I look up to a lot of old school drummers from the '70s, '80s, and '90s.
I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.
Just to be around that, to feel a part of it and be able to integrate the experience while I was with the Messengers, of going and playing gigs with other drummers, gave me the chance to realize that it was not just me that was making it happen.
Art was carrying me a lot of the time. When you're accustomed to playing with Art, and you play with other drummers, it's as if the bottom dropped out.
Plus I am being hounded by all the fabulous new drummers, Bill Stewart at the head of the pack.
Historically, musicians know what it is like to be outside the norm - walking the high wire without a safety net. Our experience is not so different from those who march to the beat of different drummers.
To have everything written for you... It's not really creating. That's why I think symphony drummers are so limited. They 're limited to exactly what was played a hundred years before them by a thousand other drummers.
Almost everything I've done, I've done through my own creativity. I don't think I ever had to listen to anyone else to learn how to play drums. I wish I could say that for about ten thousand other drummers.
I do like to look at female drummers, because I am one.
People who come up to me are drummers or fans of the band. I don't get it too much, but I'll be somewhere and someone will have me take a picture or something.