|The Stanley Clarke Band|
The Stanley Clarke Band — Up
≡Φ Jako basista, Clarke má zvláštní afinitu k bubeníkům a UP je albem ocenění bubeníků. Podle jeho názoru jsou nejdůležitější hudební vztahy v kapele mezi baskytaristou a bubeníkem. Na UP přivádí postupně tyto bubeníky: Stewart Copeland, Gerry Brown, John Robinson, Ronald Bruner, Jr. a Mike Mitchell, někteří jsou z těch jeho oblíbených.
≡Φ “Můžu hrát velmi snadno s těmito bubeníky. Chápeme se navzájem rytmicky a emocionálně. To je velmi přínosné, když chcete dělat hudbu. Bubny jsou velmi emotivním nástrojem a hnací silou kapely,” říká Clarke.
≡Φ Gifted jazz bassist who established many contemporary techniques with his dazzling, rapid patterns and a highly influential slapping technique.
Born: June 30, 1951 in Philadelphia, PA
Location: Philadelphia, PA ~ Los Angeles, CA
Album release: September 30, 2014
Record Label: Mack Avenue
01 Pop Virgil 3:18
02 Last Train To Sanity feat: Harlem String Quartet 3:32
03 Up 3:16
04 Brazilian Love Affair [For George Duke] 6:36
05 Bass Folk Song #13: Mingus 0:57
06 I Have Something To Tell You Tonight 6:24
07 Trust [For Nana] 3:38
08 Bass Folk Song #7: Tradition 1:52
09 Gotham City 3:42
10 Bass Folk Song #14: Dance of the Giant Hummingbird/Bass Folk Song #15: Eleuthera Island
11 School Days 5:32
12 La Canción de Sofia 4:08
≡Φ Joe Walsh, Jimmy Herring and Paul Jackson, Jr., on guitar;
≡Φ Greg Phillinganes on keyboards;
≡Φ Phil Davis on synthesizer, keyboards;
≡Φ Chick Corea on acoustic piano;
≡Φ Kamami Washington, Doug Webb and Dan Higgins on saxophone;
≡Φ Jessica Vautor, Natasha Agrama and Patrice Quinn on vocals;
≡Φ Gary Grant (trumpet) and Andy Martin (trombone) on horns;
≡Φ Lenny Castro on percussion;
≡Φ Nick Mancini on marimba;
≡Φ The Harlem String Quartet with
≡Φ Ilmar Gavilán (violin),
≡Φ Melissa White (violin),
≡Φ Jaime Amador (viola)
≡Φ Matthew Zalkind (cello) on strings.
≡Φ Billboard Albums
≡Φ 2014 Up Jazz Albums #31
≡Φ Ahmed Agrama Inside Photo
≡Φ Natasha Agrama Choir/Chorus, Vocals (Background)
≡Φ Jaime Amador Viola
≡Φ Rush Anderson Engineer
≡Φ Mariela Arredondo Choir/Chorus
≡Φ Gerry "The Gov" Brown Drums, Engineer, Mixing
≡Φ Ronald Bruner Jr. Drums
≡Φ Jason Butler Assistant Engineer
≡Φ Bobby Campbell Engineer
≡Φ Lenny Castro Percussion
≡Φ Stanley Clarke 6-String Electric Bass, Arranger, Bass (Acoustic), Bass (Electric), Composer, Guitar (Acoustic), Primary Artist, Producer, Soloist, Synthesizer Bass, Tenor Bass, Vocals
≡Φ Stewart Copeland Drums
≡Φ Chick Corea Piano
≡Φ Phil Davis Keyboards, Synthesizer, Keyboards
≡Φ George Duke Composer
≡Φ Felipe Fraga Percussion
≡Φ Dan Fyfe Assistant Engineer
≡Φ Brian Gardner Mastering Engineer
≡Φ Ilmar Gavilan Violin
≡Φ Beka Gochiasvhili Piano, Soloist
≡Φ Gary Grant Trumpet
≡Φ Atron Gregory Executive Producer
≡Φ JaCarlo Hairston Assistant
≡Φ Jon Hakakian Engineer
≡Φ Harlem String Quartet Primary Artist
≡Φ Jimmy Herring Guitar
≡Φ Jerry Hey Horn Arrangements
≡Φ Dan Higgins Sax (Baritone), Sax (Tenor), Soloist
≡Φ Claire Ito Production Manager
≡Φ Paul Jackson, Jr. Guitar
≡Φ Hotae Alexander Jang Assistant Engineer
≡Φ Danny Johnson Engineer
≡Φ Bernie Kirsh Engineer
≡Φ Dave Luke Engineer
≡Φ Dennis MacKay Engineer, Mixing
≡Φ George Madrid Production Coordination
≡Φ Nick Mancini Marimba
≡Φ Andy Martin Trombone
≡Φ Michael Mitchell Drums, Soloist
≡Φ Raj Naik Art Direction, Design
≡Φ Steven Parke Back Cover Photo, Cover Photo
≡Φ Yan Perchuk Mixing
≡Φ Greg Phillinganes Keyboards
≡Φ Al Pryor A&R
≡Φ Patrice Quinn Vocals (Background)
