Q&A with Alex Acuña
L.A. Jazz Pro Master Class Series 2009
Whether Alex Acuña is behind a drumset, any number of world-percussion instruments, or just on the other end of a phone, joy and excitement come through clearly; but, it doesn’t take long to realize that this is one serious cat. A great combination. He was kind enough to entertain a few written questions from us after one of his typical 6am practice sessions.
Hollywood Drum: We know that you’ve witnessed a lot of change in the world of music, and drumming in specific, over the course of your venerable career thus far. Is there a primary message or central idea that you intend to convey through this workshop? Something that is preeminent on your mind currently that you’d feel compelled to impart to a room full of attentive drummers?
Alex Acuña: Yes, the main idea I would like to share with my fellow drummers and percussionists during this master class will be the love we have developed for the art of drumming. I consider myself to be an eternal student of this wonderful art. I will also be emphasizing the mental attitude, the passion, the discipline, the joy, and perseverance that are key attributes all musicians need to embrace.
HD: How are you preparing for a 6-hour master class, and if you could, give us a general outline of topics you plan to cover.
Alex: Well, actually, 6 hours is not enough time to share the many years of experience I have gained in a long musical career. Some of the topics I will be touching on include: the rhythm scale; the right feel for some of the Caribbean—Latin and South American rhythms—which are African and Spanish flamenco descendants; polyrhythms with 4-way coordination exercises and concepts to develop better time and feel when playing these genres; and a musical, melodic, and harmonic approach to play or perform our instruments and sounds with boldness and honesty.
HD: How long have you been in L.A. now, Alex, and how would you compare your professional life here to time you’ve spent in N.Y.?
Alex: I have been in LA for 31 years now and I love LA very much for many other reasons—but musically, for all the great opportunities we have here to develop our calling. Here in LA we have so many musical opportunities to grow because of the great music industry, great studios, and great musicianship, we can play just about any genre, and now there are many jazz clubs and places where you can go and enjoy Latin music. Actually, I never lived in NY, but yes in San Juan, Puerto Rico, where I went to have an education at the National Conservatory of Music.
HD: We know that you are currently quite actively involved in music education. Which universities and schools are you presently associated with, and what types of classes/courses do you generally teach? Also, please tell us about your upcoming endeavor teaching in your native Peru.
Alex: Well, I like to share what I have learned through the years of playing with many of the greatest musicians in the world, and as I said before, to teach the right feel of what I do best. I go to many countries where there are music-fests and educational events: Europe, England, Scandinavia, Japan, etc. Thank you for asking me about Peru. I’m a missionary in the Amazon and the Andes in my native country of Peru. Also, I will be doing some education—master classes and concerts in a couple of universities in Lima.
HD: What satisfaction do you get from teaching at this point in your career and life?
Alex: There is great satisfaction in sharing what I know, to the point that I have given classes free of charge. Some students don’t finish the entire program because its pretty intensive and I want them to be fully committed. I only have two students who went all the way with my teachings, and now my grandson, who is also very interested, is studying with me. I know God has given me a gift and I want to share this gift and talent as much as possible.
HD: In addition to sharing your knowledge in the classroom, you are clearly—like all great musicians—still an engaged and curious student. What is inspiring you lately? What kind of things are you shedding, and what is your practice routine like these days?
Alex: These days, because I already have raised 5 children, I have the time to keep improving what I have been already playing for so long. I like to stay fresh in my game, because the styles I have always played will never grow old, if you know what I mean. I’m always trying to get better. I learn how to share my techniques and styles of drumming in different ways for different players and students with different musical understanding/levels. I have to discern how to communicate to them so they can understand intricate music, cultures and rhythms. Right now it seems to me that the entire world is listening and learning how to salsa, how to play the cajon, how to play the djembe, and trying to understand the Caribbean and the South American music. The Gitano music from Spain—flamenco—is a fresh music to my ears and I like to know it to the max. I thank God I have played with Paco de Lucia and Diego Amador. These are the new music styles I’m trying to keep up in my arsenal of rhythms. Lately I’m practicing some piano—not so much to become a pianist, but to know the keyboard and the harmony, and also to improve my feet and hand techniques.
