular. When she recently conceived of the idea to reimagine an EDM (that's electronic dance music, for those of you over the age of 20) song with drum corps instrumentation, she somehow found her way to the Jersey Surf, a drum corps with which I have had some involvement in the past.

Janina conscripted my friend (and Jersey Surf music arranger) Colin Bell to crank out a brass and percussion arrangement of the Martin Garrix song "Don't Look Down" and to put together an all-star cast of current and former Jersey Surf members and staff to record the song and co-star with Janina in the music video. Needless to say, I was more than happy to play ball. Song, video, and some photos from the recording session are below. Enjoy!

-gs

Photo Credit: Derek Schelling

Photo Credit: Derek Schelling

Posted on April 8, 2015 .

“Apotheosis” – Duet with Student Devon Cupo

On December 10, I joined my student of four years, Devon Cupo, in a performance of Alan Keown’s percussion duet “Apotheosis.” This is an advanced, college-level piece and I am very proud of Devon, currently a junior in high school, for pulling it off! Enjoy!

-gs

Posted on January 1, 2015 .

To B-flat or Not to B-flat

While recently reading an essay by former NFL punter and self-proclaimed "social justice warrior" Chris Kluwe, I had an epiphany. In his piece, Kluwe invokes the oft-misunderstood Machiavelli quote: “the ends justify the means.” “You see,” Kluwe explains, “in The Prince, Machiavelli was not actually saying ‘Whatever you want to achieve should be achieved in any way possible, no matter how nefarious.’ What he was actually saying was, ‘If the ends you seek will uphold the long term stability of the state, then the means by which you achieve those ends are always appropriate.’”

He then describes his experience coaching youth soccer– it seems most coaches just “teach” their kids to kick the ball as hard as they can and a firm emphasis is placed on winning. Kluwe, in contrast, encourages his players (aged 6 to 7) to “focus on passing, staying spread out, controlling the ball, and communicating with each other.” In other words, fundamentals. His team rarely wins, but he gets excited about these fundamentals and he shares that energy and enthusiasm with his players and their parents.

Teaching elementary band is an obvious parallel here– the music teacher is dealing with beginners who need to work as a team. Every elementary band teacher faces a profound choice. Choice “A” is simply do whatever it takes to get the band to play “Mary Had a Little Lamb,” “Hot Cross Buns,” “Twinkle Twinkle Little Star,” etc. Choice “B” is to focus on air support, technique, breathing, tone quality, intonation, etc.– in other words, fundamentals.

Let me paint the picture for you. When you teach elementary band, you see your students once a week for a half an hour in lesson groups (you can forget about private lessons). Hopefully your lesson groups are only three or four students of the same instrument and similar proficiency, but sometimes they come in groups double that size or more and of mixed instrumentation. If a kid misses a lesson– whether due to illness, testing, etc,– you don’t see that student for two weeks (think if the student went two weeks between math lessons!). And that’s if you are even lucky enough to have a lesson program. And after a mere few months of this you’re expected to produce a concert!

Let’s go back to our dilemma. If you choose path A, your concert will consist of a bunch of children squawking, honking, and squeaking their way through the aforementioned classic tunes. It will sound terrible, but the parents and teachers and principal will say “Yay, they played songs good for them yay!”

Should you choose path B, your concert will be a group of young musicians playing a B-flat concert long tone and maybe–maybe– the first five notes of a B-flat concert scale. To the layperson, it will be the most boring concert ever (even by elementary band standards) but the band will play more or less in tune, with the characteristic sound of each instrument, and they will sound mature. Your incredulous parents and teachers and principal will say “That’s all you taught them how to play in nine months?!” Your supervisor will say “You’re fired.” And the students will probably have quit by then because they are bored to tears of playing a B-flat concert again.

You certainly don’t want to get fired, so back to “Twinkle Twinkle” you go. You get your kids to squawk their way through a couple tunes and ship ‘em off to middle school, where they have to learn the fundamentals all over again. Only now, instead of a blank slate, the students have a whole slew of bad habits which need breaking.

Finding the right balance between focusing on fundamentals and preparing for the big show can be tricky, but it is a critical that we as music educators do so. In the long run, the most successful music programs– just like the most successful soccer teams– are the ones which place an emphasis on fundamentals and never cut corners. There are no shortcuts, and it is our job as music educators to remind parents, administrators, and especially students of this fact. Long-term focus on fundamentals takes patience and dedication on the part of all parties, but it is so rewarding in the end. The ends justify the means.

-gs

Posted on November 7, 2014 .

Rudimental Awakening

When my old friend Joey Angerone asked me to play some rudimental-style drums for the soundtrack of a short film about a Civil War surgeon he has been working on, I was happy to oblige. I fired up the old Google and did some research on military drumming from that era and found a number of great resources, particularly theNational Civil War Field Music School.