≡Φ John Robinson Drums
≡Φ Monica Rodman Production Assistant
≡Φ Toshi Sakurai Photography
≡Φ Ruslan Sirota Fender Rhodes, Piano, Synthesizer
≡Φ Gretchen Valade Executive Producer
≡Φ Jessica Vautor Vocals
≡Φ Alex Venguer Engineer
≡Φ Will Wakefield Production Manager
≡Φ Joe Walsh Guitar
≡Φ Kamasi Washington Saxophone
≡Φ Doug Webb Saxophone
≡Φ Melissa White Violin
≡Φ Alex Williams Engineer
≡Φ Amanda Yamate Production Assistant
≡Φ Matthew Zalkind Cello
REVIEW © ≡Φ Gerry "The Gov" Brown
By Andre S. Grindle TOP 1000 REVIEWER on October 1, 2014; Score: *****
Format: Audio CD
≡Φ Since instrumentally they were basically brothers from different mothers? I can imagine that the passing of George Duke last year must have struck Stanley Clarke particularly hard. The salad years of their career arcs were always on some level in tandem, even when they were not working together. There is one thing that Stanley and George both had in common too. Both of them attracted some of the best and vital talents,both old and new, in the instrumental world into their musical orbit. The Stanley Clarke Band, with it's ever changing lineup, has been very much on a role in recent years. And this second album showcases that revitalization still very much in place for everyone, far too many names to mention but needless to say some of the best instrumentalists around, who were involved in bringing this to life.
≡Φ "Pop Virgil" finds Stanley and what essentially amounts to the Quincy Jones Westlake studio house band playing a popping, funky melodic solo over the rhythmic section and horn breaks to James Brown's "Papa's Got A Brand New Bag" for an extremely funky affair. "Last Train To Sanity" has a rhythm where the rolling, train–like bass rumbles along with the flamboyant drums and Stanley provides yet another higher bass solo for melody. "Up" is thick, chunky and melodically complex jazz–funk while Duke's "Brazilian Love Affair" is seemingly done up very much in keeping with Duke's original yet Michael Mitchell's lightening fast fusion drum solo in the middle creates a whole new level of excitement. "I Have Something To Tell You Tonight" and the frenetic "Gotham City" showcase Stanley's jazz–rock fusion side–with a strong cinematic/film score oriented side coming through especially on the latter. There's also a pretty straight re–imagining of "School Days" as well. "Trust", a slow acoustic cool jazz type number rounds out the albums, which is surrounded by bass solo oriented Bass Folk Songs.
≡Φ As with most Stanley Clarke albums? This album has an instrumental power that leaps right out at you. And Clarke has continued to grow as a composer as he's went along–with his talents as an arranger and instrumentalist continually renowned. Much as with this albums predecessor, this particular album also contains music which leaps right out and figuratively demands that your ear pays attention. My friend Henrique and I were conversing earlier about how musicians generally don't retire as readily as more performance oriented musical artists. That their creative powers, whether it be songwriting, playing or both are always somehow able to have there muscles flexed in different ways with the passage of time. As Stanley Clarke and the instrumental contemporaries on this album are passing from middle age into early elder–hood? ≡Φ There appears to be an interesting rejuvenation. They have nothing to prove anymore. So they can focus on just making top notch music that's funky, jazzy and even rocks out a little too.
