Q&A with Peter Erskine
L.A. Jazz Pro Master Class Series 2009

Peter Erskine is a busy man. He always seems to find time for that hallowed space between the notes, though. The globe hopping, world-class drummer also found time to respond to a few written questions from us on his laptop during a flight from Cleveland to L.A. We like the idea of that for some reason.

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?

Peter Erskine: When it comes to music, my primary message will always be that any improvising musician should simply play what they’d like to hear next. The trick is having the listening experience, knowledge and technical facility to do that. My clinics show the straightest line towards that goal. As far as the changing music scene goes: the whole world’s changing, the music business along with it. I’ve found that by concentrating on my music, everything else will fall into place sooner or later. That said, I also wear a lot of hats, and I’m looking forward to explaining some of those hats to the class!

HD: You are a master drummer and master clinician. You’re truly putting the “master” in master class this Saturday at Vitello’s—which is 6-hours long. How do you prepare differently, and what do you feel are the unique advantages and challenges to such an extended workshop vs. a typical clinic?

Peter: I thought 6 hours might be a long time, but I just completed 4 days of 6-hour classes daily in addition to an evening jam session (x 4). I’m ready for anything, and the time will fly by for all of us. I’m truly looking forward to the day in Vitello’s; it’s a great-sounding room and I’ll be joined by Bob Sheppard, Darek Oles and Bill Cunliffe. All questions are good, and the combined professional experience on-stage that day will be quite considerable. We’re all veterans of LA, New York as well as the road … recording studios, working in Europe, etc. The 6 hours will give us all ample opportunity to get to know one another and to establish the necessary level of trust where real music-building (and confidence-building) can take place.

HD: L.A. has been your home for a good while now. There has always been an East Coast-West Coast distinction in jazz. How would you say living here among the beaches and palm trees (and all else L.A. for better or worse) has affected your musical sensibilities?

Peter: My family and I love living in LA. Life is easier here. My music became more “open” when I came here. I was able to take the lessons from my New York years and realize them in a place where there was space and more peace & quiet. New York is intense and it’s noisy. I love the music from New York. I love playing it in LA.

HD: We know that you’ve long been actively involved in music education. Aside from your busy clinic schedule, which universities and schools are you presently associated with, and what is your level of involvement?

Peter: I am the Director of Drumset Studies at the Thornton School of Music, University of Southern California. In addition to coaching the school’s premier combo and teaching private students, I created the curriculum for the very popular “drumset proficiency” course at the school; we’re the first major university to require proficiency on the kit as part of a degree program. We expect the overall level of musicianship to increase dramatically as a result of this. I’m grateful for this opportunity ~ thanks to USC and the Roland Corporation. Hey, just what the world needs: more drummers! Seriously, though … the more that any musician understands about rhythm, the better musician they’ll be. Drumming, ultimately, is not so much about the notes as it is the space between the notes.

HD: What satisfaction do you get from teaching, and has that changed for you over the years?

Peter: My appreciation for the challenges and rewards of teaching have grown over the years. Sometimes I feel as though I’m learning as much from the students as they are learning from me! That said, I’ve become a better teacher and mentor as time has gone by. My eye and ear are that much more discerning, and my patience has grown for the most part…! He greatest thrill is seeing the “lightbulb” come on for a student. It is also gratifying knowing that some of the spaghetti that I’m throwing against the wall is sticking … I’m proud of my students and their accomplishments. Hey … we’re ALL students of music.

HD: What is inspiring you lately? Musically or otherwise. What is generally going on when you are alone in a room with a drumset these days? How often does that happen for you?

Peter: When I’m alone in a room with a drumset, I’ll start off by playing the simplest of things: whole notes with a specific tempo in mind and body. And then I’ll work on whatever music might be at hand ~ I’m pretty good at doing my homework. And I’m inspired by sound. Also inspired by the new things going on in drumming and music in general, including some of the “new” rhythms I’m hearing here and there…

HD: You’re presently wrapping up a bustling leg on the road. Please share with us some of what’s been going on and what may be coming up for you musically, live and studio-wise.

Peter: Two new albums coming out on the label my wife and I started, Fuzzy Music. The first is a trio CD with bassist Chuck Berghofer and pianist Terry Trotter, recorded “live” here in LA at Charlie O’s; the 2nd is a big band album with trumpeter Tim Hagans and the Norrbotten Big Band from Sweden. We made the album in New York at Avatar Studios, with guest artists Randy Brecker, George Garzone, Dave Liebman and Rufus Reid. This might represent the best playing I’ve ever done, subjectively speaking. The music is really modern, and it’s a total swinger. The album will be called “The Avatar Sessions.”
Expecting a busy year at USC, including concerts with a stellar faculty quartet comprised of pianist Alan Pasqua (our new chair of the jazz department), saxophonist Bob Mintzer and bassist Darek Oles. This same quartet will make an audiophile recording this fall for Fuzzy Music. I’ll be visiting Europe a couple of times this year, to play some concerts as well as to be present at the opening of a new museum exhibit in Budapest, Hungary of all places, dedicated to my career.
More immediately: having a CD release party at Charlie O’s on September 15, and going up to Monterey to play the Jazz festival there with Alan Pasqua and Darek Oles the following weekend. A lot of music, all of it different and all of it good. I’m a lucky man.

HD: There exists a prolific and distinguished record of brilliant playing in your musical wake to date, Peter. Are there any recordings you’ve done that remain personal favorites that you feel have been relatively obscured along the way? For example, one of my favorites is a little-known Peter Sprague record entitled “Na Pali Coast.”

Peter: That’s going back a few years! Not obscure, perhaps, but I’m very fond of the Joni Mitchell “Both Sides Now” album because of how beautiful the writing and production and Joni’s singing all combine to be. I also like the Steps Ahead album “Modern Times” and some of the Weather Report stuff … my favorite work, though, is probably the music we’re recording and releasing on Fuzzy Music. The label was started so I could make the music that I wanted to make. If I tell aspiring musicians “play what you’d like to hear next,” then that’s a good philosophy for a record company: I play what I’d like to hear next! I hope other people will find their way to this music.

HD: You and Alex 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.

Peter: Alex is one of my favorite musicians and musical forces. The instant I first heard him on “Heavy Weather,” I knew that this was the guy I was waiting to hear…he’s got a great beat, and is an asset to any musical situation. A true joy to know and work with …

Alex and I are both excited about and grateful for this opportunity to get together with some of LA’s aspiring musicians in the great jazz room atmosphere of Vitello’s … it’s one of the best-sounding rooms I’ve played in ~ reminds me of the legendary “Donte’s” jazz club. This is a terrific thing that April Williams is doing ~ I sure wish something like this had been going on when I first moved to town back in 1979!

HD: Anything else you’d like to share with the L.A. drum tribe, Peter? 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…

Peter: Was very excited to play alongside (and along with) Jimmy Cobb a couple of weeks ago at the Hollywood Bowl when we presented the Gil Evans / Miles Davis collaborations/music; it was as close to a perfect concert experience as I’ve ever experienced! This has been a terrific year for good music, and despite what else is going on in the world, it still seems as though there’s a place for what we do. As a good friend of mine said recently: “The universe seems to be right on schedule …” regardless …, whatever I do in life, I’m always going to try to find the greatest joy possible in doing that something well, with care and with love. And as long as I can keep listening to some Bach, some Beatles and some Be-Bop, then everything’s cool.

HD: Thank you very much, Peter, for your music, inspiration, and time.

Peter: Thank you and all who support music!

Go to Q&A with Alex Acuna