One of the documents [PDF] I found contained a camp call entitled “Surgeon’s Call,” which seemed to fit the bill perfectly. In addition, I whipped up a tune called “Old Dan Tucker,” a version of the classic “Three Camps,” and Wilcoxon’s 15th for some (not-historically-accurate) variety. Joey could not have made it more convenient for me– he picked up a drum from Carroll Music, drove to my apartment, and recorded me playing in my bathroom.

Can’t wait to see (and hear) the finished product!

-gs

2014-09-16-12.00.281-764x1024.jpg
2014-09-16-12.00.34-764x1024.jpg
Posted on September 16, 2014 .

Cymbalitis

During my extensive travels in the US and Europe as a working class musician, I have noticed a trend that, though certainly not new, is deserving of some commentary. It has become so pervasive that I have been compelled to devise a special word just to describe it:

cym·bal·i·tis - noun – \ˈsim-bәl-ī-tәs\

: the condition of having significantly more than a few cymbals in one’s setup and playing them in an essentially arbitrary fashion, often characterized by the presence of china and/or splash cymbals*


Certainly, this is not to suggest that employing more than a few cymbals in a setup is always gratuitous, or that utilizing a splash or china cymbal in the proper context and with the proper restraint is undesirable; merely that one must be hyper-conscious that, in the realm of cymbals, a little goes a long way.

The main symptoms of cymbalitis include overuse, overplaying, and arbitrary use of cymbals. Side effects of cymbalitis include watching too many drumming instructional videos, wearing drumming gloves, nausea (for the rest of the band and the audience), shrapnel, and working at Guitar Center at an advanced age.

Overuse of cymbals is the easiest of the three symptoms to diagnose. It is characterized by, simply, the playing of too many cymbals too many times within a given segment of music, resulting in an undesirable cymbal wash that has a tendency to overbalance or overpower the other instruments in the band, including the drums themselves.

Overplaying is essentially playing the cymbals too hard or too loudly or with too much force, resulting in a choked or brittle sound, broken cymbals, and quite often balance issues similar to those associated with overuse. We don’t often think about it, but drums and cymbals are in fact quite different instruments and as such they respond very differently when played. And yet we are required to play them together seamlessly, which requires more consideration than is typically granted.

Arbitrary use of cymbals is trickier to define and a good deal more subjective, but a simple example illustrates the concept well: if a riff goes high-low and the cymbals played in support go low-high, we might have a case of arbitrary cymbal use. The pitch and tone of the cymbals should always be considered and the best one selected for each use. Everything a musician plays should have purpose and meaning.

In the case of china cymbals, their ever-increasing ubiquity in recent years, particularly in many sub-sects of the metal world, has by now rendered them essentially a cliché. Therefore, their use requires an especially careful

deliberation. It’s a regrettable situation, really, because the sound of these instruments can be very appropriate and desirable in the right contexts (and china cymbals were in fact one of the original components of the drum kit), but the chronic over-users have very nearly ruined them for the rest of us.

As for splashes, again, discretion must be observed. Don’t smack a splash just because it’s there—save it for just the right moment and the effect will be much stronger.

Cymbals, when selected carefully and played musically, can add a great deal of range and nuance to a drummer’s playing. But, if care is not taken, cymbalitis can set in swiftly, becoming a debilitating condition from which recovery is nearly impossible. Drum responsibly!

-gs

* I must partially credit Scott Evans of the San Francisco-based band Kowloon Walled City for his most gracious assistance in developing this definition

Posted on September 8, 2014 .

HTML & Diesel Fumes

(2003 Boston Crusaders Tenors L to R: Aaron Woodfin, Yours Truly, Thom “Tractor” Bureau, Brian Lange, Michael “Stu” Whitmore)

(2003 Boston Crusaders Tenors L to R: Aaron Woodfin, Yours Truly, Thom “Tractor” Bureau, Brian Lange, Michael “Stu” Whitmore)

I recently “finished” this new website as a home for all my musical endeavors to live together in one place online, and I just couldn’t take the lack of content on the homepage anymore. So here we are.

It’s mid-May, and that means another school year is winding down while another drum corps season is gearing up. Summer is my favorite time of year– not because it’s hot, but because summer means backyard barbecues and fresh air and diesel fumes. Yes, diesel fumes. They say the sense of smell is closely associated with memory, and I can’t say I disagree– there’s nostalgia in them there diesel fumes. That smell always takes me back to 2003/2004: the red and black, the pain and the passion of my two seasons marching BAC. It takes me back to 2005/2006: touring with ECJ and the great Charley Poole, he with the Dunkin Donuts “Great One” (hot, never iced, despite the heat of the July sun beating down on the asphalt rehearsal “field”) and a cigarette, bent over, his ears level with the snareline, hyping those duple rolls in the percussion intro to “Caravan.”

All this nostalgia is tempting me to quote the last line of “Gatsby,” but I’ll spare you. Instead, I’ll just let you enjoy putzing around the site.

-gs

Posted on May 16, 2014 .