DIANE HADLEY PUBLIC RELATIONS, Published: 2014 09 29
≡Φ UP is the latest CD from the baddest bass player on the planet, Stanley Clarke. He considers UP to be the most energetic, fun, rhythmic and upbeat album that he has ever done and with more than forty albums under his belt, that’s saying quite a lot. ≡Φ Clarke’s signature bass virtuosity and amazing technical acumen is present throughout, but the enjoyment he had in making this album is also apparent. Unlike his predominant acoustic bass work on the last few albums, UP is almost equal electric and acoustic bass. Entirely produced by Clarke, he is extremely proud of the quality of digital sound achieved as well as how the album as a whole is thoughtfully paced.
≡Φ “My aim here was to make a record with my friends. Every single recording session was nothing but fun. The environment I established allowed me to be much less bothered by outside elements,” says Clarke. ≡Φ “Surrounding myself with people I enjoy being with made the sessions effortless. Everyone came prepared and ready to play. All were great musicians and we played together naturally. They came to the studio to give everything they had. I can truly say it was a process that I am grateful to have experienced.”
≡Φ UP’s connection with his last Grammy–winning Stanley Clarke Band album is the inclusion former bandmates Ruslan Sirota (acoustic piano/keyboards) and Ronald Bruner Jr. (drums), who toured with him for seven years and were Clarke’s co–Grammy Award winners for the 2011 Best Contemporary Jazz Album. Clarke’s current touring Stanley Clarke Band members, Beka Gochiashvili (acoustic piano) and Mike Mitchell (drums), are also represented on the album. Both are quite young, in their teens, and talented way beyond their years.
≡Φ Among the other friends Clarke lets shine on UP are: Joe Walsh, Jimmy Herring and Paul Jackson, Jr., on guitar; Greg Phillinganes on keyboards; Phil Davis on synthesizer, keyboards; Chick Corea on acoustic piano; Kamami Washington, Doug Webb and Dan Higgins on saxophone; Jessica Vautor, Natasha Agrama and Patrice Quinn on vocals; Gary Grant (trumpet) and Andy Martin (trombone) on horns; Lenny Castro on percussion; Nick Mancini on marimba; and the Harlem String Quartet with Ilmar Gavilán (violin), Melissa White (violin), Jaime Amador (viola) and Matthew Zalkind (cello) on strings.
≡Φ As a bassist, Clarke has a special affinity for drummers and UP is an album drummers will appreciate. In his opinion the most important musical relationship in a band for a bassist is with the drummer. In UP he brings Stewart Copeland, Gerry Brown, John Robinson, Ronald Bruner, Jr. and Mike Mitchell, some of his favorite drummers.
≡Φ “I can play very easily with these drummers. We understand each other rhythmically and emotionally. That makes it very fruitful when you’re making music. Drums are a very emotional instrument and the driving force behind a band,” Clarke states.
≡Φ In addition to the musicians, Clarke enlisted veteran chief engineers, Dennis MacKay (multi–Grammy winner known for working with Return to Forever, David Bowie and Jeff Beck among many) and Gerry “The Gov” Brown (over 47 Platinum and Gold Records and 15 Grammy bids), both whom he has worked with in the past. This only added to the success and comfortable mood of the sessions. Other engineers on various tracks are Yan Perchuk, Jon Hakakian, Alex Venguer, Dave Luke and Danny Johnson.
≡Φ “I put myself in really in good hands. I surrounded myself with great friends, great engineers and recorded the album at great studios. Almost all of the tracks were recorded at The Village in Los Angeles. I love working in this acclaimed studio. It has an atmosphere of the Seventies I like,” Clarke enthusiastically commented.
≡Φ The architecture of the album is very deliberate. Tracks 1 through 4 are very upbeat. The first cut is “Pop Virgil.” “Everyone in my family will say that this song reminds them of my grandfather. It has a warm funky and bluesy feel to it, much like him. This actually came out of a drum/bass interlude in my stage performances of ‘School Days.’ I’ve always wanted to turn it into a song of its own. I couldn’t go wrong with the great Michael Jackson session rhythm section of John Robinson, Paul Jackson, Jr. and Greg Phillinganes. Also Jerry Hey did a great horn arrangement,” Clarke says.
≡Φ Clarke considers “Last Train to Sanity” one of the best pieces he has ever written and it is the only track on the album that deals with the music as a film composition. ≡Φ “It’s a theme to a movie that hasn’t been written yet,” says Clarke. “The song is about an individual who has an epiphany and finds his way back to sanity. I’m so glad that the Harlem String Quartet, who I’ve toured with a bit over the last year, was willing to be part of this recording.”