HD: You also continue to be a vital and busy performing musician. Please share with us some of what’s been going on and what may be coming up for you musically. Can you estimate what percentage of the playing you do now is live or studio, and drumset , percussion, or both?
Alex: Yes I hope to continue performing for the rest of my life, also with good health so I can be very vital. It is good to stay in good, healthy condition—working out and eating healthy. This year, 2009, I had the privilege to play on many of the great movie soundtracks here in LA: the Incredibles, Ratatouille, MI3, Transformers, Star Trek, Wolverine, Up, and many more. Also, I was very honored to play with the LSO. Lately, I continue to do many recordings for various artists from South America, Canada, Japan, and Europe. I love to do that because I do it in a very relaxed mode in my home studio. Also, I have been performing with a trio where I play the drums and the percussion together. This trio is with two great musicians from Norway and we have a new CD called “Jungle City.” The trio can be heard on our MySpace page.
HD: You don’t spend much time looking over your shoulder, Alex, but when you do there’s an impressive legacy of work back there to survey. Are there any recordings from the past, aside from the obvious, that you remain particularly fond and proud of that you feel may have been relatively overlooked? What recordings of yours might you like to remind people to dig?
Alex: Yes, I’m very proud of several recordings I did in the 80’s. One is the self-titled Lyle Mays album. I played the drums and it’s really a great record mainly because his compositions are very good—he is one of my favorite musicians. Another one is the one I did with Chick Corea and Paco de Lucia also in the 80’s called “Touch Stone,” where I played drums and cajon. This was the first time a cajon was recorded in the USA on a major record. But more impressive for me, was that Carles Benavent, Don Alias, Steve Kujala, and Al Vizutti also played so great on this project.
HD: You and Peter are doing consecutive master classes at Upstairs at Vitello’s one-week apart. The two of you have a long relationship and musical association that continues to this day. In fact, you recently performed with a big band in Italy together. Please share with us a few thoughts about your friend and occasional partner-in-time.
Alex: Yes, April Williams had a great idea to do this master class series. I love it! Those in attendance will be very much encouraged and will learn a lot from these masters. Peter and I are great friends. He is my favorite drummer. I know this is a big statement on my part. The reason I say this is because I have played with him in many different situations where I saw the gift shine through him. We have performed in different countries and with different orchestras and big bands and combos, etc. The way he interprets music knocks me out. Great hands and feet coordination, sound of the drums, and time and feel. Peter always plays the right rhythm concepts for all the styles. (You are too much, Peter- you are my hero!!!!) Italy was great. We had lots of pasta, and we went to see the Notti Palatine, and we also had some focaccia in Palermo!
HD: Anything else you’d like to share with the L.A. drum tribe, Alex? Any particular musicians or clubs of interest, or especially good restaurants to tout; an inspirational or absurd story, perhaps; or just a parting thought? Think of this as a free-form drum solo. You could simply tacit if you choose…
Alex: Yes, here in LA we have many great percussion players, like Satnam Ramgotra—he plays tablas and also great drums. In Cal Arts there are some great Dauli Players. It’s worth it to check them out. Lots of the beats and concepts of these percussion players can be translated to the drum set. I personally love to learn so I can do this with lots of different styles. It’s a way to continue my self-education by listening and learning from these master musicians. I also like to see and listen to the R&B gospel players—I love the way they feel their music. It is very inspiring, and played with great execution as well. Also check out Jimmy Branly and Raul Pineda—they live here in town. By the way, my son Javier Neciosup has a Peruvian restaurant called “Lima” and he is opening another one in Studio City very soon.
HD: Thank you very much, Alex, for your music, inspiration, and time.
Alex: You’re welcome, my friend.
Go to Q&A with Peter Erskine