≡Φ The title song “UP” is the essence of the album’s sensibilities. “Drummer Stewart Copeland was on my mind with this song. His vibe is one of the most upbeat and positive that I know and that consciousness carries throughout the song. Old friends Joe Walsh and Paul Jackson, Jr., join the fun on this upbeat and lighthearted cut,” comments Clarke.
≡Φ Brazilian Love Affair is one of Clarke’s favorite George Duke compositions. In homage to Duke, Clarke made a conscious decision to include his very good friend’s music in every show and project he does this year. With the foundation of a tremendous arrangement, robust rhythms and a vigorous samba influence predominate the song that expresses Duke’s love of Brazil and its gorgeous beaches, beautiful people, good food and openness of heart. Clarke sings Duke’s parts and is joined by Jessica Vautor on lead vocals. The track also showcases an outstanding piano solo by 17–year–old Beka Gochiashvili.
≡Φ UP’s mood slows down and smoothes out a bit with acoustic “Bass Folk Song #13: Mingus,” a homage to Charles Mingus done on solo acoustic bass. As in previous recordings, Clarke unveils four more bass compositions in UP that he has dubbed Bass Folk Songs. Clarke says, “They’re very specific compositions and each one is different. I started writing them when I was much younger and have about twenty now. They are specifically written for a solo bass.”
≡Φ Former bandmates Ruslan Sirota and Ronald Bruner, Jr., join Clarke on I Have Something To Tell You Tonight. The addition of the luscious sounds of Kamasi Washington on sax creates a dreamy improvisational jam. An interesting aspect of this cut is that it was done in one take with no overdubbing. After playing with these musicians for over seven years, the collaboration was intuitive.
≡Φ Trust is a straight ahead jazz piece. The song is dedicated to Clarke’s daughter NaNa (Natasha) and arose from a family discussion one evening. Though lyrics would seem appropriate to convey the conversation, here Clarke captures the feel and emotion of the exchange through an instrumental.
≡Φ “Bass Folk Song #7: Tradition evolved from thoughts on musicians that Clarke played with early in his career including Horace Silver, Art Blakey, Dexter Gordon, Joe Henderson, Stan Getz and others. Ironically it’s an Alembic electric tenor bass solo.
≡Φ Ramping up the album’s ambiance again, Clarke and the musicians have fun with Gotham City. A fan of superheroes in films and comics since childhood, this is Clarke’s homage to the genre. “I just let my Alembic bass go and have a great time with Ruslan, Mike Mitchell, Phil Davis on keys and Doug Webb on tenor sax,” laughs Clarke.
≡Φ “Bass Folk Song #14: Dance of the Giant Hummingbirds/Eleuthera Island” are two Bass Folk songs put together for solo acoustic bass. They convey the frantic movements of the giant hummingbirds found in Chile with the succulent Caribbean overtones of the serene Eleuthera Island in the Bahamas.
≡Φ “I knew the idea of re–recording “School Days” was potentially dangerous, but just because a song is good and deemed to be a classic doesn’t mean you can’t record it again,” Clarke states. The legendary Jimmy Herring does the dynamic guitar lead on this version. Joining them is drummer Gerry Brown, who was the original “School Days” drummer in 1975.
≡Φ “I revisited “School Days” recently on tour. I had been told that over the years it had become a bass anthem and a classic must–learn for nearly every up–and–coming bassist. But, I had no idea of the incredible reception it would get from today’s audiences. They were hungry for it,” adds Clarke. “I can’t wait to take it back on tour later in the year.”
≡Φ The final song on the album is La Canción de Sofia (A Song for Sofia). Written for Clarke’s wife Sofia, who is from Chile, this track is a live performance of an acoustic duet with Chick Corea. It was recorded live at Kitara Hall in Sapporo, Japan, last year.
Fortaken: http://news.allaboutjazz.com/ © ≡Φ Ronald Bruner Jr. Drums
Agent: Ted Kurland
≡Φ Four–time Grammy™ winner Stanley Clarke is quite possibly the most celebrated acoustic and electric bassist in the world. As a performer, composer, conductor, arranger, recording artist, producer, and film scorer known for his ferocious dexterity and consummate musicality, Clarke is a true pioneer in jazz and of the bass itself. ≡Φ Unquestionably he is a “living legend,” lauded with every conceivable award available to a musician in his over 40–year career as a bass virtuoso.
≡Φ Clarke’s incredible proficiency has been rewarded with: four Grammys, gold and platinum records, Emmy nominations, an honorary Doctorate from Philadelphia’s University of the Arts, and much more. He was Rolling Stone’s very first Jazzman of the Year and bassist winner of Playboy’s Music Award for ten straight years. Clarke was honored with Bass Player Magazine’s Lifetime Achievement Award and is a member of Guitar Player Magazine’s “Gallery of Greats.” He was even given the key to the city of Philadelphia.
≡Φ Digging through the great multitude of accolades bestowed upon Stanley reveals an interesting phenomenon. It is difficult to remember how limited the potential career path of a bass player was before he came on the scene. Stanley almost single–handedly took the bass out of the shadows and brought it to the very front of the stage, literally and figuratively.
≡Φ The traditional role of the bass was largely one of time–keeping that sonically filled out the spectrum. Clarke says: “Before I came along a lot of bass players stood in the back. They were very quiet kind of guys who didn’t appear to write music. But many of those bass players were serious musicians. All that I did was just take the step and create my own band.”
≡Φ Certainly there were great and celebrated bass players before Stanley like Ron Carter, Scott LaFaro, and the pioneering composer Charles Mingus. But Clarke became the first bassist in history to headline sold–out world tours and have gold albums. He was also the first to double on acoustic and electric bass with equal virtuosity, power, and fire. By the time he was 25 years old, he was already regarded as a pioneer in the jazz fusion movement.
≡Φ Clarke cites Mingus as a great influence personally and professionally. “The greatest moment in my life that changed me was having dinner with the great Charlie Mingus. He had the personality of a revolutionary that could have run a paramilitary group. He was very intense, heavy! That’s when I realized exactly what I wanted to do with the bass. I was going to approach my career completely like a revolutionary. Whatever was there, I was going to do the opposite.” The rest, as they say, literally is history.
≡Φ Interestingly electric bass, for which Stanley is most renowned, is not his principal instrumental. His first passion, which carries to this day, is for the acoustic bass. “Electric bass is my secondary instrument. When I first started playing electric it was at parties and just for having fun. But I made records and got famous more as an electric bass player than as an acoustic bass player.”
≡Φ In 1971, 20–year–old Stanley Clarke exploded into the jazz world, fresh out of the Philadelphia Academy of Music. Arriving in New York City, he immediately landed jobs with bandleaders such as Horace Silver, Art Blakey, Dexter Gordon, Joe Henderson, Pharaoh Saunders, Gil Evans, Stan Getz, and a budding young pianist–composer named Chick Corea. Stanley says: “my original goal was to be a classical bassist. I wanted to be one of the first black musicians in the Philadelphia orchestra. Chick Corea changed my mind about that.”
≡Φ Clarke and Corea formed the wildly influential jazz fusion band Return to Forever, a showcase for each of the quartet’s strong musical personalities, composing prowess, and instrumental voices. They recorded eight albums, two of which are certified gold (Return to Forever and Romantic Warrior). They also won a Grammy (No Mystery) and received numerous nominations while touring incessantly.
≡Φ Clarke then fired the “shot heard ‘round the world” that started the 1970s bass revolution and paved the way for all bassist/soloist/bandleaders to follow. In 1974, he released the eponymous Stanley Clarke album which featured the hit single, “Lopsy Lu.” Two years later, he released School Days, an album whose title track is now a bona fide bass anthem, a must–learn for nearly every up–and–coming bassist, regardless of genre.
≡Φ Aspiring bassists must also master the percussive slap funk technique that Clarke pioneered as well. Sly and the Family Stone’s Larry Graham first developed the rudimentary slap technique. Stanley took the idea and ran with it, adapting it to complex jazz harmonies.
≡Φ Always in search of new challenges, Clarke turned his boundless creative energy to film and television scoring in the mid–1980s. He is now an elite in–demand composer in Hollywood. Starting in television with an Emmy–nominated score for Pee Wee’s Playhouse, he transitioned to the silver screen and now has over 65 credits to his name.
≡Φ As composer, orchestrator, conductor, and performer he has scored blockbuster films: Boyz ‘N the Hood, What’s Love Got To Do With It?, The Transporter, Romeo Must Die, Passenger 57, Poetic Justice, and The Five Heartbeats. He also scored the Michael Jackson video Remember the Time, directed by Jon Singleton. More recently he scored the 2013 box–office hit, Best Man Holliday. He has been nominated for three Emmys and won a BMI Award for Boyz ‘N the Hood.
≡Φ “Film has given me the opportunity to write large orchestral scores and compose music I’m not normally associated with,” says Clarke. “It has given me the chance to conduct orchestras and arrange music for various types of ensembles. It has focused my skills and made me a more complete musician.” His 1995 CD release, Stanley Clarke at the Movies, is a testament to this. ≡Φ Stanley promises that he will find time to release At the Movies Two compiled from the 20 additional years of film scores since then.
≡Φ In addition to his own band, Clarke has always enjoyed collaborating with other artists. Stanley teamed up with keyboardist George Duke in 1981 to form the Clarke/Duke Project. Together they scored a top 20 pop hit, “Sweet Baby,” and recorded three albums. Stanley worked with George in various situations for over 40 years until George’s untimely passing in 2013.
≡Φ Some of Stanley’s other notable projects as band member or co-leader include: Jeff Beck, Keith Richards’ New Barbarians, Animal Logic (with Stewart Copeland), Superband (with Larry Carlton, Billy Cobham, Najee, and Deron Johnson), Rite of Strings (with Jean–Luc Ponty and Al Di Meola), Vertu’ (with Lenny White), Trio! (with Bela Fleck and Jean Luc Ponty), and SMV (with Marcus Miller and Victor Wooten).
≡Φ Clarke passionately believes in helping young worthy musicians. He and his wife Sofia established The Stanley Clarke Foundation in 2000, a charitable organization which offers music scholarships. In 2007 Clarke released a critically–lauded DVD entitled Night School: An Evening with Stanley Clarke and Friends chronicling the third annual Stanley Clarke Scholarship Concert with proceeds going to the fund. The concert features Stevie Wonder, Wallace Roney, Bela Fleck, Sheila E., Stewart Copeland, Flea from The Red Hot Chili Peppers, Wayman Tisdale, and Marcus Miller.
≡Φ To this day Stanley Clarke remains as passionate about music as that young prodigy from Philadelphia with big dreams. His journey has already been epic and storied. Yet it is far from over. — Ivan Bodley, New York City
≡Φ Gerry Brown — born 9 November 1951, Philadelphia, Pennsylvania, USA.
≡Φ Gerry Brown musical journey's have culminated in extended musical relationships with legendary artists. His musical journey started with fellow school mate Stanley Clarke who introduces Gerry as a "Master Drummer" and the "first musician I ever played with!". Gerry along with Stanley crafted the revolutionary 'School Days' recording which it's influences continues to inspire Drummers and Bassist's worldwide.
≡Φ Gerry Brown also holds the distinction of holding the drum chair for the legendary Stevie Wonder for the past 14 years. Recently returning from SRO appearances in Switzerland it is still evident that the popularity of Stevie Wonder continues to influence and entertain audiences around the world.
≡Φ Gerry's versatile and musical objective point of views leads him to 'Serve the Music.' His long list of acomplishments has landed him on stages and recording studios with George Benson, Marcus Miller, Lionel Ritchie, John Lee, Sonny Fortune, Alfonso Johnson and Phillip Bailey. He also has worked with the NDR Big Band , Brothers Johnson, Roberta Flack, Joe Sample, Slide Hampton, Tom Harrell, Larry Coryell, Dave Samuels, Chuck Loeb and Chick Corea.
≡Φ Gerry is presently residing in Los Angeles, CA. and continues to be a driving force in today's industry. His first instructional Drum Video "R & B Drumming with Gerry Brown" was released to critical acclaim by numerous music publications. Gerry's insight as an educator and performer has established him as a sought after clinician for Yamaha Drums, Zildjian Cymbals & Drumsticks and Evans Drumheads.
≡Φ Gerry is currently touring with Stevie Wonder, Stanley Clarke, Diana Ross and Jeffrey Osborne.
≡Φ Brown has played Yamaha drums since 1987. His main kit is a Absolute Birch Custom. "I wouldn't say I necessarily prefer the sound of birch over maple or beech," he explains. "I might use maple if I want something that really cuts, birch if I want a smoother sound, and beech for something in-between. Yamaha has been on top for so long that all their shells are happening, and Yamaha's hardware is the strongest and highest in quality. My favorite snares right now are the copper 51/2" and 61/2" models. I like how they let me dig in or finesse them, and they always respond."
© 2014 Yamaha Corporation of America.
|The Stanley Clarke Band|